Still All Right

Spring is always a slow time for films. It's where studios burn off shoulda-coulda-woulda Oscar contenders and not-quite-there-yet summer flicks. Instead of recapping all the films that I've neglected to blog about individually, here's a list, from best to worst, of everything I've seen in 2010.

The Kids are All Right - The Sundance darling is still hanging in there as this year's best pic. Previous review here.

Shutter Island - The DiCaprio-Scorsese tandem has yet to misstep. While not as critically beloved as The Departed or The Aviator, Shutter Island is smart, tense, and impeccably made. Grade: A-

How to Train Your Dragon - Depending how critics and audiences react to Toy Story 3 and Tangled (Disney's take on the story of Rapunzel) later this year, a studio other than Disney/Pixar may walk away with the Best Animated Feature Oscar next year. How to Train Your Dragon was everything an animated film should be: imaginative, fun, and fully of whimsy. Grade: B+

Alice in Wonderland - I'm in the minority, but I love when Tim Burton goes "commercial," and Alice was no exception. Grade: B+

Freedom Writers - A solid documentary that not enough people will see. Previous review here.

Date Night - Not even the dream team of Steve Carrell and Tina Fey can save a script that is too unfocused. However the Carrell-Fey combination could make the phone book funny, and in the end, Date Night is worth watching just to see them together. Grade: B

Tucker & Dale Vs. Evil - Hopefully this one catches audiences' attention later in the year because it could be a promising franchise. Previous review here.

Robin Hood - Robin Hood is a mediocre film that doesn't do anything wrong, but it doesn't do anything great either. The entire film feels like a setup for a franchise. We'll see if Universal even gets that far. Grade: B-

Iron Man 2 - Iron Man 2 failed where the first film succeeded. There were too many characters and far too many storylines. Sometimes simpler is better, even for Tony Stark. Grade: B-

Percy Jackson and the Olympians: The Lightening Thief - Another great concept and story castrated by the limp film-making skills of Chris Columbus (see previous offenses: Rent and the first two Harry Potter films). Grade: B-

Clash of the Titans - The film wasn't terrible, but Percy Jackson made Greek mythology a whole lot more fun. Grade: C

Green Zone - Unlike the DiCaprio-Scorsese tandem the Damon-Greengrass pairing is no longer unblemished. Green Zone was run-of-the-mill and remarkably boring. Damon and Greengrass should stick to the world of Jason Bourne. Grade: C-

The Book of Eli - Sure, the twist ending was good, but everything else about Eli was a post-apocalyptic drag. Grade: D+

Splice - One of the worst movies ever. Period. Previous review here.

Sundance Recap 2010

Growing up in Utah, and loving movies as much as I do, you'd think that I would've broken my Sundance virginity long before 2010, but it wasn't meant to be. However, I finally popped my film festival cherry this year (four times over). With that, here's my Sundance 2010 recap.

Tucker & Dale vs. Evil: Tucker & Dale vs. Evil may be 2010's Zombieland: a rare horror comedy that's actually funny. As with most good comedies, the plot is simple and the laughs are organic. Two hillbillies, Tucker & Dale (Alan Tudyk, Tyler Labine), are mistaken as psychotic serial killers by a group of college kids on a weekend camping trip. Queue hilarity. The script is perfection for this type of comedy, but Tudyk and Labine really sell it. Their chemistry is palatable, and there's no doubt that these bumbling idiots were meant for each other. They're so good that one can only hope this successful pairing translates into a Tucker & Dale franchise. Grade: B+

Freedom Riders: Freedom Riders is the real story of America's true heroes who stood up and fought for the change they believed in. The documentary sheds new light on the courageous young men and women who rode buses across the southern United States and defied bigotry and the government to stand up against racial segregation. Unlike many documentaries, Freedom Riders shuns the use of a narrator, to the film's benefit, and lets the remarkable story sell itself. The documentary also disregards the legends of both John F. Kennedy Jr. and Martin Luther King Jr., and portrays them not as larger-than-life heroes, but as regular leaders thrust into the middle of a crisis. Freedom Riders is a film that every American should see, if only to remind us of our embarrassing past, and to ensure that history never repeats itself. Grade: A

The Kids Are All Right: The Kids Are All Right, written and directed by Lisa Chodlenko, couldn't come at a more perfect time. In 2010, when gay marriage is still one of the country's most hotly-debated topics, The Kids Are All Right proves that whether gay or straight, commitment and love trump a government's definition of family. Nic (Annette Bening) and Jules (Julianne Moore) have been together for 18 years and have two children (Mia Wasikowska, Josh Hutcherson) from the same sperm donor. Their marriage has the same quirks as any other, but gets complicated when the kids seek out and bond with their biological father (Mark Ruffalo). Chodlenko's script is accessible and laugh-out-loud funny, and her direction is spot-on. The film is a crowd-pleaser. However, it's the two leading ladies that steal the show. The pairing is nothing short of sensational. Bening is irresistibly likable and Moore has never been more relatable. It's far too early for this kind of talk, but one of these women could (and should) finally walk away with her first Oscar statuette come 2011. The Kids Are All Right, is more than alright, it's relevant, heartfelt, witty, and fantastic. Grade: A

