After stumbling upon a book in the basement on their new home, twin brothers Jared and Simon Grace, along with their sister Mallory, become pulled into a world of faeries and goblins. This book, known as The Spiderwick Field Guide, was written by a man named Arthur Spiderwick, who was abducted by faeries. It tells them everything they need to know about how to kill goblins and call upon mythical birds for help. Now they must protect the book from these creatures and find Arthur Spiderwick to put an end to the mayhem.

There really isn’t much good to say about this noisy and frantic fantasy that lacks all but a single good actor. Lazy CGI effects bombard the screen, along with screaming faeries that are about as annoying as nails on a chalk board. It is as if they took the cheapest computer technology available, enhanced it ever so slightly, then decided to add some impaired voices into the mix. Nick Nolte, Martin Short, and Seth Rogen are some of the loud, unfamiliar voices that crowd the screen. It really irks me that these characters are so pesky, yet they are voiced by some rather talented people.

It’s an irritating fantasy that seems rushed and deserved a release to the rental shelves rather than to the silver screen with such poor CGI work. Freddy Highmore plays dual roles comfortably, but the supporting cast of live actors (including Mary-Louise Parker who has shown some serious acting skills in the Showtime series Weeds) were unconvincing and the CGI beasties are about as irritating as an itch you can’t reach.

It starts off with dark, atmospheric set pieces that look really good and quickly turns into a ridiculous story gorged with silly moments. The film’s intentions were to take the audience into a world of fantasy (where ridiculous is acceptable to some extent). Instead, the film goes beyond preposterous and ends up being completely far-fetched.

So we have one good actor, several sub-par actors, an overuse of undernourished CGI effects, and a line of uninteresting characters. It’s a putrid mess, a film that doesn’t have a clue as to what defines entertainment and ends up being obnoxious. It is sad that none of this is quality entertainment and all of it is a nuisance to eyes and ears.

The entire film was a waste of time I could’ve spent watching some sort of solid entertainment, and a waste of money the filmmakers could’ve spent making a better film. The bottom line is it was nothing more than a noisy monstrosity and a eulogy to poorly executed family flicks. 1.5/5 stars

Control follows the true life story of punk rock singer Ian Curtis of Joy Division, covering his troubles with love, music, drugs, and epilepsy that led to his untimely death in May of 1980. It’s based on his wife Deborah Curtis’ autobiography Touching from a Distance to make sure everything is accurately displayed on screen.

Shot in beautiful black and white with magnificent clarity and carefully edited, this slick portrait of a musician’s unfortunate life might be masterful for those who are vaguely familiar with the band Joy Division, but everyone else will probably find it ambitiously clichéd in its character insight. It becomes just like every other musician’s rise and fall from fame. Become famous, get addicted to drugs, and die at an early age. It’s nothing we haven’t seen seven or eight times before and becomes dull quickly.

I’m not claiming this is a bad film. Amongst all the boredom (and there is quite a bit of it), there is a low-energized masterpiece in disguise. It just never takes off that disguise to make itself known. Sam Riley puts his heart into this role and is absolutely phenomenal and Samantha Morton does exceptionally well. The direction is sharp and the acting is great, so why does it feel so boring at times?

I don’t want to disgruntle the fanbase of Joy Division and want to make it clear that I have no desire to put down this remarkable legend. I just feel that the film would’ve been much better with a more interesting take on Ian Curtis’ lifestyle that draws in those who don’t even know the guy. This is where director Anton Corbijn and screenwriter Matt Greenhalgh stepped into a rut.

This gloominess has some serious hang-time and the film in general doesn’t seem to have anything genuinely important to say; it’s an unpleasant and dark film devoid of joy.

This punk rock music isn’t my cup of tea either, which doesn’t help at all. Joy Division’s songs all start off great, but then become flat and gives off a depressing vibe. This is a movie that drains all blithe thoughts from its viewers and leaves them isolated under a muggy rain cloud of sorrow. You can skip this film and still live a perfectly happy life. 2/5 stars

Written by Derek Fleek at www.popcornmonsters.com

If you’re unfamiliar with Kar Wai Wong’s style and haven’t seen any of his pictures yet, his first English language film My Blueberry Nights isn’t a bad way to start a rental frenzy and get to know his style. His previous films include As Tears Go By, Days of Being Wild, Fallen Angels, In the Mood for Love, and Happy Together.

