Bubble
Directed By: Steven Soderbergh
Starring: Debbie Doebereiner / Dustin James Ashley / Misty Wilkins
Rating:

Firstly, am I the only that constantly confuses Steven oderbergh with David Cronenberg? (At least I can spell their names properly) And secondly, the only Soderbergh films that I have seen previously are the Ocean’s films, Traffic, and The Good German (which I didn’t care for). I can see now that I definitely need to explore more of his earlier work. It’s not all George Clooney and heists.

I randomly picked up Bubble at the library a few days, thinking it was from the director of Eastern Promises and A History of Violence. With that in mind, I really wasn’t expecting the style of the film. About 20 minutes into it, I had to check the director on IMDb.

It’s quite an unusual film, more in the style of the Dogme 95 movement than anything else. I learned afterwards that the three main actors hadn’t acted before and the scrpt was improvised. This definitely makes sense, and I thought that it worked out very well. Everything about the film felt real and not forced. I was especially impressed with the subtelty.

There’s an alternate ending on the DVD, which personally I didn’t care for. I’m very glad that they didn’t use it, as it completely ruins the realistic quality of Bubble. I vastly prefer the ending that I did see. Everything isn’t wrapped up in a nice narrative box. There’s a lot to think about in terms of the characters and their motivations, and especially varying degrees of conflict. And of course, toss a little religion into the mix.

Bubble could almost be qualified as a short film, clocking in at 73 minutes. For me the length was perfect. With a film like this that doesn’t rely havily on professional actors and a developed script, I’m not sure how it would have fared with another half hour or so. The story was concise and intriguing.

I’m not going to summarize the film. I’d rather just recommend that you get a copy and watch it.

The above author's byline must be attached to the work if being distributed.

Looking for a romantic comedy that appeals to a broad audience; a film that never goes overboard with stereotypes and profanity? Outsourced just might be the perfect movie for you. The DVD is set to be released on September 2, 2008.

Todd Anderson (John Hamilton) is living a fine life until he receives the bad news that his job has been outsourced, meaning that the company is to send out work to an outside provider in order to cut costs. Even worse is the fact that Todd must travel to India to train his replacement. There he learns about the history of India, the cultural dos and don’ts, and finds true love along the way.

Outsourced is an exotic charmer filled with endearing characters and genuinely funny moments, a film that doesn’t rush into the romance and is never mawkish or overly sentimental. It perfectly mixes charm and humor with some truly fascinating insights on Indian culture mixed in. I was surprised that this film had so much to say about India. Although the majority of these things seem, well, unsanitary, the film also has some interesting lessons pertaining to Indian goddesses and bindis.

It stamped a smile on my face from beginning to end by using relatable incidents similar to those one might encounter while spending time in a country with a non-western culture. There are certain rules you must follow. Eating the right foods is a must (as this film so humorously demonstrates) and is quite possibly the most important rule upon further examination of the film.

The acting was also a pleasant surprise. The cast, both American and Indian, fit the roles perfectly and show some acting skills along with sharp comedic timing. John Hamilton’s Todd Anderson reacts exactly as one would when encountering a cow in his office and Ayesha Dharker’s Asha has moments that are touching. The mishaps that Todd encounters and finds solutions to are quite funny and the relationship between Todd and Asha is remarkably honest. The two have great chemistry.

Outsourced is a clever, sweet, and surprisingly hilarious movie that uses lighthearted humor and charm to win over just about anyone in need of a carefree movie experience. The combination of likable characters, modest humor, and a cute love story make for a purely enjoyable romantic comedy. With more comedy than romance, the film easily overcomes being predicable and cliched. Director John Jeffcoat has a fondness for his characters and simply guides them in the right direction every step of the way. Not only is it a hugely enjoyable film, but also a beautifully rendered love story.

The DVD’s special features include “Behind the Scenes”, a music video, an audio commentary track, an interview with director John Jeffcoat, a theatrical trailer, and a storyboard feature. 4.5/5 stars

The above author's byline must be attached to the work if being distributed.