Splice: I wouldn't be surprised if Splice was the worst film to come from Sundance 2010. With names like Adrien Brody, Sarah Polley, and Guillermo Del Toro, attached Splice should have been one of the Festival's biggest successes. However, the film does about everything wrong. The plot of this "horror" flick about a newly formed "alien" species is predictable and you can see the "twists" coming from a mile away. The acting is juvenile -- Polley, who brilliantly wrote and directed 2007's Away From Her, should consider staying behind the camera. Splice is so awful that this review doesn't warrant any more discussion, and I'll leave it at that. Grade: D

A Striking Man

George Falconer is devastated. He's a 52-year-old, closeted, gay, English professor in 1962 mourning the loss of his partner of 16 years. A Single Man follows George (Colin Firth) on a day in which he is determined to change is pain-stricken life. On this day, George teaches students at his L.A. school about invisible minorities, mentors an attractive younger student (Nicholas Hoult), and meets up with his boozy best friend, Charly (Julianne Moore).

A Single Man is the most visually enthralling film of the year, and given the subject matter, it should be one of the most gut-wrenching. However, the beautiful imagery evokes an emotional detachment that works in the film's favor. During the course of the day, George is an auxiliary character in his life, going through the motions as a mere witness. With director Tom Ford's (the fashion designer's first foray into film-making) unique vision, A Single Man is a similar viewing experience. The audience is more a witness, rather than a participant, in the tragedy and triumph of George's life. That distinct separation makes the film, especially the ending, much more thought-provoking and satisfying.

Firth's performance is one for the ages. Regularly type-cast as a nice guy in films like Love, Actually, Bridget Jones's Diary, and Mamma Mia!, he brings incredible depth to A Single Man. His every movement is a remarkable expression of George's all-consuming grief. Moore is equally superb. In only ten minutes on screen, she's altogether hilarious and heartbreaking. Had Mo'Nique not given such a tour-de-force performance in Precious, Moore would be receiving her first, and much-deserved, Oscar this February.

Between the stellar performances, the impeccable visuals, and the haunting score, A Single Man is one of the best films to come from 2009, and one that should never be invisible.

Grade: A

Quick and Dirty

Three more movies this week, and three more not-quite-detailed-enough reviews.

The Road: Desolation is the name of the game in the film adaptation of Cormac MaCarthy's The Road. Starring Viggo Mortensen and Kodi Smit-Mcphee as a father and son trying to survive in a post-apocalyptic world, The Road thrives on hopelessness, but doesn't quite succeed. It's never established what brought devastation to the planet, but that doesn't matter. The world is a place of filth and destruction, and the scenery serves as a major character. The backdrops are breathtaking and callous, providing an overwhelming sense of isolation. However, that's The Road's greatest asset. There isn't much of a plot in the film, it's plainly a story of a father and son attempting to make it through the day. In order for a story so simple to work, the film needs to grab audience with gut-wrenching emotion, and that's where The Road misses the mark. The Road has all the ingredients to be a unique and moving experience, but it's merely a disturbing movie without any heart. Grade: B

Up in the Air: There hasn't a been a film more timely this year than Jason Reitman's (director of Thank You for Smoking and Juno) latest, Up in the Air. George Clooney is Ryan Bingham, a middle-aged man devoted to his job as a "corporate grim reaper." He flies across the country firing people whose bosses are too chicken to do the dirty work. It's on his cross-country travels that Ryan meets his equal, Alex (Vera Farmiga). When she describes herself to Ryan she says, "think of me as yourself, only with a vagina." However, the pair's love affair is thrown into limbo when a recent college graduate (Anna Kendrick) proposes that Ryan's company round up the traveling "firing squad" and conduct all firings via the Internet. The events (and surprises) that follow are storytelling at its best. Clooney was made for this role, and Farmiga is superb as his sparring partner. It's the role of her career, and the chemistry between she and Clooney is reminiscent of other great Hollywood pairings. Kendrick too is a standout, she sheds any memory of appearing in the Twilight films, and creates a character that is both high-strung and emotionally transparent. Above all, it's Up in the Air's timeliness that determines its success. As thousands of Americans continue to lose their jobs, Up in the Air shows us that it's not our careers that define us, rather that we are defined by those we love -- and they're the reason we wake up every morning. Grade: A

The Young Victoria: God Save Emily Blunt. In The Young Victoria, an overly-romanticized tale of the life and times of England's Queen Victoria, Blunt transcends an unfocused script and mediocre direction to do the improbable -- she makes The Young Victoria watchable. The film begins with Victoria as a teenager destined for the throne, and follows her through her initial years as ruler. The script jumps between the political and the romantic, dabbling in the story of Victoria's scheming family while touching on her desire to find a loving and equal partner. The film doesn't go far enough with either subject, merely skimming the drama, and as a result The Young Victoria is a bore. Blunt, however, saves the day. Her Victoria is unabashed and layered, and had the film been better, the Oscar buzz surrounding this must-see performance would be deafening. Grade: B-

All Together Now

Oscar season is in full swing, and as a result, I've seen a lot of movies, but if I am going to blog about every movie I see before Oscar nominations in January, I have a lot of work to do. Even though these films deserve more than a paragraph long analysis, that's all they're going to get.