Elizabeth (Norah Jones) has had a bad night. She found out her boyfriend is cheating on her, got mugged on the subway, and has trouble getting a car (or even a cab for that matter). But thankfully the generous owner of a diner in New York is happy to comfort her. Still empty with sorrow, Elizabeth journeys across country to find a path to follow unaware that the rightful path is guided by blueberry pies.

The great cast certainly shows a stupendous amount of charisma and becomes the needed component for the interesting script and romantic energy to be lifted beyond boundaries. Unlike most romantic films, this one has such a distinguished chemistry between Jude Law and Norah Jones that (despite from being distant throughout the second act) provide a sort of dignity when finally reunited. It’s an elegant, pure, and stylish portrait of a woman suffering from a broken heart and a man whose life is solely dedicated to baking blueberry pies to flourish his love for her. It’s one of the years better films.

The score is so moving and the cinematography is so spectacular that I can almost guarantee a nomination in one of the two categories come Oscar time. It’s a film that lavishes itself with beauty and romance (a seemingly perfect combination) and then even provides an insight on life and the meaning of true love. Lets not go without saying it does have its flaws, most notably an uneven pace. There are moments of straining heartbreak, sudden acts of violence, and touching romance. With all this melodrama intact, it still manages to get specific points through and looks beautiful doing so.

It has the look and feel of an independent film (The constant use of slow motion, the unique style of camera work, and the occasional insight of the number of days Elizabeth has been looking for true meaning to life) and uses this to its full effect to nourish an interesting story. I like it about as much as I like blueberry pie. And you know what, I happen to like blueberry pie. Be sure to pick up a DVD copy when available in stores July, 1st. The special features include Making My Blueberry Nights, Still Gallery, Q&A With Director Wong Kar Wai and a Theatrical Trailer. 4.5/5 stars

Written by Derek Fleek at www.popcornmonsters.com

The star studded and painfully unfunny “Welcome Home Roscoe Jenkins” stars Martin Lawrence, James Earl Jones, Margaret Avery, Joy Brant, Cedric the Entertainer, Nichole Ari Parker, Michael Clark Duncan, Mike Epps and Mo’Nique. It’s written and directed by Malcolm D. Lee (Undercover Brother, Roll Bounce).

Roscoe Jenkins (Martin Lawrence) is a well respected talk show host who leaves Los Angeles to reconcile with his family in the Deep South. Rather than being a pleasant reunion with his family, the trip becomes a bruising disaster and a rival competition with a childhood nemesis.

Welcome home Roscoe Jenkins! Or should I say welcome to the dusty, dim collection of DVDs that I will never watch again. It is clear that this is direct-to-DVD material with an A-list cast worthy of funnier matter. Lets cut this game of spot the laughs short and just guide this overwrought bag of mixed emotions and unfunny gags to the dumpster where it belongs. When the film isn’t introducing us to irritating characters and shoving good morals down our throats it’s just an erratic execution of bodily harm, an unnecessary display of pimped out fashion and pea-brained juvenile antics.

The cast tries hard, but the frantic attempts at making the implausible plausible and possibly jerking a couple forced laughs out of the helpless audience becomes tired early. And when things finally take a quick turn for the better in the second half, it instantly goes back to the same dull fashion that cluttered the agonizing first half. The only true minor chuckles came from the family clown, Mike Epps’ Cousin Reggie, who uses his usual goofy style to make some sort of entertainment happen. The only part that remotely resorts to fun is the obstacle course scene, and even this scene feels childish. I never thought I’d say this but more gross out gags and potty humor would have at least been at level with this type of comedy.

