Written by Christopher & Jonathan Nolan
Directed by Christopher Nolan
Starring Christian Bale, Heath Ledger, Aaron Eckhart, Maggie Gyllenhaal, Gary Oldman, Micheal Caine & Morgan Freeman

OK. The wait is over, and I need to get this out of the way right now…The Dark Knight is not perfect. Oh, oops, sorry, actually it is. All those with seemingly unsatisfiable expectations, you needn’t worry. I, like many, have been waiting for this sequel for over three years, but it wasn’t until the movie started that I realized I didn’t truly know what I was waiting for. The Heath Ledger (I’ll get to him later) hype had occupied my mind more than anything else, and it kept me from completely understanding what I was expecting. I did know that I expected an improvement on Batman Begins, an excellent movie to begin with, but The Dark Knight surpasses it’s predecessor in every aspect by prodigious margins.

Batman (Christian Bale) has been on The Joker’s (Heath Ledger) tail for a while and with the help of good friend Jim Gordon (Gary Oldman) as well as the newly appointed D.A. Harvey Dent (Aaron Eckhart), they hope to take the insane criminal mastermind down. Dent may be the only man, not wearing a bat costume, that’s brave enough to take down crime at any cost, to protect Gotham city. Things are not so simple however as The Joker threatens to kill more and more unless The Batman reveals his true identity. How Batman/Bruce Wayne, as well as those close to him, will react to this disastrous situation is fascinating. To make matters worse, every time a step in the right direction is taken towards putting a stop to the Joker’s madness, it is revealed that those steps are apart of the Joker’s grand plan. I do not want to spoil anything, so I will not go into specific details, but the events unravel in tragic, devastating ways.

Christopher Nolan has crafted the perfect Batman story. This is the best single tale in the extensive Batman mythos. I have trouble imagining a better movie or comic book ever coming to be (never say never). Needlessly to say this is the best shot movie of the year and then some. Nolan appropriately highlights the explosions and various action. More importantly he magnifies the small character moments, getting us so emotionally involved we forget we are watching a movie. Surprisingly, he creates his most suspenseful film and in the most dire of scenes, we actually lose our nerves (in a good way). He does what great directors aspire to do, but it’s a rare happenstance, Nolan grabs his audience early on and never lets go. He commands us, we bend to his will. This is the epitome of masterful film making. The screenplay is full of surprises and daring decisions. The story unfolds in an epic fashion, a crime-drama of the highest quality. Important events are scattered through the beginning, middle and end, always at just the right time. The script has it’s humour, but less so than Begins. Knight is relentlessly dark and bleak, it contains the strongest of moral complexities. Yes, Batman is forced to make tough decisions, but so do many key characters, as well as all the citizens of Gotham. How would you react? At one point The Joker puts a televised hit out on a character. He threatens to blow up a hospital if that character is not dead in 60 minutes. There are no easy answers to the dilemmas contained herein and the consequential soul-searching is not always pleasant. Overall, the dialog is a lot tighter, another factor in making The Dark Knight so believable we find ourselves lost within it.

Of course the acting is tremendous. The supporting cast is flawless, providing one of the deeper casts of characters in recent memory. Leading the way is Aaron Eckhart, who plays his character perfectly, with just the right amount of emotion and complexity. Harvey Dent is one of my favourite characters from the comic books, and it is very pleasing to see him get a proper treatment. Also of note, Maggie Gyllenhaal replaces Katie Holmes (one of very few downsides to Batman Begins) as Rachel Dawes, and is much better and therefore much less distracting than Holme’s
sub-par, boring, unlikeable performance. Two wonderful actors, Micheal Caine and Morgan Freeman, get much less screen time this go-around. This is most appropriate because it is hard not to smile when they are in frame, and The Dark Knight ain’t meant to be too smiley. Gary Oldman continues his brilliant job as the endearing, admirable Lt. Jim Gordon. Oldman brings a kindness as well as a respectable matureness to the role and it is a terrific effort.

Christian Bale brings the true Batman of the comic books to life. He embodies The Dark Knight like none before him, and it’s hard to imagine anyone else ever taking the part. Bale is fierce, confident, conflicted, and powerful as Batman. His “bat rasp” is put to even better use, he strikes fear in his enemies as well as the audience. As Bruce Wayne, Bale is arrogant and incontrovertibly intelligent. He gives his character such an intricate level of substance that it’s difficult not to think Oscar. I truly think Christian Bale is one of the better actors working today. He could play anything. He could take the most serious award-contending roles, which he sometimes does do, but here he takes a character that has been degraded in the past and manages to turn it into a most serious award-contending role. This is surprising to some, but for an avid reader of the source material, it is nothing short of necessary to make the movies as great as they should be.

Now for what I assume everyone is curious about, Heath Ledger’s invention of The Joker. The late Ledger was already an accomplished actor with such brilliant turns in, among others, Monster’s Ball, Brokeback Mountain and I’m Not There. But here is his master work. His performance is nothing short of awe-inspiring, to put it in perspective, it is of Daniel Day-Lewis quality. Ledger’s Joker is menacing, horrifying, thunderous and darkest of dark. Some scenes, and you can certainly credit the writing and directing for this, are unexpectedly terrifying. I really want to get the point across that this is the most frightening, haunting and harrowing picture of the year, and that Heath Ledger deserves infinite praise for making it so. He absolutely disappears into the character, like few in the trade can, there is no trace of him in the film. The unforgettable, hostilely convoluted performance is, in my mind, a no-brainer to win the Supporting Actor Oscar. I would be very disappointed otherwise. Though it is hard to escape the movie without being disappointed. We have lost an immensely talented actor, who would have had a long, magnificent career.

The Dark Knight is not comic-booky at all. It is ironic that the actual comic books the movie is based on are not “comic-booky” either. It is unfortunate that such a limitless medium is seen in such a specific way by those who have not discovered it’s possibilities. The movie is assuredly not as simple as good versus evil, but rather an examination of what good and evil really are and if they even exist. An elaborate meditation on right and wrong. A piece of extraordinary depth. This is why we go to the movies: To be moved, challenged, surprised and entertained. The Dark Knight is a crime-drama on par with the greatest works in the genre (Scorsese, Mann, Coppola). It is also, quite easily in fact, the greatest superhero film of all-time. Most importantly, it is one of the better motion pictures to ever grace the sacred silver screen.

Directed by Guillermo Del Toro
Written by Guillermo Del Toro
Starring Ron Perlman, Selma Blair, Doug Jones

Four years after the original, Hellboy is back, and although there wasn’t a lot of demand for a sequel, it proves to be a welcome addition to the list of summer 2008 blockbusters. This time around, “Red” has to stop an ancient mythical prince from summoning The Golden Army, an indestructible force of 70 times 70 mechanical warriors to take back the world that was once his. Whatever, the plot isn’t really important. It just works as a vessel for visionary director Guillermo Del Toro to work his remarkable imagination. And he does.