Avatar: James Cameron knows spectacle. Twelve years after Titantic became King of the (box office) World, Cameron is back with a jaw-dropping 3-D thrill ride. The premise of Avatar is simple -- it's the story of humans attempting to take over the world of Pandora, currently inhabited by 10-foot-tall fluorescent blue natives. Basically, it's Dances with Wolves meets Fern Gully. The story may not be revolutionary, but the images and action sequences are so mind-blowing that similarities to any other story are bowled aside. Grade: A

Fantastic Mr. Fox: George Clooney and Meryl Streep are two of the biggest stars in the business, but not even their voices (as Mr. and Mrs. Fox) can outshine the clever and detailed animation in the Fantastic Mr. Fox. The animation combined with a wry script (adapted from Roald Dahl's children's book) written by Hollywood's oddball, Wes Anderson, make the Fantastic Mr. Fox an exuberant celebration of film-making. Grade: A-

Invictus: The biggest disappoint of the year. Clint Eastwood made a living this decade by releasing last-minute films that took the box office and/or the Academy Awards by storm (see: Million Dollar Baby, Gran Torino, and Letters from Iwo Jima). Invictus isn't a bad film, but it doesn't live up to Eastwood's previous work. The story of Nelson Mandela and the South African rugby team after the fall of apartheid is buoyed by Morgan Freeman's best performance in years and a impressively subtle turn from Matt Damon. However, the dialogue is preachy and Eastwood, who usually uses music to perfection in his films, allows his son to create a score that is sappy and heavy-handed. Better luck next time Clint. Grade: B

The Princess & the Frog: This year is a banner year for animation. With great films like Up, Fantastic Mr. Fox, 9, Coraline, and now The Princess & the Frog, 2009 has more than one film that could be considered one of the year's 10 best. With Disney returning to it's 2-D roots, The Princess & the Frog came with a lot of expectations, and (almost) lives up to them. The movie has all the ingredients for success: an endearing heroine, wonderful music, impeccable animation, but there's just not enough of it. The film would be an instant classic if had more character development and plot. The Princess & the Frog doesn't live up to the brilliance of The Beauty & the Beast or The Lion King, but it more than holds its own with Disney musicals like Mulan and Tarzan. Grade: B+

The Roads Less Traveled

Growing up is hard to do, just ask the lead characters of 2009's most-buzzed-about films, Precious: Based on the Novel 'Push' by Sapphire and An Education. Both films follow two teenage girls (Claireece Precious Jones, a 16-year-old in 1987 Harlem and Jenny, a 16-year-old in 1961 London) as they struggle to discover themselves.

Precious (Gabourey Sidibe) is a depressed, obsese, illerate teen, pregnant with her second child. She lives her mother, Mary (Mo'Nique), an abusive wretch, who treats Precious as her slave. As the film opens, Precious' confidence is so low that she rarely speaks -- the audience only hears from her through downtrodden and somber voice-overs. However, after a late night visit from her school principal Precious takes a spot in an alternative school, Each One Teach One. It's there that Precious meets a teacher, Blu Rain (Paula Patton), who encourages her to express herself through writing.

Like Precious, Jenny's story is one of self-enlightenment. Jenny (Carey Mulligan) is an above-average 16-going-on-17 London schoolgirl. She is beautiful, perky, witty, and smart. She's destined for Oxford according to her mum and dad (Cara Seymour and Alfred Molina). That's before Jenny meets a 30-something man, David (Peter Sarsgaard), who sweeps both she and her parents off their feet. David whisks Jenny across Europe, treating her to the finest in food and entertainment. It's not long before our leading lady is questioning her education, and her Oxford future.

Precious and An Education each have smart screenplays and more-than-capable directors (Lee Daniels and Lone Scherfig, respectively). However, the films belong to the actors. Sidibe is remarkable in her first role, Mo'Nique tears up the screen with fury and rage -- the Oscar is her's come February, and Mariah Carey channels raw emotion and sheds any memories of Glitter as Precious' social worker.

An Education belongs to Mulligan. Also in her first major role, she dominates every scence with girlish innocence and wavering womanhood. The comparisons to Audrey Hepburn are spot-on. However, her stellar turn would be for not if it weren't for the supporting cast. An Education reunites Mulligan with her Pride & Prejudice co-star Rosamund Pike, and Pike, as one of David's rich, oblivious friends, gives her most effortless performance to date. Screen stalwarts, Molina and Emma Thompson (playing a bullheaded headmistress), also turn in small yet memorable performances.

Even a bevy of outstanding actors can't make a fantastic film. It's the excellent material that put Precious and An Education in a league of their own. While the circumstances of the heroines are vastly different, both Precious and Jenny represent hope, and in a roundabout way, redemption. Their stories are marred with pain and heartbreak. However, both Precious and An Education will lift you up. The tales are proof, that in spite of everything, there is always a light at the end of the tunnel.