Basically, this so-called “comedy” depends of Martin Lawrence’s facial expressions and Mike Epps’ foolish personality to get by. Problem is Mike Epps isn’t always funny and, while Martin Lawrence does make funny faces, he can’t make enough of them to bring consistent laughs in an overwelcomed running time. This material doesn’t deserve such a talented cast. In fact, a cast of unknowns and a direct-to-DVD release would have been sufficient. Other than it being painful to watch, this is a harmless, instantly forgettable, and ultimately flustered comedy absent of any true humor. Just skip it and you’ll thank me later. 1/5 stars

Written by Derek Fleek at www.popcornmonsters.com

Welcome Home Roscoe Jenkins is available in popcornmonsters.com’s prize catalog for 2000 pts or 20 reviews.

“The Happening” stars Mark Walberg, Zooey Deschanel, John Leguizamo, Ashlyn Sanchez, and the dreaded Spencer Breslin. It’s directed by M. Night Shyamalan (The Sixth Sense, The Village, Unbreakable and Signs).

This paranoid apocalyptic thriller centers on a couple named Elliot and Alma (Mark Walberg and Zooey Deschanel) and a little girl (Ashlyn Sanchez) on the run from an neurotoxin in the air. This toxin leads people to loose sense of direction, slurring of speech and finally leads them to kill themselves in innovative ways. Many theories about how this neurotoxin became present in the air, but all of these are just theories. But one thing is certain, it’s happening.

Critics aren’t being fair about M. Night Shyamalan’s newest thriller “The Happening”. It does switch gears from being a creepy and intriguing thriller, to being an intentionally goofy and silly ovation to paranoid thrillers of the 60’s like “The Birds”. However, this works out surprisingly well for some shuddering moments, occasional humor and a well executed finale. This is M. Night Shyamalan’s best film in years, topping his two previous films with ease and winking its eye along the way. Shyamalan sure knows how to please the audience. Even those who dislike the movie, the death of Spencer Breslin is sure to bring a guilty smile to anyone’s face.

The acting wasn’t as bad as I thought it would be, shifting from mediocre to subpar levels. It’s not Mark Walberg and his impaired eyebrows and faded voice who failed for the entire act, but Zooey Deschanel who fails with her shallow and strange performance. She may have beautiful eyes, but her character has absolutely no soul. Why is this individual so one-dimensional? However the bystanders that switch into suicide mode give performances that are luculent and bring an eerie atmosphere. John Leguizamo only has one scene where his acting felt completely forced that involved calming a stranger down with a math riddle. The concept might come off as bit silly to some, but in retrospect this one of Shyamalan’s best ideas and his execution (though not completely polished) gives off a Hitchcock-esque vibe. Unlike “The Village”, its ending is complete and unlike “Lady in the Water”, its notion is something that will be admired.

The score is very unique and has a creepy tone unlike any other film. Like a neurotoxin in the air, this one might leave a permanent effect on litterbugs around the world. The intentional humor is being confused with unintentional humor, giving the film a bad reputation. Yes, there is bad acting present and occasionally dense line reading. But In the end, M. Night Shyamalan makes the ordinary extraordinary and does so with what seems like a new approach by adding comic relief to his signature style. I see a lot of talent behind this young filmmaker and his recovery from the embarrassing “Lady in the Water” exceeded my expectations by a landslide. I can now say with complete confidence that I am waiting for his next idea to be scripted, only hoping that it will be just as enjoyable as this one. 3.5/5 stars

 Written by Derek Fleek at www.popcornmonsters.com

“The Hammer” stars Adam Carolla, Oswaldo Castillo, Harold House Moore, and Heather Juergensen. The story was written by Adam Carolla himself and it’s directed by Charles Herman-Wurmfeld (Legally Blond 2: Red, White & Blonde).

Jerry Ferro (Adam Carolla) is a washed-up boxer who becomes drained of all motives when he losses his job and girlfriend on his 40th Birthday. But when training at the gym to relieve some of his stress, a professional boxing trainer notices his “Heavy Left” and thinks he would be perfect as a sparring partner for his best boxer Robert Brown (Harold House Moore).