The first Hellboy seemed impressive in 2004, but it pales in comparison to The Golden Army. From start to finish there are dozens of breathtaking creatures that raise the bar of fantasy. The sequel is a lot more rooted in fantasy/fairy tale territory than typical superhero stuff. Which is a good thing because Del Toro knows a few things about fantasy and fairy tales, he directed the masterpiece Pan’s Labyrinth. For example, in a brilliant early scene, Hellboy and his team encounter hundreds of little “tooth fairies”, vicious little killers who have habit of stealing their victim’s teeth. Or when the team infiltrate the “Troll Market”, a place for the things that go bump in the night to shop, which may actually top the Tatooine bar scene in the first Star Wars film. A couple delightful surprises wait there, and I wont spoil them. Or when the prince throws a harmless looking green jumping bean at Hellboy, that once it finds water, becomes something rather spectacular, maybe even beautiful. Like Pan’s Labyrinth, the film has a way of balancing makeup/costume effects with CGI. The result is authentic looking creatures that completely engross you into the movie’s reality. Why other directors don’t instate such style is quite the mystery to me.

The characters are all back, aside from Myers, which admittedly disappointed me…Until the Seth McFarlane (Family Guy) voiced Johan Krauss was introduced. A brilliant addition to the team, he seems to be a gas-like entity contained in some strange suit. His ability? He can possess inanimate objects, a power that will ultimately be underused because it’s way too useful. Hellboy is up to his old smoking cigars/petting kittens/pissing off authority antics, as well as some new ones as well (a duet of Barry Manilow between Red and Abe Sapien may occur). Ron Perlman enthusiastically continues his great performance with just the right mix of brawn and sensitivity, making Hellboy very endearing. Del Toro regular Doug Jones (played multiple creature parts in Pan’s Labyrinth) does triple duty as the more interesting this time around Abe Sapien as well as the film’s two best creatures, The Chamberlain and The Angel of Death. Selma Blair again fails to impress as Liz, but the writing for her character isn’t necessarily very strong. Jeffrey Tambor of Arrested Development gets more screen time but not more to do. He’s still grouchy and only there for minor conflict and a couple weak laughs.

The characters are fun, and certainly are a big part of the experience, but it’s the visuals that make this really worth seeing. Del Toro goes no holds-barred this time around, ad it’s sure to get any Lord of the Rings geek excited for his upcoming adaptation of The Hobbit. The plot is a bit trivial and the storytelling isn’t up to the par of Del Toro’s work. The Hellboy films feel more like a mix of Pan’s Labyrinth and Men In Black than a typical superhero movies. I wouldn’t rank them amongst Iron Man, the Spiderman films (well, maybe #3) or the new Batman movies but it really isn’t cut from the same cloth anyhow. So, striking visually, a bit weak story-wise, but a fun summer movie I highly recommend.

Written by: Andrew Stanton
Directed by: Andrew Stanton
Starring: Ben Burtt, Fred Willard, Sigourney Weaver, Jeff Garlin

Pixar has one again delivered a classic, which really, is not a surprise. This, however, does not mean Wall-E isn’t surprising. The film pushes the boundaries of Western mainstream animation with an admirable amount of gusto. What we have here may be the greatest animated film in American history (I, as a critic, can’t help but remain partial to Ratatouille). I’m not certain that by the end of 2008, Wall-E will stand as the best movie of the year, but I’ll bet it’s the most special, and maybe even most important. This is a family movie that doesn’t know it’s a family movie. Yes, it’s rated “G” in the USA and Canada but so was 2001: A Space Odyssey, and I have no problem naming the two films in the same sentence, which in my opinion, is the largest of compliments. It doesn’t need swearing or adult-only themes to work. We have a science fiction story that has a lot to say about where were going, and please do not just write it off as another global warming movie. Yes, global warming and how we treat our planet is the main concern here, but the film is remarkably effective then when you leave the theater, you will notice the first tree or plant you see and be filled with regret. I believe Wall-E to first and foremost be a science fiction film, but that’s certainly not all.

It is roughly 700 years in the future, we left earth some time ago when it became a barren wasteland. The first time we see Wall-E, the one robot left behind to pick up our trash, he is compressing garbage and making gigantic junk piles that resemble skyscrapers. The first time we are presented with the image of earth in this way, Wall-E working away on one of many piles, the title of the film fills the screen. We quickly realize this isn’t the standard kid’s flick. The image is so unexpectedly haunting, definitely one of the most effective visions of our planet’s future. Wall-E appears to be alone on earth except for a cockroach that tends to follow him around. Wall-E should stick to his task, but he has developed a personality, and a winning one at that. He collects objects that peak his interest, such as a Rubik’s cube and a light bulb. The item that has captured his artificial imagination most effectively is a VHS copy of Hello Dolly which he routinely watches. As he watches, two characters on screen hold hands, Wall-E simultaneously interlocks his own robotic hands. He has developed longing. Soon, his simple life is interrupted by the arrival of a spaceship bearing a female robot, EVE, sent to locate some sign of life. Wall-E is at once obsessed and does not leave EVE alone. The unlikeliest of romances begins, and what a memorable one it is. By the end, the strength of the romance is enough to love the picture. Once EVE finds what she needs, she blasts into orbit, Wall-E tags along.

They end up at Axiom, a space station, our advanced civilization. People, it seems, have changed. Everyone is obese and exerts little to no effort in their daily lives. Computers and robots control everything. Even the human man leading the people ultimately answers to a robot (a robot with an ominous red eye much like HAL from 2001, an homage to a great inspiration but perhaps even an equal) No one walks anymore, they float around in chairs with a projected TV screen. They have forgotten how to live. The poignancy only increases. I could keep going on about the brilliant vision of the future but to be surprised is better.

I mentioned that Wall-E primarily works as Sci-Fi, and secondly as a romance, thirdly comes comedy. I don’t know if I could go as far as to actually call it a comedy, but there are hearty laughs abound. Wall-E’s curiosity is charming and often leads to a pleasantly hard to predict and hilarious result. The gags should please the young, old, and in between alike, but I’m not quite sure how young kids will react to this movie as a whole.

The opening 30 minutes is practically dialog free. We eventually gain some minor human characters who speak a little, but speech is very minimal nonetheless. The visuals are stunning and captivating, and in the right mood, a young child may be engrossed. I wouldn’t be surprised though, if a child might fidget and lose interest, at least for part of it. The more patient, thoughtful viewer will be in paradise the entire time.

Andrew Stanton (Finding Nemo) has crafted a masterpiece. An animated film that is not afraid to please adults first. Filled with dark undertones as well as a large dose of hope, one can experience a range of emotions during Wall-E. I was moved and haunted to an extent few movies can accomplish. Pixar has really outdone themselves by bringing us an American animated movie as thoughtful as a Miyazaki film (Spirited Away, Princess Mononoke), to me that is the highest of accolades. Wall-E is, without a doubt, one of the greatest animated films of all time and perhaps one of the best Sci-Fi films as well. Go see Wall-E, it’s flawless.

Directed by: M. Night Shyamalan
Written by: M. Night Shyamalan
Starring: Mark Wahlberg, Zooey Deschanel, John Leguizamo

Lets begin by addressing M. Night Shyamalan’s career. I don’t really understand all the hate. Yes, he has made two bad movies in a row (Two!! That’s twice as many as one!). This was all the more disappointing because he made 3 great movies previous to the duds. I just don’t get how people can lose faith so quickly. What’s more perplexing is The Happening is, according to Rotten Tomatoes.com, his worst received film yet. Maybe, I’m missing something. I just call ‘em as I see ‘em, and what I see is a brilliant, original film maker who has done more good than bad with his art. Perhaps The Sixth Sense attracted too much attention. Perhaps there would be less hate if he had a smaller following. In an odd way, his movies are small and quiet. Rare is action or any Hollywood influence a part of his projects. Shyamalan makes movies about supernatural happenings, and it’s effect on real people. Usually he focuses on his characters above all else. This is not the case here, yes there is character development abound, but the “world event” occurring is what’s important.