Fool’s Gold was directed by Andy Tennant and stars Matthew “No Shirt” McConaughey and Kate Hudson, along with support from the likes of Donald Sutherland. There are other recognizable faces, but really if I were in this movie I’d want my name wiped off it.

The plot: A newly divorced couple that may still be in love with each other bicker as they hunt for treasure, seeking to get the gold before a local rapper/gangster does and kills them.

The premise sounds great for a mindless romantic action comedy. Indeed there are some decent set pieces, but strung together the entire movie sinks. If I had not read the synopsis on the back of the DVD case I wouldn’t of had a clue what was going on in the first section of the movie. Why? Muddled and horrible dialog mixed with poor acting: the actors all mumble! This is meant to be a comedy and the punch -lines and one-liner moments all fall to lame and obvious meaning: the funny of lacking.

Who do I blame for this movie being a stinker? Everyone involved from the start to the finish: bad acting, directing, writing: the whole nine. Logic doesn’t need to work in the world of movies, but sometimes things just get so stupid you cannot help but want to bust your televisions screen from annoyance. Fool’s Gold is FILLED TO THE BRIM with logical errors, pandering to the assumption that most of its viewers are morons. In the beginning sequences of the flick a boat catches fire, burns, and explodes! It sinks to the bottom of the ocean, where it is magically still intact and McConaughey swims into it to retrieve a picture. Wow, that must have been one hell of a camera for it to have survived the explosion! Next thing I will point out is when McConaughey is tossed to the bottom of the ocean with an anchor toed around his legs. The director makes sure to show you they have driven him out into the middle of nowhere, no land as far as the eye can see. M.C. drops into the watery grave, all the way to the ocean floor; yep, hits bottom. Then he shoots the chain off of his legs and swims back to the surface. How deep is this ocean? Look at that, it went and made me swear.

Fool’s Gold lacks any gold, just fools.

Stupid.

The above author's byline must be attached to the work if being distributed.

Kevin Smith’s original Clerks is now considered a cult classic and gave the idea that anyone with a handheld camera could make a movie. Clerks was well acted, smart, and just straight out hilarious. The sequel not only keeps many of these elements that worked so well in Clerks but in some cases actually improves on them. The film reunites Brian O Halloran and Jeff Anderson who played Dante and Randal in the first film and their still on top of their game here in this film.

The movie starts off with the fames Quick Stop burning down leaving Dante and Randal at the end of an era which Dante remembers as the worst of his life and Randal as his best. The film then cuts to around a year later and we find out that the two are now working at Mooby’s, a fast food restaurant, and it is Dante’ very last day in New Jersey since he is moving to Florida to get married to his fiancée who is played by Jennifer Smith. We are then introduced to Mooby’s owner played by Rosario Dawson, their impossibly geeky co worker Elias played by Trevor Fehrman, and of course the immortal Jay and Silent Bob played by Jason Mewes and director Kevin Smith.

Now this sequel was completely unnecessary seeing as how the first one ended perfectly, and we knew everything that we needed to know, but thankfully Kevin Smith does us right with this movie and gives us an interesting believable story that still makes us care for these characters which we haven’t seen in twelve years. Kevin Smith direction truly shines here in which he is able to give us a movie with a musical number, references to racism, sexual activities, lord of the ring and star wars debates, and even a damn donkey show. I may be wrong but I can’t think of another director who could pull that off and have me laughing for almost the entire runtime.

There’s not really much else to say about this movie. The story is tightly written and incredibly creative, the acting isn’t great but it fits well with the movie, and while it takes us back and forth from random jokes that are drop dead hilarious the movie never loses it’s main focus on it being Dante’s last day and Randal wanting to do something special for him. It’s even so perfectly executed later on in the movie when Dante and Randal are in a jail cell that they finally reveal what they’re feeling. It’s an enclosed space and it’s sort of the perfect setting for the revelation, there’s no where for either of them to run to or hide.   All of this in only around 95 minutes makes up for one of my favorite comedies of the past decade and I give it a well deserved 4/5.