Precious, Grade: A
An Education, Grade: A-

Capsule Reviews

Since I have much catching up to do, it's not worth writing full-length reviews for films that I wouldn't grade above a B. With that, three mediocre movies:

The Men Who Stare at Goats: Otherwise known as We're Just Here for the Paychecks. The all star cast of George Clooney, Ewan McGregor, Kevin Spacey, and Jeff Bridges all mail in their unfunny, boring performances. Ultimately, this "based on a true story" wasn't one worth telling. Grade: C

Law Abiding Citizen: Automatically gets downgraded for the grammatically incorrect title. Yes, I am a grammar Nazi, but someone should've caught the error. This cat-and-mouse movie about a father seeking revenge on his murdered family is a decent popcorn flick, and that's about it. To make matters worse, Gerard Butler is horribly miscast, and turns in yet another wooden performance void of personality. Grade: B-

Surrogates: A standard, yet at times thought provoking, action flick. The cast, lead by Bruce Willis, is decent, even if the age difference between Willis and his Surrogate wife (Rosamund Pike) is distracting. The ending is packaged too simplistically, but at least the concept is interesting. Grade: B-

The Comeback Kid

Six months ago, in my "mini review" of The Proposal I said that Sandra Bullock made 2009 the year of the cougar. Well, I was wrong... sort of. Had it not been for critically-panned All About Steve, 2009 would be the year of Sandra Bullock. Maybe it still is. The Proposal, a generic rom-com, elevated solely by Bullock's charming performance, earned $164 million at the box office and became the highest grossing film of her career. Until The Blind Side. The feel-good football flick is tearing up the box office. Not only did it open to the best numbers of Bullock's career, but this weekend, after spending two weeks in second place, it will pass Twilight: New Moon and reign in at number one. Only one word can describe that feat: remarkable.

The Blind Side, based on the life story of professional football player Michael Oher (played in the filmed by Quinton Aaron), begins the weekend before Thanksgiving when Leigh Anne Touhy (Bullock, playing a character who could be cast in a new Bravo series, "The Real Housewives of Tennessee") takes in a homeless Oher. Leigh Anne treats Michael as one of her own children, and encourages him to work hard in school and pursue football. It's fairly predictable stuff.

Director John Lee Hancock has a great story on his hands, but only makes a decent film. The Blind Side conveniently skims over the rough spots in Oher's childhood and too often presents Leigh Anne and her family as the pitch-perfect American family. Leigh Anne is a wholesome do-gooder, her husband, Sean, (Tim McGraw) is a "whatever you say honey" guy, and their children, Collins, a smart and successful cheerleader and SJ, The Blind Side's version of Remember the Titans' Sheryl, are spotless. A few more doses of reality would have done The Blind Side well.

However, as with The Proposal, The Blind Side can thank Bullock for raising the film above its average material. This is one of the best performances of her career. It's up there with her turns in Crash and Miss Congeniality. The role as a Christian housewife fits her like a glove -- she's simultaneously refreshing and fiery. By the end of the film, I'd even forgiven Leigh Anne for being Republican. Now that's a big deal.

As great as she is, it's doubtful that Bullock will land her first Oscar nomination. Though she should be a double nominee at the Golden Globes for both The Proposal and The Blind Side. However, if 2009 proved anything, it's that you should never count Sandra Bullock out, so come February she may very well be walking the red carpet in hopes of a golden statue. Just call her the comeback kid. Correction, she's the comeback cougar.

Grade: B+

In Your Face, Simon Cowell

(Bloggers Note: I've been away for a while. Between moving to a new apartment and a busted MacBook, it has been hard to find time to blog, but I'm back. There are quite a few new posts coming including reviews of Sandra Bullock's career-reviving performance in The Blind Side, Adam Lambert's surprising debut album, Leona Lewis' much-improved sophomore record, and the emotionally gut-wrenching Precious. However, I'm marking my comeback with Allison Iraheta's Just Like You.)

If Kelly Clarkson and P!nk had a love child, her name would be Allison Iraheta. The fourth-place finisher on American Idol's eighth season, the 17-year-old Iraheta has turned out an album (Just Like You) that showcases vocal pipes similar to those of the original American Idol and vulnerability identical to that of the used-to-be-pink-haired rocker.

Iraheta opens her debut effort with the rip-roaring "Friday I'll Be Over U," penned by Max Martin, who also wrote Clarkson's "Since U Been Gone" and P!nk's "So What." "Friday" is the ideal lead single for Just Like You as Iraheta's husky, raw voice takes center stage over fist-pumping guitar beats.

Iraheta, often falsely accused by Simon Cowell during her American Idol stint of lacking charisma, oozes personality throughout Just Like You. Whether she's lamenting an obnoxious boyfriend on the tongue-in-cheek "Robot Love" or giving advice on the moving "Don't Waste the Pretty," there is no doubt that Iraheta connects with her material -- and has a blast while doing it.

The album veers slightly off track with the forgettable "Pieces" and "Just Like You" and the juvenile "D is for Dangerous." However, Iraheta comes back with a vengeance on the album's second half. She embodies heartbreak as she belts, "I'm still breathing / Don't you think I'm not because you're leaving / I'm moving up and away" on "Still Breathing." Her voice soars on "No One Else," a track that P!nk ironically co-wrote. Near the album's conclusion, she sheds all comparisons and tears through the fantastic, dance-floor-worthy "Beat Me Up."

