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.

You probably already know, but here is a run-down of the movie. Created by J.J. Abrams (Lost, Alias) and written by Drew Goddard (Buffy, Lost), Cloverfield is a “Blair Witch” style monster movie in which we only see surviving footage of a catastrophe. The main gimmick of the film is that the trailer never revealed what the monster was. And, no, my review wont spoil that surprise. The main character is Rob (Micheal Stahl-David) who leaves for Japan the following morning. His friends, led by camera wielding Hud (T.J. Miller), secret love Beth (Odette Yustman), brother Jason (Mike Vogel) and Jason’s girlfriend Lily (Jessica Lucas) are throwing him a goodbye party. The party doesn’t go as planned when New York is attacked by an unknown creature.

The entire film is purposely poorly shot as if it actually happened. This is effective in creating realism, but the often shaky cam caused me and others in the theatre minor motion sickness. The film quality is suspiciously excellent though. At least The Blair Witch Project’s handheld camera effect was authentic. Overall the look does work, especially early on when we catch the first glimpses of the monster which prove more effective than later closeups.

A lot of people will judge this movie based on how they feel about the monster. I was disappointed. But after months of hype, could anyone really be impressed? The monster is actually quite scary at times, and the CG is executed better than I’m used to. In the end, the monster doesn’t really justify the mystery but it does it’s thing. Personally, I expected something more interesting from the brilliant mind of Abrams who is responsible for the most complex TV on air today. Superb writer Drew Goddard does a good job of injecting his trademark humour into the film which may actually be the highlight. This was common during his days behind TV’s Buffy. However, with Buffy, he was also able to bring considerable emotion and heart as well as dark themes. Cloverfield gets high points in some areas but it falls short with it’s characters who never really captivate us.

The movie is simply a thrill-ride. I’m not usually a fan of straight up action flicks or monster movies but Cloverfield brings genuine scares and laughs to the table. I was unreasonably hoping for a rich movie-going experience but was let down. Cloverfield does provide a new take on the monster movie, and there’s no denying it’s a fun way to kick off 2008.

I Am Legend is the story of the last man on earth, survivor of a world-wide airborne virus. Robert Neville, alone except for his beloved dog Samantha (a surprisingly effective character) is still trying to save humanity. Before the infection hit, he was the leading scientist dealing with the problem, but failed. Still at ground zero in NYC, he will not give up. Legend is part silly blockbuster and part intelligent sci-fi drama. As I watched the film i could feel each half tugging at each other. Strong acting and fairly developed emotional resonance combating with poorly used CGI and action movie cliches.
Will Smith is captivating and heartbreaking throughout what I consider to be his best performance (even far superior to his acclaimed role in “The Pursuit of Happyness”). Unfortunately the writing, which at times seems like it is going to be great, never quite matches his performance. It leaves me to believe that had the material been better, Smith could have raised his game further, perhaps to Oscar heights. I found it interesting to discover that the screenplay was written by those with these films in their collective resume’: “A Beautiful Mind”, “Lost In Space”, “Batman & Robin” and “The Cell”. Two intelligent films and two very not.
Ultimately, the good or even great side of this film never is completely absent, allowing Legend to never be too far gone. Simply, it is never bad, but rarely great. However, when it is great, it hints at overwhelming potential and unexplored depth. One wonders if the film was in the hands of a worthy director (mind you, “Constantine’s” Francis Lawrence occasionally succeeds) such as Danny Boyle, Alfonso Cuaron or at the very, very, very least an inspired Spielberg a’ la “Minority Report” that this would have been a considerable cinematic achievement.
One of the areas where Legend thrives is in being suspenseful. At times the tension reaches points movies don’t often approach. Of course this is then ruined by close up CGI moments of the “dark seekers” or infected humans. At the boring, unimpressive view of their faces, the realism and effectiveness is at once lost. I can’t help but complain that human actors were not used where it’s quite obvious they should have. In the great “28 Days Later”, the sight of a once human, now infected monster was not only frightening but sorrowful. The creatures in Legend are so far removed from reality and plausibility that it is impossible to feel that despair and sadness in what has become of our race.
It sounds like I am just complaining but that is only because I caught wind of what could have been. Overall, this is a movie that could have been a masterpiece but falls short. But thanks to a strong performance from Smith and a story and character(s) so engrossing it helps carry the weight of this treatment’s flaws, the movie is good. I Am Legend isn’t brilliant, but it isn’t dumb either, and on entertainment value alone, it’s worth the price of admission.

© Fox Searchlight Pictures

It’s not often that a film can change how you feel about film. It’s not often a teen comedy provides more insight than most acclaimed dramas. It’s not often a movie is so special that as you’re in the theatre, you actually take notice, and thank the movie heavens for such a miracle. It’s not often you enter a movie with such high hopes and are still surprised. It’s rare. Juno is such an experience.

The magnificent, Canadian Ellen Page plays Juno, a 16 year old who suddenly finds herself pregnant. The father to be, Paulie Bleeker, played by the magnificent, Canadian Micheal Cera, isn’t even her boyfriend. Paulie is a good friend, who, one night and one night only, was something more. Rather then beginning with the act that leaves Juno in such a difficult situation. We begin with that difficult situation. We get to follow and observe every consequence and lesson learned.

The film presents itself in four parts, Autumn, Winter, Spring and finally Summer. First with an abortion clinic, then a change of mind, and then a search for adopting parents. Every bump along the way is executed brilliantly. The wonderful cast of characters, from Juno, her parents, best friend, and the (seemingly) aspiring parents is pitch perfect. In fact, this may be my favourite portrayal of people I have ever seen. Honest, fair and wise, never has a comedy been so insightful.