The above author's byline must be attached to the work if being distributed.

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

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

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

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

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

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

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

The above author's byline must be attached to the work if being distributed.

In many ways this following review is unlike any I’ve ever written before. For many years now I have considered myself an avid film enthusiast and pride myself in having seen some of the greatest cinematic achievements that have ever graced our planet. However, I recently found myself trying to once and for all clear up my mind and make my decision on what I believed was the best film company that had ever existed. Immediately large corporations such as Paramount and Universal came to mind, but while they had enormous shining gems within their basket I found that I had to think through heaps of what can sometimes be considered complete garbage before I found them. Such is not the case though with the wonderful minds at Pixar. Since 1995 when they made their first feature film in complete computer animation Toy Story, Pixar has enchanted the minds of movie goers of all ages with each new release. From Monster’s Inc. to Finding Nemo, Pixar has been living the high life no doubt as one of the most successful companies in the world right now. They have made a total of eight films and all have dazzled both critically and commercially, however it was thought highly improbable that they could keep this winning streak up forever. They came close to breaking their incredible record with the movie Cars and this year they have released a small film by the name Wall E.

Wall E follows the life of a small robot that was left on Earth for the purpose of solving the planet’s garbage problem; a problem that had gotten so big that humans have had to leave the Earth and are now flying in a ship in space as their home. Wall E is the last remaining robot of the cleaning crew and we know this because we are shown several other Wall Es broken down amongst the heaps of garbage that now cover the Earth. After 700 years of cleaning with nothing but a small cockroach by his side a spaceship arrives on Earth and deploys another small little robot that Wall E grows incredibly fond of. Further discussion surrounding the movie’s plot could ruin the very essence of the experience for you so I will speak of it no more. I will leave the plot to be discovered by your very own eyes as you marvel at the incredible creation that is happening before your eyes while you sit in the theaters.

The movie, as all previous Pixar movies have been, looks incredible and amazingly detailed. This is animation that not even Walt Disney himself could have imagined, and animation that I doubt any other company could ever achieve. The movie is gorgeous and the character design as well is flawless. Wall E fits perfectly in our minds as a retro robot especially when beside the obviously futuristic technology that is Eve, the robot scout. The movie has very little dialogue, with I’m sure no more than ten minutes worth of actual vocals in the entire movie, and yet we learn so much about the characters through their actions and we care for them more in this way. Adding actual dialogue in between the romance of Wall E and Eve would have completely broken the marvelous wonder that was the barrier in between their communications.

With hardly any dialogue and being all visual one would most likely expect the movie to be a slow paced movie that doesn’t really go anywhere and while it’s true that the movie doesn’t always rush itself, the first forty five minutes of the film before we get to outer space truly qualifies, I believe, as some of the best work Pixar has done. They created a post apocalyptic type Earth so incredibly that I Am Legend’s opening sequences seemed laughable at in some ways.

However, while being a G rated film, the movie does have its dark undertones. It serves its purpose well as a film that’s telling the story of a young robot but it also chilled me to my very core to see a very realistic portrayal of what could very be our nearby future. I won’t spoil anymore but when you see it with your own eyes you will feel it in your gut. The movie hardly goes into an environmental or preachy tone but strikes a balance so perfectly that you may sometimes hardly even notice that it is trying to send the world a message and it does this so well without ever diverting from the story. What helps the dark undertone even more is the incredible score composed by Thomas Newman. At the beginning of the film as we see Wall E from a distance walking through the vacant garbage infested Earth I was feeling millions of emotions flowing through me as the music entered my ears. The emotions ranged from intrigue and anticipation to depression and fear. If even for those few opening scenes, the movie easily deserves an Oscar nod for its deliciously emotional score.