Just Like You is one of the best freshman album's to come from an American Idol alumnus. The red-haired rocker sounds impeccable, and there isn't a vocal imperfection to be found. Though in order to achieve the pop super-stardom of Clarkson and P!nk, she needs to differentiate herself on her next album. However, we should expect great things from Iraheta. After all, she is only 17.

Grade: A-

Download It: "Friday I'll Be Over U," "Beat Me Up," "Still Breathing," "No One Else"
Ditch It: "D is for Dangerous"

If It Ain't Broke, Don't Fix It

Carrie Underwood is, without a doubt, the savviest artist to hold the title of American Idol. When push comes to shove, she knows how to sell albums. On her third disc, Play On, Underwood sticks to the same multi-platinum formula of her previous two records, Some Hearts and Carnival Ride. Play On contains similar sweeping ballads, foot-stomping tell-offs, and feel-good, country-pop ditties -- albeit with different twists.

Underwood takes lead writing credit for more than half of Play On's tracks, and they're surprisingly some of the album's highlights. However, even more shocking, are the results of the collaboration between Underwood and American Idol judge, and writer of the abomination known as "No Boundaries," Kara DioGuardi. Their combined talents make magic on Play On's best track, "Undo It." Underwood plays scorned lover to perfection as she belts, "You had my heart, now I want it back / I'm startin' to see everything you lack / Boy, you blew it, you put me through it / I wanna uh-uh-uh-uh-uh undo it." The song represents Underwood's best chance at replicating the ubiquitous success of 2006's "Before He Cheats."

"Undo It" isn't Underwood's only feat. On "Quitter" she stretches and teams with pop hitmaker Max Martin (the man behind "Since U Been Gone" and "So What") to create a sweet, simple song of devotion. "Temporary Home" plays like Some Heart's "Don't Forget to Remember Me," which isn't a bad thing. She also utilizes her strengths on the man-hating "Songs Like This."

If uptempo songs are Play On's strength, then the ballads are its weakness. "Unapologize" is the album's best, but even it has a country rock feel. "Mama's Song" starts strong but fails to deliver necessary emotional heft. "Change" is the disc's most grievous misstep. Not even Underwood's pristine and powerful voice can save a song with lyrics of "What ya gonna do with 36 cents/ Sticky with Coke on your floorboard?."

Play On will appease any Underwood fan, but it also won't win her any new ones. With Taylor Swift nipping at her Prada heels, Underwood needs to sing outside the lines on her next effort to continue her reign as country music's queen. With her undeniable talent and a few calculated risks, she has the potential to make a crossover record as successful and iconic as Shania Twain's Come On Over.

Grade: B

Download It: "Cowboy Casanova," "Undo It," "Songs Like This," "Quitter"
Ditch It: "Change," "Look At Me"

Where the Heart Is

Where the Wild Things Are isn't a movie made for children. It's a movie for the 20- to 30-somethings who grew up with Maurice Sendak's 350-word adventure. Director Spike Jones brings the the classic children's book to life in a way that is both visually stunning and emotionally affecting.

Max (Max Records) is a rambunctious, mischievous boy who feels scorned by his teenage sister, for letting her friends destory his ice castle, and mother (the always reliable Catherine Keener), for spending time with her new boyfriend. After a night of defiance, where he bites his mother, Max sets off on a journey, donned in his iconic wolf costume, to become king of the Wild Things.

Jonze's throughout the movie directorial choices are spot-on. He and and his screenwriting partner Dave Eggers deserve ridiculous praise for maintaining the tone of Sendak's story while injecting the film with original concepts. Jonze gives the brilliantly constructed Wild Things (designed with meticulous accuracy by Jim Henson's Creature Shop) names and personalities that add depth and heft to the story. He also showcases excellent judgment by handing the musical reigns to Karen O and Carter Burwell who turn in a score that is playful, melancholy, and entirely enchanting.

However, Jonze's direction would be nothing without the bravura performance of Records. The young star delivers the same type of spectacular performance that launched the careers of fellow child actors Dakota Fanning (I Am Sam), Abigail Breslin (Little Miss Sunshine), and Freddie Highmore (Finding Neverland). He carries the film, and watching him bring such a beloved literary character to life is remarkable.

Where the Wild Things Are is, without a doubt, one of the best films of the year. Not only will it touch your heart, but it will help you remember how to live and love life with reckless, childhood abandon.

Grade: A

Abnormally Great

Not since the Blair Witch Project has a horror flick been marketed as ingeniously as Paranormal Activity. Released nationwide this weekend, solely because of online demand from fans, Paranormal Activity is making a killing at the box office -- already grossing more than 1,800 times its paltry $11,000 budget. The film's styling and tone draw obvious and warranted comparisons to Blair Witch, but Paranormal Activity is far to superior to its 10-year-old predecessor.

The two-hour fright fest is set exclusively in the San Diego home of Micah Sloat and Katie Featherston. The movie begins with Micah purchasing an upscale video camera, so he can record the noises and sounds that Katie claims have haunted her since age eight. The scares start slowly, but they build as Micah ignores Katie's fears and encourages the supernatural happenings.

Some will say that the film's pacing is too slow, but that's what makes it so great. Paranormal Activity draws you in as you begin to understand Katie and Micah's relationship. Once the film has you hooked, it preys on your instinctual fears and vulnerabilities, making the fear that much more palatable.