The story line is simple and everything works effortlessly thanks to Adam Carolla’s clean and pastroal approach. This has very appropriate line of likable characters, some intelligently vibrant humor, and a surprisingly touching story with an unusually big heart. What makes the film work so well is the fitting cast, especially Jerry’s room-mate Oswaldo’s mispronounced words that are sure to bring the laughs. It might not be oscar worthy or even a classic, but it is a hidden gem that I would consider a must-see for its intellect and irresistible glee.

The camera work might be a little sketchy during the scenes of brisk dialog, but the boxing scenes are shot with skill and you have Adam Carolla to stitch everything up. This film explores many areas of melodrama (including friendship and romance), enhancing the effectiveness of the film and guides it to the heartfelt conclusion that is sure to bring a tremendous amount of chi to its viewers. It’s a sports comedy that stands on its own level of greatness. Something unworthy of its R-rating and deserves a wider audience, considering its strong messages and unsoiled brand of humor.

Never too violent and consistently funny, its appropriate style is something to be cherished. Proof that comedies don’t have to resort to potty drollery or the occasional vulgarity that is overloading Hollywood’s sense of humor. This just might be the most influential comedy in years and I say that with extreme confidence. A seemingly effortless attempt at making us laugh and still succeeds in doing so. This is an amazing feat. 4.5/5 stars

Written by Derek Fleek at www.popcornmonsters.com

“Kung Fu Panda” stars Jack Black, Dustin Hauffman, Angelina Jolie, Jackie Chan, Ian McShane, Seth Rogen, Lucy Liu, and David Cross. It’s directed by Mark Osborne and Glenn Berger.

Po the Panda (Jack Black) is a shiftless and bovine character who’s dream is to become a kung fu master. Although he has an eating problem and seems like the most unlikely being to become “The Dragon Warrior”, he is picked by a wise turtle named Oogway. This leads Po the Panda on his quest to fulfill his dream and possibly learn how to like himself.

The wonderful background colors congruent to Chinese paintings, vivid characters with exuberant personalities, and the focused animation lead me to believe that this is the best animated film I have seen in a couple of years. Jack Black, the clown of epic proportions, shines with his cardinal charisma and extravagant voice. The rest of the cast have such an inobtrusive yet reigning approach to their characters, that their voices are nearly unrecognizable.

Like every other animated film, the story is familiar and has that moral that is either touching or insipid depending on ones point of view. Not to mention the ending is predictable. But these are things that only cynics will dwell on and kids wont even heed these problems. It has some of the best fist-to-fist action I have seen in a while and tops it off with consistent humor from the cumbersome Panda Po. Adults will laugh and the kids will be ecstatic leaving the theater. The top-notch 2D animation at the beginning of the film is impressive and the 3D animation is just as potent.

“Kung Fu Panda” is sure to be nominated for best animated picture of the year. This is more of a homage to great karate flicks like “The Karate Kid” rather than being a cliché. A tribute rather than a trite expression. This lovable and adorable Panda might spawn a sequel and become the next big animated trilogy and I wouldn’t be surprised one bit. 4.5/5 stars

Written by Derek Fleek at www.popcornmonsters.com, where you get compensated for your reviews.

“You Don’t Mess With the Zohan” stars Adam Sandler, Emmanuelle Chriqui, John Turturro, and co-stars Nick Swardson and Rob Schneider. It’s directed by Dennis Dugan (Happy Gilmore, I Now Pronounce You Chuck and Larry), and written by Adam Sandler, Robert Smigel, and Judd Apatow.

An Israeli counter-terrorist who genuinely goes by The Zohan (Adam Sandler) fakes his death in order to fulfill his dream to “make the world silky smooth”. He becomes Scrappy Coco, a sex-craved hairstylist who attracts women of all age. But once his identity is discovered, he is determined not to fall back into the world of crime and destruction.

The Zohan is certainly a funny character, performing crass antics and displaying his bulging bottom-half to the elderly. These characteristics that make up the outrageous individual seem to be the funniest moments in his latest film. The aiding cast is composed of lifeless characters with unfunny lines pertaining to goats and neosporin. I think that there might have been initial awkwardness between Judd Apatow and Adam Sandler, being that this is their first time making a film together.