Usually I find myself basking in the negatives of a movie, blaringly and sometimes hurtfully pointing out every single flaw while occasionally hinting at some good, but in this rare case I find myself having no complaints. I have finally found a movie that I can name no faults in. Is this the greatest movie Pixar has ever made? Possibly. Is it the greatest animated movie? It could be. One thing is certain though, with Nine incredible movies Pixar has certainly earned it’s title as the greatest Film Company ever, and I don’t expect it to be giving up it’s title in my mind any time soon.

The above author's byline must be attached to the work if being distributed.

American Teen
Directed By: Nanette Burstein
American Teen, the latest documentary from Nanette Burstein (The Kid Stays in the Pictures / On the Ropes) is equally fascinating and moving. It follows the senior year of four High School students in Warsaw, Indiana. Burstein and her crew chronicle the lives of the students closely, capturing rare moments of beauty, truth, and doubt.

Although I really liked the film, it took me a while to get into it. It starts on their first day of school, and when we’re first introduced to the main subjects, they seem cliché. You have the basketball jock (Colin Clemens), the popular girl (Megan Krizmanich), the artistic, liberal girl (Hannah Bailey), and the self-professed nerd (Jake Tusing). I’m watching a documentary about High School and they’re focusing on stereotypical teens? Great. After a while, however, I realized that there’s so much more to these people than meets the eye.

Along those lines, I was interested in Colin Clemens’ story, especially with regards to his father. His father is very up-front about the fact that he can’t afford to put Colin through college after he graduates from High School. He basically says that he has two options. The first is to get a scholarship from basketball, and the second is to join the Army. You’d expect Colin’s father to be overbearing, pushing Colin to do well in basketball, but he isn’t. I was impressed with the love he showed throughout the film. It was very uplifting and genuine.

As a documentary, it is indeed quite an impressive undertaking. I heard that they ended up filming over 1,000 hours of footage over a 10-month period of time. Nanette Burstein said in an interview that they had other subjects, but due to different problems, etc. they ended up with only four. I think it worked out well in the end. I’m not sure if I could have handled watching a documentary involving that many people. I felt like I knew each person individually by the end of the film and felt sorry to see them go.

At times it seemed like Burstein was waiting for the fantastic to occur, to be ready to capture it on film. When those moments do come, they really are awesome and penetrating. There are moments when I felt embarrassed, as if I were reading a friend’s diary or personal letter. In those moments, the façade is pulled back and you see glimpses of real people in real life situations.  Those moments helped quell my questions about how aware they are of the cameras recording their every move. I’m sure some of what was on-screen was a show, but underneath it all they seem very honest and open.

The film is largely made up of filmed instances in their lives, b-roll of their surroundings, and interviews with each individual. Sometimes scenes of computer animation, which I didn’t think worked, would accompany these interviews. I thought that they successfully helped to convey visually what each person was talking about, but it really took me out of the experience of watching a film.

This film reminded me of “7-Up”, an on-going series by Michael Apted. Starting in 1964, they documented the lives of seven-year-old British students from differing backgrounds and asked them what they thought about government, their future, etc. They have continued to get together with the same subjects every seven years. The last segment, 49-Up, was release in 2005. Both “7-Up” and American Teen show us different economic perspectives and backgrounds.

American Teen is a great fly-on-the-wall experience. Looking at the different lives of these students I see parts of myself in each one of them. There’s a lot to learn from observing others; the decisions they make and the ones they don’t.

I hope Nanette Burstein takes note of Michael Apted and decides to do a follow-up to American Teen several years from now. That would be fascinating.

(American Teen will be released in theaters on July 25 in the United States)

The above author's byline must be attached to the work if being distributed.

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 above author's byline must be attached to the work if being distributed.

“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

The above author's byline must be attached to the work if being distributed.