Like summer hits District 9 and (500) Days of Summer, Paranormal Activity is one of the recent quality films, made on a modest budget, that has deservedly struck gold at the box office. If anything, Paranormal Activity proves that horror films can scare up a whole lot of dough, without all the blood and guts.

Grade: A-

The Truth Hurts

Last fall, Ricky Gervais headlined Ghost Town, a surprisingly funny romantic comedy about a man who sees ghosts. This fall, Gervais is back, this time as both director and lead actor, with another quirky rom-com about a world where no one can lie and everyone says what they think. However, The Invention of Lying, while funny at times, doesn't live up to it's one-of-a-kind concept.

Gervais plays Mark Bellison, a frumpy, down-on-his-luck screenwriter. Since it's a world without lying (and imagniation), Mark's screenplays are dry historical documentaries. Pretty exciting stuff. After Mark gets rejected by the woman of his dreams (Jennifer Garner), belittled by his snappy coworkers (Tina Fey and Rob Lowe), and fired from his job, he tells the world's first lie. Mark's fibs make him famous, and without giving away too much, a large portion of the film is a commentary on religion and the afterlife.

Anyone who has watched an award show during the past few years knows that Gervais is a comedic all-star. His delivery is spot-on and he knows how to make the most scathing one-liners endearing. While he's an excellent comedian, Gervais' directorial skills need some work. The Invention of Lying suffers from an identity crisis. The film waffles between romantic comedy and biting satire, and doesn't succeed fully on either front.

The supporting cast is stellar and elevates the muddy material. Jennifer Garner mails in her go-to, girl next door persona (perfected in 13 Going on 30), Tina Fey is, well, Tina Fey, and there are quite a few funny cameos from a smattering of stars including Edward Norton and Philip Seymour Hoffman. Though not even a cast this loaded can completely save the film.

There is a strong message to be found in The Invention of Lying, but it's just not as powerful as it should be. However, truthfully speaking, let's hope Gervais' is back soon with a comedy that delivers on his award show potential.

Grade: B

Rule #1: See Zombieland

Rules are made to be broken, and that's why Zombieland, Hollywood's latest "zombie comedy," succeeds. In making Zombieland, Director Ruben Fleischer threw convention out the window, and the result is a movie that's a killer good time.

Our protagonist is Columbus, a rule-obsessed virgin in search of his family. Played by Jesse Eisenberg, Hollywood's new go-to geek (sorry, Michael Cera, your ship has sailed), Columbus neurotically lives by a long list of rules regarding the undead. For example, the most obvious rule is "do cardio" because fatties can't outrun zombies. Watching Columbus' rules play out over 80 minutes is part of Zombieland's massive appeal.

During his time as a lone wolf, Columbus meets Tallahassee (Woody Harrelson), a crazy-eyed, zombie killer on the hunt for the world's last twinkie. (The characters in Zombieland don't refer to each other by their first name, just their geographic locations, as to not get too attached.) While searching for the calorie-laden Hostess snack, Columbus and Tallahassee meet Witchita and Little Rock (Emma Stone and Little Miss Sunshine, Abigail Breslin), two manipulative and savvy sisters.

The group of misfits soon bands together and travels to (where else?) a Southern California amusement park. Their adventures are littered with hilarious zombie encounters and pop culture references. The jokes poke fun at everything and everyone from facebook to Russell Crowe, Hannah Montana even merits a references. Though I'll keep Zombieland's best pop culture encounter a secret, but it'll definitely leave you in stitches.

While it'll never win an Academy Award, Zombieland is a bloody good way to spend a night with the living dead.

Grade: B+

Thoughts on the Season

We're one week into the fall television season and here are my unsolicited opinions...

Monday
Gossip Girl: Rinse and repeat, and you have the third season of Gossip Girl. We've been here before. Blair's a bitch, Chuck is a scandal, and Serena doesn't know what she's doing. Gossip Girl is losing its trademark bite and I am quickly losing interest. The show needs to shake things up, and the characters need to show some growth or a breakup is imminent. Grade: C+

Heroes: I couldn't bring myself to do it. After two seasons of crap, I couldn't sit through another season hoping the show reclaimed its season one glory. Grade: Divorced

Tuesday
The Good Wife: Welcome to Judging Amy: Round Two. Four years after CBS unceremoniously canceled the drama about a single mom managing her law career and family, the network is back to try again. This time Juliana Margulies plays a lawyer (not a judge), once again, finding her way in the workforce. Margulies is made for the role, and the show couldn't ask for a better supporting cast including Christine Baranksi and Josh Charles. Throw in the political timeliness and this one is bound for ratings success (just like Judging Amy). Grade: B+

Wednesday
So You Think You Can Dance: Reality shows are hard to grade in the beginning. They usually don't hit their stride until midway through the season -- once the audience has a chance to become attached to the contestants. With that said, So You Think You Can Dance isn't suffering from summer fatigue. In its sixth season, the judges are still spot on and America doesn't appear to be running out of talented dancers. Grade: B+

Glee: The High School Musical references don't do this show justice. It's smart and funny with a cast that oozes musical, comedic, and dramatic talent -- everything that High School Musical wasn't. Plus, the most recent episode proved that the show can thrive without relying on the musical numbers. The only concern I have is the plot's light speed pacing (the same problem that creator Ryan Murphy's had with his last show, Nip Tuck). Even with those concerns, I'll definitely be long for the ride. Grade: A