One morning in Central Park, NY, people abruptly halt and begin to commit suicide. The bizarre epidemic spreads throughout the north-eastern states. When Elliot Moore (Mark Wahlberg, unconvincing as a school teacher) gets word of this, he gets his wife Alma (Zooey Deschanel), and his friend/colleague Julian (John Leguizamo) who has a daughter named Jess, and they skip town via train. The train stops in the middle of nowhere, and hope of survival becomes less and less possible.

One surprise is that there’s no surprise. There’s no trademark twist here. Shyamalan could have kept what’s killing everyone a secret until the end. It would have been a larger shock, but knowing early on benefits the experience. We are able to dwell on what’s happening, yes indeed, The Happening is thought-provoking. Message aside, the film truly excels at creating suspense and occasional terror. Beginning with the stellar opening credits, a suspenseful mood is created. It is sustained until even after the movie ends. Seeing people needlessly take their own lives is everything it should be; saddening, horrifying, and disturbing. It’s smart, it’s scary, and best of all it’s plausible within the real world. The Happening is terrific entertainment.

The acting is a bit strange. Both Wahlberg and Deschanel seem a bit stiff, and their delivery is occasionally silly. It’s so obvious that I find it impossible to believe they didn’t notice this during filming. To be honest, it doesn’t really bother me. In fact, in the case of Wahlberg, I find it appealing. The supporting cast is very solid, especially all the strangers our heroes run into.

The Happening has a strong start, a strong middle and a strong conclusion with scares along the way. James Newton Howard’s score is great, and really sets the tone. The acting is questionable, but it’s not too damaging. M. Night Shyamalan has had a rough streak, but it ends here. He has written and directed a thoughtful and spectacular suspense picture that also manages to be a powerful parable. Highly recommended.

Directed by: Louis Leterrier
Written by: Zak Penn & Edward Harrison
Starring: Edward Norton, Tim Roth, Liv Tyler, William Hurt

Marvel Studios has provided another successful film with their sophomore entry. Not nearly as good as Iron Man, The Incredible Hulk nonetheless provides quite a bit of fun just in time for the summer season. There are some problems, though.

For starters, Bruce Banner is way more interesting than The Hulk. With Iron Man, Tony Stark puts on a suit but nothing else really changes. The Hulk, is a dim-witted, mute, mini Godzilla. Every time Banner got green, I was very anxious to get back to the real man. One of the reasons for that is Edward Norton, who is excellent in this role. He brings depth to a character somewhat lacking depth. Every time, the real human is swapped for a ridiculous CG beast, I’m taken right out of the movie. In fact, the Hulkless first twenty minutes is the highlight of the movie.

The other performers are hit and miss. William Hurt is a bit dull as General Ross, the man who wants to use Bruce Banner’s unique problem as a means to advance military prowess. With the power of the Hulk harnessed, I suppose he would make super soldiers or some such nonsense. Liv Tyler is the general’s daughter and the love interest. Her performance is pretty average and contributes very little to the proceedings. Worse yet, she shares no on-screen chemistry with Norton (unlike Downey Jr. and Paltrow in Iron Man). Tim Roth plays the power-hungry Emil Blonsky with a welcomed fierceness. Unfortunately, he’s shorted as far as lines go, but he makes superb usage out of his material.

The writing is only average, and the direction is nothing special. The action sequences are sleep-inducing. I caught my mind wandering numerous times during the final battle. We’re expected to buy into the Marvel universe, and for the most part, I do. But how can I when I’m watching two lifeless cartoons duke it out. Either CGI needs to advance quickly or Marvel needs to take a cue from Guillermo Del Toro (Hellboy, Pan’s Labyrinth) and go for outstanding makeup and costumes with subtle CG effects. I don’t see how that’s too much to ask. I’m starting to complain too much…

The fact is, this movie is very fun, more so at first than during the climax, yes, but it’s a worthwhile experience. Edward Norton adds credibility, even if he doesn’t blow us away like Robert Downey Jr. did oh so recently. The story is OK and a fun surprise appearance in the final scene makes things more interesting. Marvel Studios are off to a good start but they need to keep delivering, preferably at the level that Iron Man did. The Incredible Hulk is good, but if not for all the excitement surrounding Marvel right now, it might have been forgettable.

Directed by: Mark Osborne & John Stevenson
Written by: Jonathan Aibel & Glenn Berger
Starring: Jack Black, Angelina Jolie, Dustin Hoffman, Seth Rogen, Ian McShane, David Cross, Lucy Liu, Jackie Chan

It’s hard to dislike a movie that means well. It is also hard to like a movie that doesn’t really do anything new. These two factors balance out to make Kung-Fu Panda, the latest animated hit, pretty average.

I’m getting tired of big name celebs being the main selling point for animated films. Last year’s Ratatouille used some name actors but didn’t exploit it like most. Also, if you’ve seen Ratatouille you should be able to tell that the hired players were chosen only because of their talent. Panda has been touting the blockbuster cast in a disgusting manner. After this year’s Horton Hears A Who, which did the same with Jim Carrey and Steve Carell, I expected similar results. It turns out that Jack Black’s personality enhances this movie and his job is likely the highlight. The rest of the cast aren’t bad but the usage of famous actors (Dustin Hoffman, Angelina Jolie, Jackie Chan) is nonetheless pointless.

The film opens up with a superb 2D (with some 3D) sequence. The animation here is fresh and exciting. The narration is entertaining and hilarious. Then it gives way to CG. Turns out our hero, a rotund panda named Po (Black), was only dreaming. Too bad. I’m not against 3D animation, I just think that it’s not always the right choice. Especially when the studio in question isn’t raising the bar. No film has matched the stunning visuals of Ratatouille, although Pixar’s next project, “Wall-E”, is poised to take a stab at it later this month.

The story is very basic. The unlikely hero Po, a big fan of Kung-Fu, is accidentally selected as the chosen one. Well, at least it seems like that, but the wise kung-fu master states “there are no accidents”. The “Furious Five”, which is the local quintet of Kung-Fu experts, are surprised and disappointed that one of their members was not chosen. Their master, Shifu (Hoffman), is outraged and at first attempts to subtly convince Po to quit. I assume you can see where this is going, and that’s the the problem with the film. It is so familiar you probably could have the entire plot mapped out before the movie even starts. Luckily, the execution here is very good, and the movie, overall, is quite fun. The beginning and end are especially enjoyable while the middle is a little weak sauce. The head of steam gained by the excellent opening doesn’t take long to run out and the flick doesn’t get it back until the 3rd act.

The plot and animation are a bit tired but Jack Black propels Kung-Fu Panda past mediocrity. It is fun, and the kids will love it, but it is certainly not must-see material. There are however, worst ways to past the time until The Dark Knight arrives in just over a month. What other purpose could any piece of art or entertainment serve until July 18th, anyways?

