Don’t be misled. This is one scary movie.
This animated tale about a young girl growing up in Iran during and after the Revolution as personal freedoms are inexorably removed is simultaneously touching and difficult to watch.
Robert Baca & Josh Rizzo's “WELCOME TO MACINTOSH”
This documentary is by no means a comprehensive history of Apple or even of the Macintosh computer.
Chuck Patton's DEAD SPACE: DOWNFALL
This horror/sci-fi adventure is a prequel to the DEAD SPACE video game.
Brian DePalma's “MISSION TO MARS”
I rented MISSION TO MARS expecting a camp classic, a howler, a real dud.
Pierre Morel's TAKEN
This movie is silly, prepostrous, nonsensical, and the plot has more holes than the strainer I use Sunday mornings to defrost frozen blueberries when I bake muffins.
I loved it.
The Polish Brothers' NORTHFORK
This is a beautiful, entrancing, enigmatic, and mesmerizing movie about death.
Quentin Tarentino's INGLOURIOUS BASTERDS
This is some movie. It’s scary, emotionally draining, funny, exciting, tense, thoughtful, violent, whimsical, cruel, and in a few places, just plain weird.
Neill Blomkamp's DISTRICT 9
So many things are done right with this imaginative and exciting film that it’s hard to know where to start:
Peter Docter's UP
I’ve seen this movie twice so far. I’d like to see it again in the theater before it leaves. Why? I just enjoyed it so much. It’s funny, touching, exciting, screwball, warm, lovely, and just plain entertaining.
Saul Dibb's THE DUCHESS
I’m a sucker for 18th Century costume dramas, especially if part of the time is spent in sailing ships. This one, despite being landlocked, is heads above most.
Alex Proyas' KNOWING
In KNOWING director Proyas (Dark City, I, Robot, Garage Days) takes disparate elements (end of world, numerology, randomness vs. determinism, single father raising son alone, calamity, Nicolas Cage, and some of the most visceral and amazing special effects I’ve seen since Benjamin Button) and weaves them into a mix you’ll either love or hate.
It’s a pleasure watching an intelligent adult film. It’s even better to see one that treats a difficult subject with great clarity despite underlying moral and legal ambiguities. Most of all, it’s great to see such a film with a great cast working from a great script.
Keiichi Sugiyama's ORIGIN: SPIRITS OF THE PAST
The visuals and artwork are impressive but the characters and story are a letdown.
Tony Scott's “THE TAKING OF PELHAM 123”
This is an enjoyable Summer action vehicle that’s held together by Scott’s taught action direction, witty dialog, and effective performances by Washington, Travolta, and Gandolfini.
McG's TERMINATOR SALVATION
This is a worthy continuation of the Terminator franchise. There’s enough new stuff here to keep your attention, the action is spectacular, and the characters are sufficiently differentiated to create some dramatic tension despite being frequently out-staged by the savage action sequences.
Although visually arresting, I thought Tarsem Singh’s THE CELL was inuman, inhumane, and tawdry. THE FALL is also visually gorgeous. It’s also clever, imaginative, and touching.
Mamoru Oshii's “THE SKY CRAWLERS”
Wonderfully animated, this moody anime adventure combines elements of 1984 (perpetual warfare), Blade Runner (androids with fuzzy memories), Royal Space Force: The Wings of Honneamise (alternate history and retro-futuristic aircraft), and Dark City (constant recycling of character experiences and events).
The “invisible aliens among us” story has been done many times before. This one focuses less on wild histrionics than continually escalating terror.
Yoji Yamada's LOVE AND HONOR
A young samurai lives comfortably with his wife in an apartment on the grounds of a rich, aged feudal lord. His complaint: his job as a royal food taster leaves him dissatisfied and longing for more challenging and personally rewarding responsibilities.