Modern Family: This one has huge potential. After only one episode, it's the only show on television (besides Glee) that will make me laugh out loud. The cast is pitch perfect and the writing is witty and fun. Without spoiling anything, lets just say The Lion King scene will be with me forever. Hopefully the rest of the series can keep up with the stellar pilot. Grade: A

Thursday
Project Runway: Technically not a fall show, but six episodes into its sixth season, Project Runway has found its stride. The changes of shooting location (from New York to L.A.) and network (from Bravo to Lifetime) haven't hampered the show's quality. Plus, this season's cast seems more talented and memorable than recent casts. Though the season's highest point has to be the transformation of Heidi Klum from a pretty, former fashion model into a funny and reliable host. However, the show loses points for the plethora of guest judges. Where are Nina and Michael? Grade: A-

Survivor: Like So You Think You Can Dance, it's hard to grade reality shows after only a couple of episodes, but Survivor appears headed on the right track. Already, there are several memorable personalities (Shambo, Russell, and Yasmin), and after 19 seasons the show still isn't stale. The producers propensity to focus all the camera time on one tribe this season is a minor cause for concern. Grade: B+

FlashForward: High concept dramas are risky, and FlashForward is no exception. The show might play better as a miniseries, but only time will tell. The pilot had a few dead spots and all-too-convenient plot twists, but Joseph Fiennes and Sonya Walger are the fall's most promising new lead actors. Grade: B

Grey's Anatomy: Merridith Grey is consistently touted as one of the most annoying characters on television, but I love her anyway. Maybe it's because we have so much in common, but it's my love for the title character that allows me to forgive Grey's all it's mistakes -- like 2/3 of last season. This season started well, and regardless of the backstage drama, killing George off was a great move for the series. Grade: A-

Community: I am going to take flack for this one, but the pilot wasn't great. Not a single laugh out loud moment. Joel McHale is great in The Soup, but while the concept is original, Community tries far too hard to be funny. Grade: B-

Sunday
The Amazing Race: There's a reason Race has won the "Best Reality Show Competition" Emmy for seven years straight. The show has never had a bad episode, but the "twist" in the season premiere was rather lame. Otherwise, it appears to be another solid season ahead for the greatest race around the world. Grade: A-

Desperate Housewives: Housewives always starts with a bang and ends with a whimper, and this season seems no different. Marc Cherry cannot come up with a solid, season long mystery to save his life. That said, the show is still good for a laugh or two, and Eva Longoria Parker continues to be Housewives' unsung MVP. Grade: B+

Brothers & Sisters: Pros from the season premiere: lots of Nora/Holly fighting, no sign of Ryan, lots of Walker family interaction that wasn't around a dinner table, and the show's most boring character (Tommy) is gone for good. Cons from the season premiere: the disappearance of Sarah Walker, Rob Lowe's horrendous hair, and the car crash fake-out. All in all, my favorite family drama is off to a much better start this season than last. Grade: A-

Short and (Not Really) Sweet

I'm a sucker for a good performance. However, a good performance does not make a good movie, as is the case with Matt Damon and The Informant!

In the flick, Damon plays bumbling, corporate-whistle-blower Mark Whitacre. The Informant! is based on the real-life Mark Whitacre's adventures as an FBI informant at ADM, an agri-business giant suspected of price-fixing.

Even at 108 minutes, The Informant! drags. As as the director of Oceans 11, 12, and 13, Steven Soderbergh knows how to make a great quirky/funny crime film, but he misses the mark. Even the set design, costumes, and graphics feel wrong. The film is set in the slick corporate world of the 90s, but it has the look of bad 70s polyester. Even Whitacre's experience as an informant is neither funny nor suspenseful. The best parts of the satire are Damon's voice overs that bring the audience into Whitacre's bizarre mind. Damon's voice is extremely nuanced and the slightest inflection will make you chuckle.

However, that's the problem with The Informant!, it's a movie that wants to make you laugh out loud, but will only get a giggle or two.

Grade: B-

Save the Dolls, Save the World

Animated movies get a bad rap. No matter the subject or content they're dismissed as juvenile by American audiences. 9 tries and succeeds in being one of the few animated films that adults shouldn't feel guilty enjoying.

The apocalypse has come, and nearly all living things are dead, save for nine tattered, doll-like creatures, each identified by the numeral etched into their back. Each has distinct characteristics that help in their quest to bring down "the machine" that brought the destruction of humanity. For example, 9 (Elijah Wood) is endlessly caring and devoted, 7 (Jennifer Connelly) is a Syndey-Bristow-esque, butt-kicking female, and 1 (Christopher Plummer) is the old change-resistant curmudgeon.

While the visuals and content may be a little too intense for the youngsters, 9 succeeds on tried-and-true themes of teamwork and cooperation. The animation is nothing short of spectacular. The creatures and their world are impeccable, and to use an animation-review cliché, incredibly lifelike. While the action is lighter than would have been preferred, 9 ends on a note that is surprisingly touching and heartfelt. And clocking in at only 79 minutes, 9 is one of the few films of the modern era that will leave you wishing it were longer.