I should first start off by saying that I’ve only seen one full episode of Sex in the City and that was the very first episode. Other then that I have seen bits and pieces of different episodes here and there. From what I have seen from the show itself I don’t really care for it. But that is to say that I was only twelve when the show first appeared on HBO. And even though that I am older now and fully well understand the plots and characters I still have no interest like when I was twelve.

Carrie (Sarah Jessica Parker) and the rest of her gang have all returned for a full screen adaptation of the highly successful HBO series. Starting off right where the series left (I’m guessing?) Carrie and Mr. Big decide to take the plunge by moving in together, and maybe even getting hitched? All the other girls seem to have their own problems going on as well but they more so swirl around Carrie and all the drama that seems to follow with her and Mr. Big. (This is all I’m going to give cause I don’t really know how much people want to know of the plot.)

I have no doubt in my mind that Sex in the City fans are probably loving this movie and have been waiting a long time for it to come out. On the other hand people who aren’t fans and have never watched the show (like me) most likely will not really care at all. It wasn’t really hard to understand the storyline, it wasn’t like you had to see every single tv episode to fully get everything. But I’m sure there are a few tidbits hidden in there just for the fans to truly understand. And in the end it seemed like each character’s story is tied up that fans will be pleased.

But the thing about the storyline for me was as if it was an alternative ending for the very last season that they decided to ditch. In my mind it was just one giant 2hour long series ender. They could have just had this as a special on HBO instead of putting it as a theatrical release. But then again money making was probably the real reason for it every getting made in the first place. And the humor that they put into the movie really just fell flat on its face with me. It wasn’t like it was really funny quick witted humor, more so like potty humor which was really surprising for this type of movie. Did they even have potty jokes on the show?

I really don’t see the appeal of any of these women or the reality of the show itself. Why would anybody want to watch a show about four self centered women who fuss about not finding Mr. Right and spending hundreds of dollars on over priced clothing? Did I also mention a hint of sexist as well. I’m sure that all of those things that I list were probably reasons that got people to watch the show in the first place. I can’t stand people like that in real life (and I know you are out there) let alone a  tv show or movie. The reason they can’t find “the one” is that no real good guy out there in their right mind would ever want to date one of these women. That is unless they are just as much into themselves or they just want you for your money.

In the end I didn’t really care one way about this movie, and I’m sure the writers and makers of the film don’t care either. This movie was made for the fans of the show or to get people interested in the show and to check out the dvds. And thats all that really matters. Its one last final love letter to all those who had watch and prayed for a Sex in the City movie to make its way to the theater. From what I have heard from the fans opinion it doesn’t disappoint and it great. So all I can say is that if you are a real fan of the series you wouldn’t want to miss this at all. If you’ve never see the series then I would just forget about it cause this movie wasn’t made for you. It you happen to get curious about it later down the line watch one or two original episodes then check it out once it comes on dvd.

The above author's byline must be attached to the work if being distributed.

“Is that the only word you know? ‘No?’…No! No! No! Over and over! When you keep saying “No!” it just makes me so… Sometimes you make me so!… angry,” screams a now disenchanted Giselle (Amy Adams) at overly serious, single dad Robert (Patrick Dempsey), and then she proceeds to giggle at the prospect of being so angry, an emotion she’s never experienced before. A whole new world is opening up for her, and we the audience are meant to be happy for her, and we are…but we’re also a little sad.

In “Enchanted”, Disney finally answers the question, “What would happen if cartoon characters from a Disney movie came to our world?” Okay, yes, to be fair, I’m not sure too many people actually asked the question, but never-the-less, Director Kevin Lima brings us the answers in the form of a marvelous fairy-tale come true. In the films brilliantly animated opening scene, we’re introduced to Giselle, a lonely and longing cliche Disney Princess, singing to the heavens (and forest animals) about “True Love’s Kiss.” It seems her destiny is to marry Prince Edward (James Marsden), but the evil Queen Narissa (Susan Sarandon) and her witless henchmen, Nathaniel (Timothy Spall), have been purposefully keeping the two young would-be lovers apart to insure Narissa stays on the throne of the fairytale kingdom of Andalasia. After Edward and Giselle do find one another (in a moment too priceless to spoil here), Narissa takes the form of an old hag and tricks Giselle into looking over a wishing well and then pushes her in and sends her to our modern world, where Giselle appears in the center of Times Square in New York City.