It’s quite amazing, when, in a year with the classics “Knocked Up”, an excellent tale of a unexpected pregnancy, and “Superbad”, a superb high school movie (both delivered from the film Gods Seth Rogen and Judd Apatow), that one movie can surpass both in nearly every way. It’s quite ironic that the film in question is a masterpiece about an unexpected pregnancy in high school.

The script is perfect, the acting is phenomenal, the soundtrack is charming, the characters are endearing. The magnificent, Canadian director, Jason Reitman creates another winner. There are a couple promising titles still on the horizon in 2007, such as P. T. Anderson’s There Will Be Blood. But unless they truly are something rare, surprising and special, then they don’t stand a chance. The film of the year has arrived.

Charlie Wilson’s War is the true story of a congressman who single-handedly helped end Communism and the cold war. Played by Tom Hanks, Wilson did this by manipulating all the right people in all the right places to get Afghanistan more defense power. An incredible feat but not accomplished without help from C.I.A. agent Gus played by Phillip Seymour Hoffman and a very wealthy Texan woman Joanne, played by Julia “What have you done for us lately?” Roberts. A truly amazing story that once translated to film, flaws are born.

The movie, for the most part, is boring to look at. No interesting camera work at all other than some fantastic war moments. In fact, without scribe Aaron Sorkin’s colourful dialogue, it would be downright dull. The acting also helps. Tom Hanks does a good job playing the charismatic Wilson. It’s quite annoying, however that Hanks sure loves playing extraordinary men. If you take a look at Hank’s seemingly diverse roles, you’ll notice he likes playing sentimental crowd pleasing characters. I’m not saying he is not a great actor, but I’m getting damn tired of him. The female version of Hanks (meaning an actor who is far too distracting from the actual character) is Julia Roberts. Guess what!? She has a similar performance and I’m damn tired of her as well. Thank God that Hoffman plays Gus, which on his own makes up for everything else. An overlooked Amy Adams as Wilson’s assistant is terrific as well.

What Charlie Wilson achieved was important but as we all know, led to some terrible consequences. Afghans who received weapons and training have become terrorists (Osama Bin Laden) and have caused some terrible events. It is very interesting when Wilson and Gus are having a conversation, about whether there will be repercussions of their actions, on an apartment deck (pictured above) and you can clearly hear an airplane. It is normal to hear an airplane from a deck I know, but it is nearly as loud as the conversation being had. I believe this to be a form of foreshadowing regarding 9/11. Another interesting film making choice is mixing movie war scenes with real footage, which I also found effective. The screenplay is great but perhaps no more impressive than Sorkin’s work on television (The West Wing, Studio 60). The story is so engaging that it makes up for an occasional lack of film making flare. A very good movie indeed, but amongst so many greats this year, it will likely be forgotten. Or, it should be. But Hollywood is not damn tired of praising Hanks and Roberts.

Spiderman was a terrific film. It came at a time when most comic book/superhero movies were never that great. Of course, in recent years that has changed with solid films such as Batman Begins and X-Men 2. There are a couple reasons that the first Spiderman movie worked. One was Sam Raimi’s direction. Previous to the Spiderman franchise, I knew some of Raimi’s work, the alright Darkman movie, and the excellent Evil Dead trilogy (in fact the star of the Evil Dead films, Bruce Campbell has a cameo in each film). Raimi got Spiderman right, but more importantly, he got Peter Parker right. He realized that a masked superhero fighting evil is not a film. But the man behind the mask is what is truly interesting. Also, Raimi never took it way too seriously, he understood he was making what some may call silly movies. Raimi displayed this with frequent jokes and light content, which did a lot to add to the believability. If Spiderman was put in a true to life environment, he would look stupid, so the New York in the films is really a comic book version of itself. The other reason Spiderman worked was because of the actors. Tobey Macguire, an actor I do not think too highly of, was actually perfect as Spiderman. Furthermore, Kirsten Dunst was great as Mary Jane, and James Franco was the right man to play Harry Osborn. What also added to the movie was the villain and the actor who played him, Willem Dafoe. A new standard was set for creating a villain that was comic book-y yet realistic, which is no easy task.
Spiderman 2 was much, much better. It improved in every area possible and told a more personal story about Peter Parker. From start to finish it was flawless and even had a better villain in Doc Ock. Spiderman 3 is a very good film, with some of the best moments in the series. But each villain lacks the realism of the previous Spiderman enemies. The scenes meant to be serious sometimes come off silly. In fact, the whole movie seems much more cartoonish. New coming players are Topher Grace (That 70’s Show) as Eddie Brock/Venom and Bryce Dallas Howard (The Village, Lady in the Water) as Gwen Stacy. Grace is fine as Brock but once he gets all venomish he fails miserably. I even found myself suffering from secondary embarrassment with some of his line deliveries. Bryce Dallas Howard has a much smaller role than I expected and I was very disappointed, as I was hoping for her to shake up the story a little.

Don’t get me wrong, I really enjoyed this movie. This is the funniest of the three movies easily. However, in the first two, the humour was complimentary, this time it is the highlight. It’s all good and fun, but it should have taken a backseat to a great story. Another shortcoming is the predictable ending that fails to match the drama of the previous entries of Spiderman. The personal story about Parker is very interesting as well as satisfying. Like I said, Spiderman 3 is a very good movie, and as far as superhero movies in history, this one ranks pretty high. If this was what the first one was like, we all would have been satisfied. But since then, the bar keeps raising. And, unfortunately this is the third movie, and among all the great superhero films we have seen recently, Spiderman 3 is just average.