Written by Jason Segel
Directed by Nicholas Stoller
Starring Jason Segel, Kristen Bell, Mila Kunis, Russell Brand

Forgetting Sarah Marshall is yet another classic produced by Judd Apatow. This time the Freaks & Geeks alumni in the spotlight is Jason Segel. Segel wrote the script and has the starring role of Peter. Peter is a composer for the TV show “Crime Scene”, the star of which is Sarah Marshall (Kristen Bell), his longtime girlfriend. Early on, Peter is dumped by Sarah in one of the better breakup scenes I have ever seen. Yes it’s hilarious that Peter happens to be nude when she breaks the news but the performances are what’s really impressive. Having difficulty getting over being single, Peter leaves for a vacation in Hawaii. However, it turns out Sarah is there, when he arrives, with her new boyfriend, a famous pop star named Aldous Snow (Russel Brand).

Yes, the plot in it’s simplest form doesn’t sound too great. In comparison to 40-Year Old Virgin or Knocked Up it seems almost sitcom-y. Luckily, that isn’t the case. The plot merely provides a scenario for all the actors to shine. Also, it is evident that this was written straight from the heart, and the sincerity is quite powerful. The laughs come quick in this movie and they’re big laughs at that, very few cheap jokes and gags to be found. Nearly every funny part comes from the strength of the writing or the acting rather than vulgarity or slap stick. That’s not to say the movie isn’t dirty, but it certainly is all in good taste. Some scenes are absolute magic.

Director Nicholas Stoller is a master of comedic editing. Flashbacks/forwards rush to the screen out of nowhere, and are gone just as quick, but they enhance the movie extensively. An example of this method is when Peter is asked by a friendly local to help cook a pig. The movie quickly flashes forward to Peter having to slaughter the animal. It’s loud and surprising and is one of the funniest moments in the entire film. Stoller is another person Judd Apatow has been loyal to, having been a writer on the short-lived series Undeclared.

The performances are shockingly perfect. Apatow is known to have said that out of all the young actors he worked with on Freaks & Geeks, Jason Segel was the one he thought would make it big in movies first. For those unaware of the talented cast of the TV show, it included James Franco and Seth Rogen (who are reunited in the upcoming Pineapple Express). It’s very easy to see why Judd thought that. Segel may be playing just another version of his character from Freaks & Geeks and Undeclared, but he has now mastered it. He has always been great at playing the sensitive, low self esteem guy, but Segel steps it up here. To see him in this movie is to see legendary comedic work, he delivers the lines in ways no one else could and always, in a way, plays it serious. His character is not sacrificed for comedy. He has created a real man who cries several times earning sympathy not pity or shame. Jason Segel is excellent, but long time fans knew he had it in him. The bigger surprise is how superb everyone else is. Kristen Bell fearlessly takes on the role of Sarah Marshall, and manages to never play the bitch, which so many actresses would have. Bell gives Marshall humanity even when we don’t like her. This pays off big later in the film, when our perspective changes. Mila Kunis is a revelation in this film. Her role is so key to making the movie really work and she delivers perfection. She shows such an awareness of her acting that we have never seen from her in That 70’s Show. She doesn’t use tricks, her facial expressions are varied and real and her use of the tone of her voice is genius. Somewhat unknown actor Russel Brand is brilliant as Aldous Snow. The egotistical pop star is not the hardest part to play but he elevates his character beyond expectation. The four main players all deserver to be stars, and with this movie they show that that could be in either comedy or drama. The supporting cast is remarkable, led by Paul Rudd as a stoner surfer and Jonah Hill as a waiter obsessed with Aldous Snow.

It’s a bold statement, but thanks to Judd Apatow I believe this to be the true golden age of comedies. Consistently, we are seeing comedies that while being hilarious manage to convey meaning as well as provide at least a little insight. It is truly a great time to be a lover of film. Especially when it seems there’s always another great comedy around the corner. With Forgetting Sarah Marshall, the streak continues and Jason Segel has now emerged as a star and a superb writer. It seems the list of great actors, writers and directors working with Apatow keeps growing. So knowing that, let me suggest a scary thought. That even after living through The 40 Year Old Virgin, Knocked Up, Superbad and Forgetting Sarah Marshall that the best is still to come.

Tracey Berkowitz: “When a horse falls, foam comes out of its mouth. When it falls, the legs of the horse thrash and the horse is no good… So somebody shoots it. The horse turns into glue. A machine puts the glue into bottles and children squeeze the bottles to get the glue out and stick bits of paper onto cards. Glue gets on the children’s hands and the children eat the glue. And the children become the horse.”

The Tracey Fragments
Written and Directed by Bruce McDonald
Starring Ellen Page

Tracey Berkowitz is a 15 year old girl, alone, in her underwear, on a bus, wrapped in a curtain. Perhaps she should rethink her life a little. Over the course of The Tracey Fragments, she does. She recounts the events that lead her to this moment. It all started when her brother, Sonny, went missing. What makes matters worse is that Tracey was in charge of her Little brother’s well-being. Her deadbeat parents are furious and distraught. Tracey decides it is her responsibility and sneaks out to search for her sibling.

Knowing Bruce Mcdonald, The Tracey Fragments is likely more than meets the eye (and what meets the eye is incredible). I believe that in Tracey we have a symbolic 15 year old. Thanks to society, she has been desensitized and exposed to too much too soon. Like so many young people today, primarily girls, she has been stripped of her innocence and forced to mature, leaving a strange mix of experience, anger and naivete’. Sonny, her young brother, who, through flashbacks, we only see acting as a dog represents her lost innocence. The ensuing journey then, is the all too relatable wild goose chase to reclaim what is lost forever. Perhaps a simple concept, but the complex presentation heightens the effect.

The film is composed with multiple frames at once (think 24 but way more experimental). Occasionally there is only a small box somewhere onscreen. Sometimes the screen is full with many angles and even seperate scenes. The style takes some getting used to and isn’t always perfect. However, this is the first time I have seen this, and it is revolutionary. I certainly hope to see this built upon in the future.

As for the acting, the supporting players are apt but minor. The one, giant role in this movie is a superb performance from Oscar-nominee Ellen Page. Like many, I have seen a few of Page’s roles and am convinced of her award winning future. Tracey Berkowitz stands as Exhibit C for evidence of her immense talent, her surprising turn in Hard Candy being B and the now legendary Juno as A (however, I have been unable to see her genius in “An American Crime” as of yet). She is small and she is gargantuan, the somewhat provocative material appears to be a cakewalk for her. She suavely cusses without any minuscule sign of inhibition. Her eyes contain a remarkable vulnerability but there is power behind them, like a deceptive blue flame. I can not think of a better actress.

The Tracey Fragments is a successfully experimental film from legendary Canadian director, Bruce McDonald. It is certainly not for everyone. It is complex, and even with a 77 minute running time with multiple frames at once, the pacing requires patience and may deter most viewers. The moviegoer who appreciates more complex artistry should be more than satisfied. Powerful acting, interesting storytelling and original film making add up as quite the treat for the right audience. Such a tale of lost purity is all too poignant. Through Ellen Page’s creation of Tracey Berkowitz, we see a girl chewed up, swallowed, and spit back out, used to the furthest extent. What evokes the greatest sadness, however, is that we see within her some remaining innocence, but there are only fragments.