Adam Sandler needed a more subordinate supporting cast in this one. Every scene absent of his protuberant crotch and disco movements relied on some sort of humorous line-reading from a corroborative cast, all of which fell flat. These barren jokes don’t go as well as they were intended to and become repetitive and tired. The Zohan character is a romp and adds to Sandler’s line of “funny” characters, but one funny character can’t save the entirety of a film. Earning a very mature PG-13 rating for the outrageously crude humor, this is one that you steer your children far from and tend to a more family friendly outing.

Unlike Adam Sandler’s previous work, this one lacks even the smallest of heart. This might be the result of the collaboration of Apatow and Sandler. If so, lets hope their next attempt at synergy will be more pleasing than this one. Not to say that I didn’t enjoy myself, I was just expecting more from the SNL affiliate who created Canteen Boy and Opera Man. The accent, the antics, and the look of Zohan assist this one-schtick comedy, saving it from being the first unfunny Sandler guided film and making it an addition to the sporadically funny Sandler guided films. 2.5/5 stars

 Written by Derek Fleek at www.popcornmonsters.com

“Invisible Target” stars Nicholas Tse (The Promise), Jaycee Chan (Son of Jackie Chan), Shawn Yue (Internal Affairs), and Jacky Wu Jing (Kill Zone). It’s written, produced, and directed by Benny Chan.

After an armored car is robbed of millions in American money by a lethal mercenary gang, an apostate cop, an adolescent officer of the law, and an experienced detective must join hands in taking down the group of outlaws for both justice and revenge.

This martial arts flick is very reminiscent to every kung fu picture I have seen, making this about as derivative as you can get. Every fight scene is very familiar, dishing out the usual flips, kicks and karate chops that duplicate previous scenes explored in the film. There is more explosions and glass shattering than there is hand-to-hand fight scenes. It’s just becomes loud and blaring rather than being the hardcore martial arts film it set out to be.

The stunt work was admirable and realistic most of the time, but it is hard to concentrate when your head is spinning in confusion. The storyline is convoluted with subplots and so many incoherent characters, that it ends up being much too perplexed to follow. As for Jaycee Chan, he turns out to be one of the worst fighters in the film, getting his butt-kicked more than he kicked-butt. With a limited amount of dialog and more fist-to-fist action, this would’ve been a much shorter and more palatable attempt at pleasing the target audience.

I really wanted to enjoy the film, but it’s never really able to kick its way out of being a cliche-ridden kung fu flick. The leaps from story-high buildings and the fist fights are rousing, but become weighed down with too much filler. It’s like pieces of the script were thrown up into the air and where they land they stay. A scattered mess created in the matter of hitting its fan base with a diligent DVD cover. 1.5/5 stars

 Written by: Derek Fleek

DVD available in prize catalog at www.popcornmonsters.com for 2000 pts or 20 reviews.

“Rogue” stars Radha Mitchell, Michael Vartan, and Sam Worthington. It’s written and directed by Greg Mclean, who’s previous work was the well received and much appreciated Wolf Creek.

While on a wildlife tour, a group of tourists become the next victims of the always hungry crocodile. After crashing the tour boat on a small mud island, the group must find a way off this island before the tide reaches critical level and they all become this prehistoric beast’s next meal.

Affirming that this is a better killer croc flick than “Primeval” might not be saying much, but it will inspire fans of that film to give this one a deserved look. It does have some intense scenes (i.e. the rope crossing scene) but the film can’t overcome the batch uninteresting characters, the slow beginning composed of the diluted character development, and a grand finale that doesn’t quite satisfy. It takes so long for something to happen, one might be drained of all patience waiting for an attack.

Being a fan of “Lake Placid”, I will have to say that this wasn’t the greatest killer croc flick I have seen. “Lake Placid” was a fun movie because of it’s great cast and likable characters (very important for horror flicks), proving that a movie doesn’t have to be great or even scary to be a more entertaining experience. However, there are a couple of scenes with very impressive electronic puppetry and lifelike CGI work that I will certainly acknowledge and not once was acting a problem. But these characters are so one dimensional that even good performers couldn’t pry out any form of charisma.