Giselle wanders the streets in her fancy (and poofy) wedding dress until she stumbles into Robert and his young daughter, Morgan (Rachel Covey). Robert reluctantly agrees to bring Giselle up in there apartment to call her a cab, but an exhausted Giselle falls asleep immediately on the couch before he can. The following morning brings the ultimate culture clash, as Giselle awakens to find Roberts dirty apartment all around her, and in Disney Princess fashion, calls out for animals to help her clean up. Being NYC, the animals that answer the call are pidgeons, cockroaches, flies and rats. Robert and Morgan awaken to the vermin filled apartment and quickly escort the animals out. Robert finds Giselle having just showered and marvelling at the “magical room.” Disaster then stikes as Robert’s girlfriend of 5 years, Nancy (Idina Menzel), walks in on Robert and a towel-cladden Giselle, and then storms out angrily. Soon Giselle, in her fairytale way, sings an amazingly lovely song (oscar nominated “That’s how you know”) in Central Park, trying to help Robert express his feelings for Nancy.

The two begin to educate the other in a charming fashion as they get to know one another. Robert is a too-serious for his own good type of guy. He is a divorce lawyer and a single dad, and since his wife left him, has been raising Morgan to be realistic and survive in the world without getting lost in fairytales. So when the naive Giselle enters his world, commenting on true love and finding happiness in everything, Robert’s world is thrown into upheaval. Giselle has a cliche storybook romance view on love and life, and is forced to reconcile those beliefs with the cold realities of our own modern world. By the time she does experience sadness and anger, we’re both happy for her and her ability to grow, but also sad that she will never reclaim the lost innocence she had when the picture began. It echoes, in its way, the losing of our own innocence as we grow older, and because of that we identify with Giselle and long for the feelings she expresses and that we lost long ago.

As Robert and Giselle grow closer, Prince Edward has followed Giselle to NYC, along with commical chipmunk side-kick Pipp and Nathaniel, who is working on Narissa’s behalf to try and find Giselle first. Hilarity insues more or less everytime Edward is on screen, as James Marsden gives a truely inspired and honest performance. When he first arrives in Times Square he holds a city worker at sword-point and proclaims, “I seek a beautiful girl. My life partner, my one coquette, the answer to my love’s duet.” The worker responds honestly, echoing most of the audiences thoughts, “I’d like to find one of those too, you know?” It’s that level of honesty and sweetness throughout the movie that keeps you entranced, and well…”Enchanted” while watching it. Sure, Edward and Pipp add a great deal of humor to the movie, and the songs from Giselle are lovely, but the heart of the story is Giselle’s journey from bubble-headed Disney Princess to a young and inspired woman finding her one true love. The question becomes, who is it? Edward or Robert?

The film is most certainly not for everyone, but for those willing to get lost in spectacle and fantasy, “Enchanted” casts a lovely spell and is a truely marvelous experience. Amy Adams is so enduring, and adorable while watching it that your heart can’t help but go out to her. She is one of the more rewarding Disney heroines in many years. A remarkable film, and one well worth visiting over and over and over again.

The above author's byline must be attached to the work if being distributed.

Winner of 2 academy awards for best music and best original song (“Colors of the Wind”), “Pocahontas” tells the infamous tale of when the first settlers from England land on the Virginian coast in search of gold and riches.