It is extremely difficult to narrow a decade of film to the ten best pictures. It’s impossible to have a list that pleases everybody, so I doubt there will be anyone that will truly agree with my choices. However, it is a list I put work and serious thought into. I stand by it, and welcome arguments (they’re half the fun!). Some people who are aware of my personal rankings of favourite movies will notice this is not in the same order. When it comes to such a list as this, some personal feelings and/or connections are not as important as how influential and/or important a film was. Also, some movies, even when they are not your cup of tea, are far too great to ignore.

So here are my picks for the ten best masterpieces to come out of the 90’s…

10. Rushmore
Wes Anderson, the strangest, most original writer/director of the decade, maybe longer, made one of the most memorable comedies of the 90’s. Rushmore is so odd, that on first viewing it is easy to dismiss it as nothing more than strange. All of Anderson’s movies have the same effect. After second (or even third) viewings, the richness, depth and brilliance can reveal itself. Rushmore is the funniest and best of his work. One of the most interesting love triangles (actually, this list is bookended by brilliant love triangles) of the cinema in which a young high school student and an aging industrialist vie for the affection of a middle aged kindergarten teacher. The performances from Olivia Williams, Bill Murray and newcomer Jason Schwartzman are pitch-perfect. It launched Schwartzman’s career, and established Murray as a superb serious actor.

9. Boogie Nights
Writer/director Paul Thomas Anderson emerged as one of the most entertaining young filmmakers alive with the release of Boogie Nights. Sort of the “Goodfellas” of porn, the film was an unusually insightful look at an unusual industry. At it’s heart, it is neither critical nor complimentary towards it’s subject, Boogie Nights is simply honest and fair. At times hilarious and fun, at others it is depressing and all too real. It must also be mentioned that the camera work is outstanding.

8. Clerks
Some will be happy and not at all surprised to see Clerks on the list, others will scoff. Kevin Smith is somewhat controversial. He is one of the best screenwriters working today, his dialogue is unmatched. His characters are easy to relate to and have become cult icons. It is undeniable, however, that Smith lacks talent as a visual director. In my opinion, this is forgivable. Especially considering Kevin Smith’s ability to add social awareness to seemingly dirty comedies. His movies are silly at first glance, but they give insight into his generation and the struggles they share. Smith made Clerks by maxing out his credit cards and hiring his friends. The result was a classic. How could Clerks not be on this list?

7. Reservoir Dogs

Quentin Tarantino’s debut film was a masterpiece. The movie ingeniously follows a cast of characters after a bank heist goes wrong. Throughout the story, we see what happened before and during the job gone wrong through flashback. Intense, explosive acting powers the classic dialogue. Harvey Keitel, Micheal Madsen, Steve Buscemi, Chris Penn and especially Tim Roth are all staggeringly excellent. Unquestionably original and fresh, Tarantino established himself as one of the most talented and most entertaining filmmakers ever.

6. Goodfellas
Perhaps the most talented director in American cinema, Martin Scorsese’s gangster classic is a shoe-in on this list. No one can tell a story like Marty, and one of the biggest thrills of a critic is when the next Scorsese picture comes out. The screenplay is gold, the acting is spot on but most of all, Goodfellas brings unprecedented insight. The viewer is afforded a unique window into this lifestyle, and it is a truly remarkable experience. A timeless classic.

5. Schindler’s List
Perhaps the most challenging topic for a filmmaker to tackle is the holocaust. Spielberg had established himself a master of his craft ever since Jaws, but it seemed doubtful that even he could succeed in truly capturing the horror and despair behind the worst event in human history. Surprisingly, Spielberg avoided a “Hollywood” approach and made one of the most devastating and moving films ever made. Perfect in every aspect, Schindler’s List should make every list of the 90’s best movies.

4. Magnolia
Magnolia is my favourite movie from one of my favourite directors, Paul Thomas Anderson. Certainly epic, but not in the traditional sense. Anderson uses common human shortcomings and emotion to create a uniquely epic masterpiece. We follow loosely connected characters simultaneously dealing with large issues. In some cases, the stories don’t really reach a satisfying outcome (much like Robert Altman’s Short Cuts, another 90’s classic), but that’s kinda the point. Written after the death of his father, P.T. Anderson creates a film filled with so much despair, it’s overwhelming. However, by the end, we become overwhelmed by Magnolia’s hope.

3. Princess Mononoke
The best animated film of all time from the greatest animated filmmaker of all time. Hayao Miyazaki delivers the grandest feature in the medium. Epic beyond belief, with an unforgettable story and a score to match. The most beautiful movie ever produced is not a happy one. Human nature is examined in many ways and the results are unfortunate. We see how destructive we can be, despite good intentions, and the only “hero” of the movie does not act until he is forced to. Peculiar, imaginative, thought provoking, jaw-dropping entertainment.

2. Pulp Fiction
I don’t need to make much of a statement here. Out of all the people I have discussed movies with, Pulp Fiction is the most common favourite flick. Incredible, intertwining, non-linear short stories compose Tarantino’s masterpiece. One of the most memorable casts ever charge one of the best screenplays ever written. Stylistically original and super cool, It’s probably the most fun I’ve had watching movies.

1. Chasing Amy
Earlier, I mentioned that I didn’t always follow my personal choices to make this list. However, in this case, I had to. It’s rather pointless to have a #1 favourite movie of all time if you can’t defend it at all costs. Considering my “#1 favourite movie” came from the 90’s, it needed to be #1 on this list. Chasing Amy may be the only unconventional entry on this list, but I will defend it to no end. To this day, it remains the most honest and sincere film I have ever seen. Kevin Smith, maybe the best screenwriter to emerge from the decade, delivers a human masterpiece. We see one of the most accurate, true to life friendships ever depicted on screen with the characters of Holden and Banky. What’s surprising is that Ben Affleck and Jason Lee give performances so incredible, that occasionally, just through the emotional strength of their acting, I am moved to tears. Speaking of being moved to tears, of the countless times I have watched Chasing Amy I have not escaped without at least a single tear. Those close to me know that it’s not too hard for a movie to make me cry (although I’d defend I only do so if the movie truly earns it), but at times, I have sobbed to the extent that i had need to pause the film to compose myself. In one scene, Holden and Banky have a long argument, that while containing some humour (”who gets to the $100 bill first?”), is one of the most devastating things I have ever witnessed in a movie. During this sequence, the writing, acting, and perhaps for the only time of his entire career, Kevin Smith’s camera movements, combine for perfection. Hilarious, heart-breaking, beautifully written and acted, and not to mention, made with a ridiculous budget ($250 000), Chasing Amy is the crowning achievement of the 1990’s.

And an honourable mention…

The Matrix
Certainly one of the most influential movies from the 90’s, but also so much more. The Matrix displayed how intelligent and action film could be. A challenging concept does not usually lead to a blockbuster hit. Visually perfect and revolutionary. The Matrix became somewhat of a cliche’ due to it’s cultural impact and subsequent endless parodies. Which, in a way, has caused it to become underrated. Just shy of making my list, The Matrix deserves recognition.