Never once is this film dumbed-down by any witless humor, which helps the film maintain its intensity during scenes of peril. These are the scenes I enjoyed the most, although I was losing patience waiting for them. Only one character had a small amount of personality and it isn’t long before he meets his fate. Hardcore fans of horror movies can’t possibly overlook the flaws, but will appreciate the top-notch special effects laid out for an eyebrow-raising and jaw-dropping experience.

“Drive Thru” stars a handful of unknowns including Leighton Meester, Nicholas D’Agosto, and Van De La Plante. It’s written and directed by newby Brendan Cowles and Shane Kuhn (writer/director of Rednecks).

A beautiful young teen named Mackenzie (Leighton Meester) becomes the ensued victim of a deranged clown. This killer clown is determined to get revenge for being killed on his eighteenth birthday by Mackenzie’s mother. Now the killer clown must kill Orange County teens while waiting for Mackenzie to reach her eighteenth birthday to do what he does best.

All you need is a glimpse at the first five minutes of the film to get the drift that this has as much brains as every other killer clown movie. But, what the film lacks in brains it almost makes up for in gooey gore, campy humor, a cute lead, and one helluva killer clown. I have no problem admitting that the dialog is dated, the story is silly, and the film isn’t entirely memorable. It is simply a film not to be taken seriously. If you take this film seriously to even the smallest extent, every flaw will stand-out and dwell in memory. But if you tune into the mood for this kind of stuff, these flaws wont matter as much.

In a film of this type with a concept this daft, one would expect full-on gore, half-baked one-liners, and bad acting. The gore is certainly there and the sleazy one-liners are as present as can be, I had a hard time scoping out “bad” performances. The main actress does become drained of her acting skills that were surprisingly convincing near the end, but she still held her ground and never displayed what I would call bad acting.

I can’t quite go as far as recommending it, but that doesn’t mean I didn’t enjoy myself for the most part. The kills are repugnant (this is a good thing) and the crowd-pleasing ending are the film’s most redeemable qualities. While it is a long shot, “Drive Thru” has a very minimal chance of gaining a fan base. Mind you this chance is minimal.

“The Signal” stars AJ Bowen, Anessa Ramsey, Justin Welborn, and Scott Poythress. It’s directed by first-time director David Bruckner and amateur director Dan Bush (A Day in the Life, Goodbye Day).

A signal is contaminating the minds of normal people extracting rage, paranoia and personality change. The story, told in increments of three revolve, around a unfaithful woman (Anessa Ramsey) and her desperate attempt to remain alone and trust nobody, a jealous man (AJ Bowen) determined to find his infidel wife, and two men (Justin Welborn and Scott Poythress) who try find a way of escaping a seemingly terminus signal.

The opening scene of the film gives the impression that this just might be a throwback to 80’s horror films, but it quickly descends into a chilling modern day horror flick. A good thing when done properly and this film certainly delivers the blood-drenched candy every horror fanatic is aching for. There are times when the dialog has an awkward feel to it, particularly at the beginning during the conversation pertaining to an unfaithful marriage. This all plays out well considering this should be an unwieldy experience between these two characters. While the third and final increment is indeed where the film loses steam, I still enjoyed every savage bash to the head and every perricidal attack the film had to offer.

I do have enough bravura to say that this has some of the most harrowing, disturbing, and downright frightening scenes in a apocalyptic horror flick I have seen in near decades. Unlike most widespread disaster films, this one interprets individual survival rather than relying on sticking together to fend of the “crazy people”. However, the film loses a hefty amount of terror when it tries to blend comedy with horror. All of this is very a unnecessary attempt, concluding that is a very well orchestrated horror flick with humor as flat as it is unwanted.