With them is seasoned explorer John Smith (voiced by Mel Gibson), who has his own preconceptions of the “savages” he might encounter and what is best for them. After landing, Smith sparks the curiosity of Indian princess Pocahontas (voiced by Irene Bedard), and the two soon meet in a magical moment only a Disney animated feature can provide. Realizing he’s being followed, Smith backtracks and raises his gun to a shadowy figure in the mist surrounding a waterfall. Smith is immediately mesmerized by Pocahontas’ beauty, and lowers his gun. Eyes locked, the two strangers stare at one another with a look of curiosity, fear and awe. Pocahontas turns and runs, but Smith pursues her and introduces himself. Forgivingly, for the sake of an 85 minute animated film, Pocahontas almost immediately learns english and the two begin sharing one anothers culture with the other.

This is the heart of the movie, and the message it seeks to imprint on us. The differences the two find in one another, and the prejudice that arises. Both are shocked at the preconceptions of the other, and the belief that there own way is the only way. Smith, for example, explains how much better off the natives would be with English homes and schools, and is surprised by Pocahontas’ reluctance to see that. “We’ve improved the lives of Savages all around the world,” says Smith, to which Pocahontas takes great offense, and tries to leave. Attempting to apologize, Smith says “Look, don’t do this. Savage is just a word…a term for uncivilized people.” Still angry, Pocahontas asks, “Like me?” Now backtracking, Smith stutters a response. “Well, when I say uncivilized, what I mean is…” “Not like YOU!”  interrupts Pocahontas, and the cold truth of the words sting not only Smith, but we the audience as well.

She then sings the beautiful “Colors of the Wind,” speaking not only to Smith, but the hearts and minds of us, the viewers. The two begin to fall in love, and soon find themselves torn apart, and in the middle of a hateful fued between the English settlers and the native tribes. When the romance they share is discovered, that hatred boils over and the two sides vow to destroy the other entirely. The directors (Mike Gabriel and Eric Goldberg), in Disney tradition, do a good job of portraying the historical story in a grand and magical way. But they only tell the story to a point. Absent, of course, are any references to what comes after the conclusion of the film, when the Settler’s turn on the Indians, murder them by the thousands, steal there land, and enslave them. Disney instead (and rightfully so) focuses on the tender and improbable love story, and in that they do a marvelous job, capturing the attention and imaginations of all those who see this picture. Beautiful animation and character design, and likable side characters, such as the always hungry Meeko (voiced by John Kassir), also add laughs and fun to otherwise darker portions of the film.

The above author's byline must be attached to the work if being distributed.

 ”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.

The above author's byline must be attached to the work if being distributed.

Based on the bestselling book by Ceceila Ahern, P.S. I Love You tells the tale of Holly Kennedy (Hilary Swank) who is aided in recovering from her husband’s (Gerard ‘this is Sparta’ Butler) death by a series of letters, carefully orchestrated, by him, to arrive at key moments in her recovery process. What follows for Holly is a trip to his native Ireland with her friends (Lisa Kudrow and Gina Gershon) and a rough reconciliation with her mother (Kathy Bates). 

The first problem (and once again reader, I warn you, this will not be the last) with P.S. I Love You is that its initial premise would quite possibly have been better suited to staying in literary format rather than attempting the transformation to screen. It is, after all, based on letters. In its celluloid appearance Director/Screenwriter Richard LaGravenese doesn’t manage to imbue it with any of the sentimentality, sweetness or absent, longing, romance which was so appreciated in the book. Instead, the appearances of Gerard Butler’s Gerry in Holly’s imagination appear more akin to something in a horror movie rather than a romantic comedy while the eagerness book readers felt at the arrival of each new letter on the page is completely lost when all we have is alternate narration from Holly or Gerry. 

As the movie matures it becomes increasing apparent that its characters aren’t and herein lies the absolute killer punch to any chance P.S. I Love You had of being a decent romantic comedy; not a single one of the characters are likeable on any level. While Holly may retain our initial sympathies her grieving process just doesn’t convince, wavering madly between recovery, extreme depression and excessive anger, all of this not helped by the fact that she didn’t actually appear to treat Gerry very nicely when he was alive. In turn to this she is so self-centred that even more than a third of the way in to the film she can’t feel any happiness for the joy her two friends soon find. Having said that, this is one crime that can actually be forgiven for the simple fact that Kudrow and Gershon play two absolutely despicable ‘friends’, one of whom seems completely emotionally bankrupt yet majestically finds the man of her dreams, while the other appears completely and utterly helpless in every situation where the screenwriter does actually have the good grace to give her a line.