Written by: David Gordon Green
Directed by: David Gordon Green
Starring: Sam Rockwell, Kate Beckinsale, Michael Angarano and Olivia Thirlby

2008 is poised to be another excellent year for movies. There are more great films at this point (March 31st as I write) of this year than there was during the now legendary 2007. Oddly enough, there has been a common thread through all the quality material thus far, everything is dark. This trend continues with David Gordon Green’s Snow Angels.

The movie’s tone is set in the opening scene. A high school marching band is practicing for an upcoming football game in Snowy Small Town, USA (no precise location is given). Citizens are shown going about their day. The marching band make some mistakes much to the chagrin of the band teacher. Two loud gunshots in the distance interrupt the normalcy. “Weeks Earlier” flashes on the screen. For the remaining duration, we will see the events that led to this unseen incident.

This is one of those rare movies where it is difficult to decide who is the main character. I’ll just start with Artie (Michael Angarano), a teenager (and member of the aforementioned school band) who spends his free time working at a local Chinese restaurant. Also working at the restaurant is Artie’s old babysitter Annie (Kate Beckinsale). Annie is unofficially separated from her husband, Glenn, played by Sam Rockwell. Glenn, we discover, attempted suicide, and is battling alcoholism. Their young daughter lives with Annie, understandably. However, when Glenn takes his daughter out for the day we see that he is caring and trying his best to become the best man he can. Our sympathies are earned twofold when a very sober Glenn asks his wife out on a date, and his hidden charm emerges. Unbeknownst to Glenn, Annie has already begun another relationship with a married man, Nate (Nicky Katt). The sweet man we caught a glimpse of, disappears when Glenn discovers their affair. Things begin to spiral out of control. Soon, Annie and Glenn are pushed to the boundaries of their emotional endurance, which worsens moreover with an unexpected tragedy.

Meanwhile, Artie has begun a relationship with a new student, Lila Raybern, played by the remarkable Olivia Thirlby (the best friend in “Juno”). They take to one another quite quickly, and one of the sweetest on-screen teen romances of recent memory ensues. With the character of Artie, whom we witness doing drugs, we are not given one of the usual two extremes. Instead of the ridiculous, glorified stoner, or the bad kid who does bad things, we get realism. Artie is a normal teen, and he faces some tough problems, such as his parent’s impending divorce. We understand his choices, and we are therefore more forgiving.

Realism is where Snow Angels excels. Green has written and directed a painstakingly poignant slice of life. The very talented, near-perfect cast, helps accomplish this effect. Sam Rockwell is terrific, and remains one of the more interesting actors around. He plays his character so gently, that events later in the movie are made all the more devastating. Beckinsale is the one weak link. Mind you, she’s good, but that makes her the only thing less than great in the whole picture. It’s a bit of a stretch to see her as a lower class, small town citizen. The young couple in the film are absolutely spot on. Olivia Thirlby proves once again that she has an enormous amount of promise. Critic Richard Roeper went as far as too say she has a brighter future than Ellen Page. I wouldn’t make such a bold statement but Thirlby is at least second to Page, with no competition, in the young actress category. Michale Angarano is wonderful and completely believable. Bumbling yet sweet, he comes off as sort of a toned down Michael Cera. The supporting cast, led by Nicky Katt, are also very effective.

Snow Angels is a somber picture, with an impressive sustaining mood. Here we see the highs and lows of human relationships. The crumbling family, marred by Annie’s infidelity and Glenn’s substance abuse represent the worst case scenario. Artie and Lila’s relationship, which is by far the best thing in this movie, is bright, endearing and sincere. The plot gets extreme at the end. What’s shocking is how believable it is, easily this could be a true story. If you want to have a good time at the theater, avoid this one. If you want to see a truly great film, don’t.

Each year from day one to the end, I maintain a top ten list of the years films. I work surprisingly hard on it, many collective hours spent by the finish. A difficult task, to rank films, but it leads to further time spent analysing the years best movies. By the end, I am usually quite confident in my choices, and this edition is no different. Genre-wise, it was truly the year of the Comedy. Acting-wise, it was truly the year of Phillip Seymour Hoffman, who turned in three brilliant performances (something Christian Bale did as well, but not quite at the level of Hoffman). Also a year to remember for film maker Judd Apatow and Canadian buddy writer/actor Seth Rogen. Otherwise memorable for the rise to fame for Canada’s Ellen Page. A wonderful 12 months for a true film lover filled with surprises. Counting down from 10 to 1, here are the best films of 2007…

10. Before The Devil Knows You’re Dead/The Savages (Tie)It was far too difficult to choose between these Phillip Seymour Hoffman driven films. Both equally brilliant and well acted yet completely different. Each film is filled with despair and darkness. The Savages is a little more willing to show optimism however, while Before The Devil Knows You’re Dead refuses to budge. Both must-sees that had to make my list. To really put 2007 in perspective, these two films would have been in my top 5 the last couple years, easily.

9. Into The WildAt turns exhilarating and heartbreaking, the true story Into The Wild is a brilliant character study. Relentlessly gorgeous to watch, Sean Penn does a fantastic job writing and directing this great film. Sprawling across a huge journey with unforgettable characters along the way. Filled with lessons learned, as well as lessons ignored, which leads to devastating consequences.

8. No Country For Old MenThe ultimate suspense film. The Coen Brothers do it again, but this time better. Displaying all the tricks up their sleeve with even more control and intelligence. Probably the best writing of their impressive career. Filled with excellent characters that are perfectly cast (Tommy Lee Jones, Josh Brolin and Javier Bardem are great). In typical Coen style, the movie is darkly funny and immensely thrilling. This is the Oscar-front runner.

7. Hot FuzzThe only through and through comedy on my list, Hot Fuzz is too hilarious to ignore. Writer/star Simon Pegg along with best friends director/writer David Wright and actor Nick Frost deliver their best effort yet. Previously with their TV show Spaced and cult film Shaun Of The Dead they were already at the top of the comedy world, but this is their masterpiece. A surprisingly interesting plot combined with some memorable action and dozens of laugh out loud jokes, Hot Fuzz is one of the best films this year.

6. Knocked UpIn 2005 The 40-Year Old Virgin shocked audiences by bringing a level of sincerity and heart not usually included in a raunchy comedy. Writer/director/producer Judd Apatow continues that tradition with Knocked Up, which turns down the laughs a little bit and increases the humanity, heart and, yes, even dramatic scenes. On one side, a pitch-perfect comedy, on the other a wonderful tale of unexpected pregnancy and unlikely love.

5. OnceFlying under the radar of North American audiences this year was the Irish film Once. One of the best reviewed movies of the year according to www.rottentomatoes.com, it is difficult not to fall in love with the film and it’s characters. Rare is a film so true to life, let alone a musical. Staggeringly beautiful and heartfelt, with a tremendous ending Hollywood would never have allowed. Oh, and the music is brilliant.

4. Superbad
An unusually accurate portrait of high school students thanks to the fact it was written by high-schoolers Seth Rogen and Evan Goldberg. Now age 24, they began the script for the film at 13. Filled with non-stop laughs and overwhelming heart, Superbad is a classic.

3. There Will Be Blood
The scariest film of the year comes from an unexpected source. Paul Thomas Anderson provides a bloody good tale of greed. A sprawling, dark epic of madness. Even the score is unsettling. Featuring a stunning show from Daniel Day-Lewis, There Will Be Blood is incredible.