The film worked better as a fright fest than when it spontaneously threw in some discouraging humor. On the plus side, the brutal attacks are unexpected, well-shot, and most of all drenched with blood. Don’t let the humor and that uninspired twist at the end spoil all the goods beforehand. It could’ve had a wide release and would’ve surpassed most recent wide release horror flicks including “P2″, “Prom Night”, and “Pulse”. This is nothing to be ashamed about and deserves a mildly high recommendation with the possibility of it gaining a cult status. 

“They Live” stars wrestler turned actor Roddy Piper, Keith David, and Meg Foster. It’s directed by John Carpenter (Halloween, Christine) who adapted this concept from the short story written by Ray Nelson titled “Eight O’Clock in the Morning”.

A quite loner named Nada discovers that most of the world is inhabited by aliens in the form of humans. These aliens can only be seen through a special pair of sunglasses that Nada discovers in a warehouse. Not only is Nada is able to tell aliens from humans, but these sunglasses reveal subliminal messages in billboards and magazines.

With such a dilatory approach, this film suddenly rushes into a series of beat downs and gunfire for no apparent reason. This part (although admittedly confusing) gives viewers a kind of feel for how the low-class society is treated in not obeyed by higher authority. It might not be scary but it does have creepy black and white imagery that adds furor and a kind of unique vibe. Although this isn’t John Carpenter’s best work, it definitely gains my approval by adding some tasteful one-liners, a few humorous gestures, and an ending that touches the sensitive part of my funny bone.

The acting might not be great, but it is never subliminal. You might catch Roddy Piper and Keith David biting their tongue in an effort not to laugh during shooting, making this film obviously not one for the cynics. Aside from a poorly rendered and needlessly overlong fist-fight and unanswered questions, this is definitely my type of film. The intriguing concept, political references, and broad humor lead to a more entertaining take on alien invasion. The casting was a gamble. Keith David might have overacted every so often and Rowdy Piper isn’t a crowned actor of any sort, but the film still worked in its own subversive manner.

If you enjoy the occasional goofy one-liner thrown into the mix along with some stimulating ideas, you shouldn’t be disappointed. Some of the scenes are prolonged and not exactly something needed to make it enjoyable. These just a few minor gray spots the film holds. In the long run, it was made to do one thing. Kick ass and chew bubblegum…and it’s all out of bubblegum.

 ”Numb” stars Mathew Perry, Mary Steenburgen, Kevin Pollak, and Lynn Collins. It’s written and directed by Harris Goldberg (Deuce Bigalo: Male Gigolo, The Master Of Disguise).

After multiple puffs of marijuana possibly triggers a rare illness, Hudson Milbank (Mathew Perry) has the problem of distinguishing reality from the illusive. This illness is known as depersonalization disorder. He is referred to multiple therapists, but nothing seems to make him feel at least close to being ok except the woman of his dreams.

After witnessing the horribly indited trailer, I wasn’t too anticipated about seeing it. However, the script was astonishingly honest, intelligent and funny. Mathew Perry gives a phenomenal performance as a man on the verge of a nervous breakdown. The awkward tone present is equivalent to Hudson’s illness, giving you true profundity on how this character feels. Some might think that the quirks embraced by each therapist Hudson encounters are exaggerated. Don’t confuse this with fabrication. This is dead-on portrait of reality and a stunning look at how one man tries to cope with a confusing illness.

Writer and Director Harris Goldberg shows off his intelligent side after writing a series of silly and mindless comedies including the poorly judged 2004 comedy “Without a Paddle”. Lynn Collins and Mathew Perry have great chemistry together and the characters are very likable, even if each have their own defects (Who doesn’t?). What stands out the most is Mathew Perry’s candid act and the incisively written script that actually demonstrates truth. It’s delightful, tragic, insightful, and originally funny in its own dark and twisted way. I want nothing other than for everyone to see this film.

Every laugh is unexpected and the approach is an awkward, yet appropriate one considering the lifestyle this contrite character unwillingly lives. An overlooked gem that most should acknowledge for its peerless story and fitful performance by Mathew Perry. Something dark, yet so beautiful in its own willful way. Something new.

“Indiana Jones and the Kingdom of the Crystal Skull” stars Harrison Ford, Shia LaBeouf, Karen Allen, Cate Blanchett, Ray Winstone, and John Hurt. It’s directed by Steven Spielberg (Jurassic Park, Jaws) and based on the story written by George Lucas (Star Wars).