All this, of course, could be saved if the two male leads (Butler and Jeffrey Dean Morgan) had an ounce of charisma between them. Sadly they are both victims of horrific casting despite giving the roles their best efforts. Butler is Scottish which someone in Hollywoodland obviously thought made him a shoe-in for Irish accented Gerry. The resultant mish-mash sounds like his best impression of a cross-Gaelic fairy godmother whos been lost in the wilds of New York for a few years. Morgan, meanwhile similarly fails to convince as Irish Billy which again can be forgiven seeing as he’s from
Seattle! A mention should also be maintained here for Swank and Bates who, so the story goes, are of Irish heritage, although neither attempts an accent, nor apparently, knows anything about Ireland, despite the meaningless back story of Holly which reveals she’s visited the Emerald Isle before. 

The film just avoids the dreaded one star by virtue of actually occasionally fulfilling its promise on the comedy side. When Holly isn’t moping and the other two aren’t being a) bitchy or b) silent there is some witty, quick-paced scripting which does raise a smile or two. However, a few laughs does not a good rom-com make, especially when there are no characters to speak of and the ones that are here are spouting what can only be described as cross-cultural nonsense on a grandiose scale.

The above author's byline must be attached to the work if being distributed.

Made of Honor was nothing overly spectacluar. Most viewers could get the general gist of the movie from its previews. It was a warm hearted Chick-flick complete with sappy jokes and shirtless men. The movie can definitelty be called the male version of “My Best Friends Wedding” however for those viewers who felt slighted by ending to the 1998 classic, they will be satisfied with this movie. Made of Honor lives up to be everything that “My Best Friends Wedding” should have been.

The above author's byline must be attached to the work if being distributed.

“The Forbidden Kingdom” stars Jackie Chan, Jet Li and Michael Angarano. It’s directed by Rob Minkoff (The Lion King, Stuart Little 1 & 2, The Haunted Mansion) and written by John Fusco (Hidalgo).

An American teen who is overly familiar with marital art films, stumbles upon an ancient legendary stick that belonged to the legend known as the Monkey King. The stick sends him back to ancient China to bring the stick back to its rightful owner. Along the way he encounters friends, foes and falls in love.

Take Crouching Tiger, Hidden Dragon choreography, Jackie Chan’s Drunken Master character, and throw in a touch of The Neverending Story. That is the winning formula for The Forbidden Kingdom. An exciting, fun-to-watch, martial arts crowd-pleaser. It’s silly, but light-hearted and rarely heavy-handed. Everyone wants to know how well the fight scenes were. They were spectacular and very seldom were they mishandled. I like how the movie starts off in a violent and desolate world and shortly takes us to a much brighter world full of beautiful scenery, Kung Fu Masters and gorgeous women.

Although Jackie Chan and Jet Li show that age doesn’t faze a true Kung Fu Master, the real surprise here is Michael Augarano. I was really impressed by his Kung Fu skills once he conquered them. I also enjoyed the villain who uses her long white hair as a weapon. Goofy, smile-inducing antics are performed when these graceful fighters defy gravity, but it’s the fight scenes on-ground that are the most engaging and well-executed ones. Not to mention the scene where Jet Li and Jackie Chan square off is one of the best fight scenes I have seen in a while.

Overall, the storytelling drags a bit and it is a little scatterbrained. But does this really matter? It all comes down to the final showdown and the sight of these two great fighters in action. That is what everyone wants and that is what everyone gets. As far as entertainment goes, this one delivers with energy to spare.

The above author's byline must be attached to the work if being distributed.