2. Ratatouille
Ratatouille will unfortunately be overlooked by many movie-goers because it is an animated film marketed for children. A terrible shame indeed. Writer/director Brad Bird continues to single-handedly save American animation from convention and boundaries. His filmography is a short list but masterful (The Iron Giant and The Incredibles were brilliant as well). A Multi-leveled story with fascinating characters and clever, original writing. Ratatouille is among the best animated features ever made.

1. Juno
Perhaps the largest surprise of the year, Juno showed up late in 2007, winning many hearts in the process. Brilliant writing and superb direction. Stunning acting from Micheal Cera, Jason Bateman, Jennifer Garner, J.K. Simmons, and Allison Janney. Featuring a legendary performance from Ellen Page, all the actors bring all the right stuff to their characters. Even the soundtrack is unforgettable, perfectly capturing the spirit of the film. It is hard to compare Juno to other comedies and/or comedy-dramas as its’ serious content brings unprecedented emotional resonance and insight. I really don’t need to defend its’ spot at number one of 2007 because it actually deserves to be discussed in contrast to films of any year before or after it. Nor would I make the statement that it is “the best of it’s kind”, because, simply, it is truly one of a kind.

Directed by: Gus Van Sant
Written by: Gus Van Sant
Starring: Gabe Nevins, Daniel Liu, Taylor Momsen

One of the main draws of seeing a film is the performances. Sometimes an actor or actress are so impressive in a role, that it seems like a complete art all by itself. Peculiar then, how Gus Van Sant’s recent movies have been so great without using actors, but everyday people instead. While Paranoid Park is not a masterpiece like Van Sant’s Elephant, the director is again able to create a unique mood, partly attributable to the amateur cast. Both films focus on high school students, and I am now convinced that no one can shoot a high school like Gus Van Sant. The way the movie is actually put together is nowhere near amateurish. It is experimental, but expertly pulled off with astonishing results.

The movie follows a skateboarder named Alex (Nevins), who may be involved with a murder near the popular skate park, Paranoid Park. Although it is unclear exactly what happened until later, he appears to have a guilty conscience. We become more suspicious when the story Alex told the detective investigating the case, is contradicted by a flashback. The entire movie is non-linear, and unlike the typical “Rashomon” approach, it is not always clear whether or not the movie is showing a flashback or flash-forward, it is just always moving sideways. Alex narrates the picture by reading out loud a letter or story he seems to be writing, and the movie jumps along in the order he describes his story. A bit incoherent, but after all as he says, he “didn’t take creative writing”.

Non-actor Gabe Nevin’s narration is spoken like any average teenager would read their homework aloud in class. He’s a bit nervous and makes the occasional error. This is a brilliant artistic choice and cements the realistic portrayal of adolescence. Not just his guilt, but all the other feelings Alex has are felt by the viewer even when the feelings are not voiced, just observed. His parents are going through a divorce, and he’s stuck in a relationship with a girl he has no real feelings for. It’s obvious he wants to and should leave her, but she’s easy, and Alex’s friends think it’s crazy to pass up “free sex”. After all, as his apparently best friend Jarrod eloquently puts it, “getting laid is better than not getting laid”.

As the movie seamlessly moves side to side, all the scenes blend together. This is the way Alex is drifting through life, without paying attention to much of anything. The film is inter cut with footage of random people skateboarding. The way it is presented is dreamlike and hazy, suggesting that the lives of teens is sort of like a dream, or being asleep. However, sooner or later, we are exposed to what is dark in this world and in fellow human beings, and we must wake up.

We are able to see Alex before and after the incident at the park, and we can see that he will never be the same once he goes there. In a midway scene, Jarrod tells Alex that they should check out Paranoid Park for the first time. It’s where the cooler, more advanced skaters go. Alex insists he is not ready for Paranoid Park. Jarrod replies “no one is ever really ready for Paranoid Park”. Reluctantly, Alex gives in and agrees to go. Time to wake up.

Funny Games
Directed by: Michael Haneke
Written by: Michael Haneke
Starring: Naomi Watts, Tim Roth, Michael Pitt, Brady Corbet

Funny Games is a brilliant deconstruction of movie violence from writer/director Michael Haneke. The movie is actually a remake of Haneke’s 1997 Austrian film of the same name. I have not seen the original but apparently little has changed in the American update. This fact alone should put the idea to rest that this is a deliberate response to “torture porn”. The film doesn’t attack “Hostel”, it attacks our desensitized views of violence (and yes it can be argued that Hostel is a guilty party).

The movie begins with a small family, on the road to their vacation home, composed of Ann (Watts), the mother, George (Roth), the father and the son, named after his dad. Not long after their arrival, two strange young men begin to harass them. The two young men go by several names throughout the film, the most consistent of which is Peter (Corbet) and Paul (Pitt). The “games” begin, and soon the family is fearing for their lives. I don’t want to give away much more than that.

The acting is pitch-perfect, with standout performances from Naomi Watts and the extremely creepy Michael Pitt. Also, Tim Roth gets back to his Reservoir Dogs roots by screaming in pain a lot. There is no weak link, in fact only strong ones, in the small cast. Even the small boy, played by Devon Gearhart, is 100% believable. This believability is very important because the movies point relies on realism.

The entire movie, from beginning to end, seems like it could have actually happened. This is terrifying. Haneke’s point is to ground the violence in reality. This way we can appreciate how terrible it is. In the end, violence on screen is not so different than in real life. So, if people go see movies specifically to see human beings tortured and killed, what does that say about them? The interesting thing is, there is pretty much no violence shown (only one scene is an exception), only character reactions and blood splatter. Surprisingly, this does not take away from the horror or suspense, the movie even benefits from this approach.

Funny Games is an excellent film, that begs us to reflect on ourselves. Superb acting and masterfully crafted, the film is a must see for the movie goer who wants more out of a story than entertainment. From the startling opening credits to the unsettling end credits, Funny Games is always (almost) unbearably suspenseful.

Directed by: Jimmy Hayward & Steve Martino
Written by: Ken Daurio & Cinco Paul
Starring: Jim Carrey, Steve Carell, Seth Rogen, Carol Burnett, Will Arnett, Jonah Hill, Amy Poehler

Horton Hears A Who! tells the tale of an elephant named Horton who hears a voice in a speck of dust. He makes it his job to protect this speck of dust and the possible tiny inhabitants therein. He, and he alone because of his gigantic ears, initiates contact with the mayor of Whoville, the town contained in the speck. Eventually, the animals that share the jungle with Horton turn on him, unwilling to believe in such small people. The beloved elephant becomes Whoville’s only hope in avoiding destruction.

Horton Hears A Who! Is based on Dr. Seuss’s beloved story, and may be the most successful movie in bringing his spirit to life. However, that’s about as far as the success goes. First off, Jim Carrey’s first voice acting job as the elephant, Horton, is a disappointment. I believed Carrey’s wacky personality would work perfectly in an animated film, much like with Robin Williams as the genie in Aladdin. Guess not. Steve Carell is much more effective as the mayor of Whoville. The Supporting cast, led by Vancouver’s Seth Rogen, is great, although underused.

The original book is wonderful and the movie is best when it comes closest to the source material. The message is heard loud and clear, as well as sincerely. I’ve never been sure if kids pick up on the morals and themes of works such as that of Dr. Seuss. It certainly is worth a try and if you need to choose a family movie, this will do.