Grade: B+

Funny Because It's True

The government is run by a bunch of bumbling idiots. At least that's what the director of In the Loop, Armando Iannucci, wants you to think. Though given what the world has gone through for nearly the last decade, I'm inclined to agree.

Simon Foster (Tom Hollander), the British Minister for International Development, may be In the Loop's biggest moron. When he calls the prospect of war "unforeseeable" that sets of a chain reaction of fury beginning with the Prime Minister's f-bomb toting director of communications, Malcom Tucker (Peter Calpadi). Add the United States to the mix, including a lovestruck state department official (Mimi Kennedy), a politically ambitious general (James Gandolfini), and a low-level staffer who is the only voice of reason (Anna Chlumsky) and you have a recipe for disaster -- or in today's world a recipe for war.

Though it's not "based on a true story," In the Loop takes obvious and searing jabs and former President George W. Bush and Prime Minister Tony Blair and their behavior surrounding the invasion of Iraq. Given that much of the humor is (slightly) based on the truth, that makes the entire thing a little difficult to stomach.

On the whole, the cast of relative unknowns and supporting actors shines. Kennedy, best known as Dharma's mom on Dharma & Greg, is perfection as the official willing to throw her career away based on principle (Colin Powell anyone?). Chlumsky (welcome back My Girl, it's been a while) strikes the right balance between sexy and smart. However, Calpadi steals the show, and is downright sidesplitting as obscenities flow from his lips.

While real life isn't quite this funny, anyone with any sort of affinity for politics should see this, if only to stay in the loop.

Grade: A-

Just Plain Glorious

I'll be the first to say that I am not a Quentin Tarantino fan. Heresy, I know. The Kill Bill films are overrated and I have never bothered to see Pulp Fiction or Grindhouse. I am not one for gratuitous violence and the films seem downright campy. However, after seeing Inglourious Basterds I take that all back.

Set during World War II, Basterds follows two "rebels" as they attempt to bring down the Nazis. The first being Shoshanna (Mélanie Laurent), an owner of a French cinema, who when she was younger, witnessed the slaughter of her family at the hands of Nazi colonel Hans Landa (Christoph Waltz) -- "the Jew Hunter" as the movie so lovingly calls him. The other renegade, if you will, is Lieutenant Aldo Raine (Brad Pitt), who leads a group of Jewish soldiers on a mission to scalp as many Nazis as possible (and this being a Tarantino film, yes, you see the scalping).

Watching Inglourious Basterds does require the viewer to suspend reality, as Tarantino completely disregards the historical implications of World War II. However, even with (and maybe because of) the major inaccuracies, Basterds is a whole lot of fun. The cast relishes Tarantino's script, and Pitt and Waltz are particularly superb. At first, Pitt's backwoods southern drawl is grating, but by Basterds' conclusion his Lieutenant Raine is an endearing "American hero." As it stands right now, Waltz has an Academy Award nomination (and maybe a win) locked up. Landa is the film's backbone as he's both amusing and unequivocally terrifying.

The major flaw with Basterds is the pacing. The film is too long, and the two best scenes come at the beginning and end. Maybe it's the brilliance of those scenes that makes the rest of the movie not-as-great, but Tarantino does get bogged down in awkward transitions and endless dialogue. Even for a film-goer with a queasy stomach, like myself, Inglourious Basterds makes the scalping worth it.

Grade: A-*

*upgraded from the original grade of B+ to an A- after a second viewing.

Two Clichés, Two Very Different Outcomes

The Hangover and G.I. Joe: Rise of the Cobra represent two of cinema's tried-and-true clichés. The Hangover follows four guys after their wild night in Vegas; whereas, G.I. Joe is the stereotypical summer blockbuster where a bunch of beautiful people blowup the world's most recognizable landmarks in an attempt to save the world.

The difference between the premises is that The Hangover embraces its common concept and makes it original while G.I. Joe flies on autopilot. The Hangover begins as four friends wake up in their trashed Vegas villa the morning after the century's wildest bachelor party: the groom is missing, there's a tiger in the bathroom, and a baby in the closet. The cast is hilarious, particularly Ed Helms as Stu, a tightly-would, girlfriend-whipped guy waiting to break out of his shell, and Zach Galifianakis as Alan, the groom's oddball brother-in-law-to-be. The beauty of The Hangover is that it's not about four Hollywood playboys behaving badly, but a quartet of joe shomes trying to have a good time.

G.I. Joe is not nearly as fun. The film is what you'd expect -- a group of "black ops" soldiers chasing the bad guys before they destroy the world. Instead of making an action film grounded in reality and depth (see: The Dark Knight, Iron Man), director Stephen Summers presents a film full of unnecessary flashbacks and unfunny one-liners. The performances are scattered at best. Some cast members are over-the-top and campy (Sienna Miller, Joesph Gordon-Levitt), others are there for the paycheck and to show of their toned physiques (Channing Tatum, Rachel Nichols), while a select few are downright awful (Dennis Quaid, Christopher Eccleston).

Given the choice between these two flicks, I'd rather be waking up in Vegas.

The Hangover, Grade: A-
G.I. Joe: Rise of the Cobra, Grade: C