Harrison Ford reprises his role as the whip-cracking archaeologist and part-time teacher Dr. Henry “Indiana” Jones in another epic adventure across the world, closely following history along the way. Legend has it that the crystal skull holds unspeakable powers and if reunited with the other twelve crystal skulls, these powers will be unleashed. Captured by an army of Russians in search of the crystal skull, Indy must keep this sacred item from the wrong hands and reunite it with the twelve other skulls.

Harrison Ford’s acting improved from “The Last Crusade” greatly, never overacting and recapturing the true Indiana Jones for the first time in 24 years. Cate Blanchett gives a commanding performance as the villain usually played by a male. Her performance isn’t anything special, but it was decent and worked well for the film. Indy’s new rad-tad sidekick, played by young actor Shia LeBeouf, was surprisingly professional. I was expecting him to be the comic relief of the film. Instead, the comic relief was actor Ray Winstone’s character who sneaks in a couple quips worthy of giggles. Karen Allan returns in a role that doesn’t quite give her much to work with but is a welcome return none-the-less.

This very pleasant entry in the Indiana Jones series recaptures the spirit of “Raiders of the Lost Arc”, the non-stop action that came with “The Temple of Doom”, and a pinch of the humor without the unnecessary slapstick that was present in “The Last Crusade”. This is the perfect adventure film with everything from greed, deception, and surprises to scorpions, swashbuckling, and of course snakes.

The fourth entry into the fan craved series is sure to be Oscar nominated for special effects, set design, sound, and music. The only complaint that I have is Indiana Jones rarely cracks his famous whip and the score isn’t as powerful as “Raiders of the Lost Arc”. The non-stop action scenes were shot with style and grace. In fact, the action was so around-the-clock and spectacular, when the film slowed down to explain important plot points I was somewhat bored. The antics performed here are much more amusing than any found in “The Last Crusade”, which I would consider to be the dud in the series. The spirit is back along with the thrills, fun and edge-of-your-seat entertainment everyone was longing for from the return of Director Steven Speilberg’s beloved character Indiana Jones.

“Diva” stars Wilhelmenia Fernandez, Frederic Andrei, Richard Bohringer, and Thuy An Luu. It features the directorial debut of Jean-Jacques Beineix, who took this story from a novel written by Daniel Odier.

After a postal man named Jules (Frederic Andrei) illegally tapes the concert of his favorite Opera singer (Wilhelmenia Fernandez), he is soon being chased by Taiwanese bootleggers who are after the tape. Making matters even worse, a call girl slips another tape into his bag containing evidence that incriminates a police chief. Now he must keep the tapes safe while struggling to stay alive.

Let me start by warning the illiterate, or just plain lazy people, that this is subtitled. The stylishly conducted score, the unique and somewhat cluttered storyline, and the fashionable atmosphere helped this film gain its acclaimed cult status. The camera is in good hands (lets not forget it won awards for cinematography), but the scenery is murky and gloomy the majority of the time giving the film an unclean look. There are some obvious flaws on the editors part, including an prolonged scene relating to detailed instructions on how to spread butter. Scenes like this could have hit the cutting room floor.

It’s certainly not a bad film, just one I couldn’t quite get into and had trouble following the multiple subplots thrown into the mix. Many of these subplots seemed meaningless. This is the type of film that has a 90 minute story stretched out to 117 minutes, resulting in a crawl to the last frame. The movie also never has a steady pace, leading to a fragmented plot and hard-to-follow storyline. I really wanted to like this film, I am just having a hard time expressing any true praise for it.

“Diva” contains too much dialog and not enough action sequences too keep viewers on their toes. The result is a film I can’t recommend for tasteful purposes, but I still don’t have the guts to divert any true movie buff from experiencing an acclaimed cult thriller such as this one. Although there is a great deal of beauty to be found in the French language and the high pitched tone of an opera singer, the whole experience felt like an effort rather than a pleasure.