Yes, children will be delighted with the colorful characters and vibrant images but I can’t say the same with older viewers. There are some outstanding moments (a hilarious but brief “anime” sequence springs to mind), but not enough for me to recommend this movie. Too often is “Who” used as a prefix for several things in Whoville (even a “Who-Root Canal”), thankfully, the mayor points this out. Too often the jokes are far too immature to garner a laugh. Too rare are the brief appearances by Rogen’s character Morton. And nowhere to be found is a truly great, memorable scene. In fact, it gets a little weird towards the end. The kangaroo lady who opposes Horton gathers all the animals to help trap the elephant in order to teach him a lesson. What’s odd is the savagely planned method of disposing of The Whoville speck. It seems Kangaroo has prepared a boiling pot which is one speck of dust away from becoming delicious Who-Soup. Whatever, best not to invest too deeply in the creative choices. Ultimately, it’s probably best to just get the book for your kids and let Dr. Seuss work his subconscious magic.

I Don’t believe I have ever seen a movie like this before.

In Bruges is a so-called “Action/Comedy” about two hit men ordered to lay low after a bad job. Their hiding spot? Bruges, Belgium. Ken (Gleeson) is quite taken by the medieval town whereas Ray (Farrell) could care less about sightseeing and would rather get back to London. This synopsis plus the trailer may lead you to think this is a typical picture, best to avoid it right? Wrong. It turns out the movie is being advertised as something it’s really not. One only has to see the opening credits to discover that this is not an ordinary film. It opens with several still shots of Bruges put to melancholy, beautiful music. The score maintains this mood throughout, and other than a couple goofy parts, so does the flick.

That’s not to say it isn’t funny. It’s actually quite hilarious. However, the humor is overpowered by sadness. When it’s revealed why the “job” went bad, the movie takes a serious turn, and it takes it perfectly. Ray is a guilty man (you will see why), and it takes a toll on him. He begins to reflect on his moral worth, and when he studies a painting of “judgment day”, Ray asks Ken if he believes in the afterlife. Heaven, Hell and Purgatory which as Ray points out, is for people “who weren’t that bad, but weren’t that great either”. I may be way off, but the film seems to hint at metaphor and depth. Perhaps Bruges is Purgatory? Maybe these hit men are awaiting some sort of judgement. They seem like good people, but they have killed. Are they worthy of heaven? Does meaning well make up for sin? There is a point where Ken seems to regret his past and realizes Ray still has a chance at a good life. Ken would give anything to allow Ray such an opportunity. Maybe it’s too little too late, however. The film manages to genrate laughs as well as heart wrenching moments and strong emotional undertones. All the while we fall in love with the two leads, which is enhanced by the acting.

Farrell again proves he is the least consistent actor in the business. Here, he shows his brilliance, in fact, it’s my favourite of his performances. Gleeson puts in a sensitive, subtle and very sincere quality. When Fiennes shows up as the boss, he nails one of the most interesrting roles of his prestigous career. The supporting cast are great as well.

In Bruges is McDonagh’s first foray into film. Previously a playwright, he could fool anyone who doesn’t know he’s a newcomer. The direction is incredibly impressive, expertly shot and artistically crafted, it’s a masterpiece of the genre. Or, it would be, if I could pick a genre to describe In Bruges.

This is a very dark, even disturbing movie. I was heartbroken and moved. Quite close to perfect, with three Oscar-worthy performances. Undeniably unique, In Bruges defies any convention or tired plot point both in it’s screenplay as well as in its direction. This is the first great movie of 2008, and I loved every second of it.

From writer/director Paul Thomas Anderson comes There Will Be Blood. An extreme departure from his other work, but a welcomed one. It’s impressive when a director can create different types of films, and Anderson does impress. TWBB is a sprawling story of oil man Daniel Plainview, played jaw-droppingly great by Daniel Day-Lewis. The movie follows Plainview from the beginning of his oil days to many years in the future. One day, a strange young man by the name of Paul Sunday tells Daniel about a place where he could make a fortune. In exchange for the information, Paul is given $600 and sent on his way. It turns out that the place he spoke of was his old family ranch where the rest of his kin remain. This includes his brother, Eli, a self proclaimed prophet. Plainview, obviously not a man of God, does not take a liking to Eli. In fact, much of the film depicts his growing hatred of Eli, as well as all those around him.

Daniel Day-Lewis goes so far beyond what is expected of an actor, becoming the undeniable highlight in an already masterful film. Paul Dano, an actor I have been fond of since a surprising performance in The Girl Next Door, continues to grow as an actor. However, when he shares a scene with Day-Lewis, he does have a little trouble. The supporting cast are of the highest quality and really add to the movie.

Paul Thomas Anderson abandons his trademark zooms and tracking shots for Kubrick-like film making. Distracting, violent music plays over still shots of desert. The camera lies still as we observe Plainview’s increasing insanity. I believe this to be the best study of madness since The Shining. Day-Lewis matches Nicholson’s legendary performance and, dare I say, surpasses it. However, TWBB brings more to the table than just madness. The Shining never had too much below the surface (come on, it was a Stephen King book) but TWBB is overflowing with artistry and hidden meanings.

The score, composed by Radiohead’s Jonny Greenwood is unforgettable. Not always pleasing to the ears, but always enhancing that which is on screen. It draws attention to itself at unexpected moments, suggesting unusual emotion behind the events and dialogue. Even if one is not for the bizarre music, there is no denying that it matches the tone and oddity of the storytelling. If nothing else, it solidifies Greenwood as a composer of the utmost quality and creativity.

It is evident we are not supposed to like Plainview early on. He lacks a redeeming quality. The only apparent attribute going for him is his supposed love for his “son”. However, that doesn’t really count when we also see his desire for oil is stronger. It is much easier to take the side of Eli Sunday. I would like to suggest, however, that both men are similar. Different beliefs, yes. Different personalities, yes. But both men suffer from the same disease, lust for power, and both deal in deception. Plainview and Sunday are both selfish, and will use others for personal gain. This is a film that requires multiple viewings and deep thinking to fully analyze the characters.

The movie is long, and not for everyone. It is very strange, at times slow, but always, in an odd way, thrilling. It is captivatingly sad, desperately insane, but mostly completely terrifying. The last 15 minutes gave me chills that still echo at the thought of what took place. In the wrong hands, the heart of capitalism and the word of God is as black as oil.

The film’s ending is currently being debated. Some say it doesn’t fit and is too extreme and macabre. I believe it is the only logical place to go after exploring the darkness of man’s greed. The film’s last moments, last shot and last spoken line are legendary. Rarely can a movie have such a lasting impression solely with one frame. TWBB is among impressive territory, and even if doesn’t match the films that inspired it, it still serves as another brilliant work in P.T. Anderson’s career. It seems he can’t go wrong. I have heard critics say he borrows too much from other artist’s material. This is ridiculous as his original stories are all just that, original. So what if he borrows some techniques? Would it be better if we never saw another movie reminding us of Kubrick or Welles? Masterpieces breed masterpieces. That’s a good thing.

There Will Be Blood is certainly the weirdest movie released in 2007. Therefore, it is also the most worthy of discussion. All the best films are.