Top Ten Films of 2009

Honorable Mentions:
Star Trek
Fantastic Mr. Fox
District 9
Zombieland
Black Dynamite
Sugar
In the Loop
Avatar
Where the Wild Things Are
The Messenger 

10. Coraline: Often overlooked in favor of the more technologically advanced Avatar, Henry Selick's take on Neil Gaiman's children's novel boasts a narrative maturity that James Cameron should study. Dark and dreamy, Coraline is creative and smart with visuals that cause children and adults alike to gape in wonder.

9. Up in the Air: I'd like to think Jason Reitman's dramedy is well timed, and not merely opportunistic, but I was enormously affected by the film's sentiments as well as a near-perfect performance from George Clooney. Up in the Air boasts a smart script, a fine soundtrack, and deftly created characters, but it's most remarkable for its ability to walk the line between cynical and sweet. (My review at CinemaSpy)

8. An Education: The wonderfully authentic performance from young actress Carey Mulligan is getting most of the attention for this mid-century drama, but Nick Hornby's script is one of the year's best as well. An Education is a stylish coming-of-age drama that injects the tired drama with a shot of originality.

7. Up: From its bittersweet opening sequence, Pixar's Up takes the mind and heart in unexpected directions. Directed by Pete Docter, the imaginative film manages to perfectly capture both the evolution of love and the sheer silliness of a dog's mind. (My review at CinemaSpy)

6. Red Cliff: John Woo's action epic returns the talented director to his former glory. The big-budget film boasts large-scale battle scenes that would make Peter Jackson proud, but it never strays from Woo's own gorgeous trademark visual style. (My review at CinemaSpy)

5. Anvil! The Story of Anvil: I expected to giggle at this engaging rock doc, but I didn't expect to cry (which I did). The story of a struggling Canadian metal band provides plenty of Spinal Tap-level laughs and becomes one of the year's best comedies, but it's impossible not to become attached to the group as they try to make it big after decades of hard work.

4. Drag Me to Hell: Sam Raimi might have made his name for most moviegoers with his Spider-Man trilogy, but this horror-comedy is far more entertaining than any superhero story. Equal parts gore and glee, Drag Me to Hell bounces viewers between laughing and squealing in terror, turning a screening into an almost aerobic experience.

3. Inglorious Basterds: Quentin Tarantino's historical revenge fantasy incorporates all the director's hallmarks, but it somehow never feels too talky and its 2 1/2 hour running time sprints by. In a film populated by big stars, the best performance in Inglorious Basterds belongs to Christoph Waltz, an actor who most viewers didn't recognize but he gives an indelible turn as a perfectly created villain.

2. The Hurt Locker: Though it features a much smaller budget than its action-driven brethren like Transformers: Revenge of the Fallen, this supposedly small war film is a billion times more exciting. The Iraq-set action moves the story forward,  but it never neglects plot and character in its pursuit of tension. (My review at CinemaSpy)

1. Bright Star: Jane Campion's take on John Keats's real-life romance is swoonworthy but never sappy. It's a beautifully shot love story that transcends time and its period-drama genre, with the film's PG rating belying an affectionate sexiness.  (My review at CinemaSpy)

Nine

Chicago seduced critics and audiences in 2002 with its style and verve, and director Rob Marshall returns to the musical with this adaptation of the Broadway show Nine (that was in turn adapted from Federico Fellini's masterpiece 8 1/2). Is Nine good enough to save its distributor, the Weinstein Company, from financial ruin? Or is it at least good enough to keep audiences interested for two hours? CinemaSpy has my review of the Daniel Day-Lewis film.

Sherlock Holmes

An amazing cast, a talented director, and one of literature's most iconic characters team up for...a disappointment. CinemaSpy has my review of the illogically mediocre film.

Up in the Air

This new Jason-Reitman-directed film is receiving some of the season's highest praise. Is the film deserving of all the attention, or are critics just as susceptible to George Clooney's charms as your average moviegoer? Jump to my review at CinemaSpy for the answer.

Serious Moonlight

The sweet charm of Adrienne Shelly's Waitress surprised audiences in 2006, but Serious Moonlight--a posthumously produced script from the late actress-director--seems poised to sneak beneath their notice with its tiny release. My CinemaSpy review reveals if this film is a fitting legacy for its talented screenwriter--and a return to form for romantic comedy favorite Meg Ryan.

The White Ribbon

Critical darling Michael Haneke directs another film sure to divide audiences with The White Ribbon. Check out my review of the Palm d'Or winner at The Playlist.

Avatar

Dear James Cameron,

After seeing Avatar, I owe you an apology for this. And this. Hopefully, this will make it up to you.

Best,
Kimber

A Town Called Panic

Are you suffering from post-Avatar brain melt? If you're in the New York City area, check out stop-motion animated film A Town Called Panic at Film Forum. If not, jump to The Playlist for my review of the simply entertaining children's film.

The Young Victoria

Emily Blunt ascends to a lead role in a big film with The Young Victoria, but is she talented enough to  wear the crown? My review at The Playlist discusses the merits of this period drama produced by the odd pairing of Martin Scorsese and Dutchess Sarah Ferguson.

Brothers

Jake Gyllenhaal looks predictably good in this war drama, and Tobey Maguire, umm, doesn't. But Brothers is about more than pretty people (despite a cast that also includes Natalie Portman), and I dive into the darkness with my review at CinemaSpy. I promise that I address the film--and not Gyllenhaal's arms. I can be quite professional when it's required.

Everybody's Fine

Robert DeNiro may give his finest performance in a decade with Everybody's Fine, but does that make this remake worth your time during a busy holiday season? Jump to CinemaSpy to discover exactly how much of Aunt Ruth's famous egg nog will be required for watching the comic drama (dramatic comedy?) also starring Sam Rockwell, Kate Beckinsale, and Drew Barrymore.

The Road

This adaptation of the Cormac McCarthy novel The Road is bleak, of course, but I share if it's worth the trouble over at CinemaSpy.

The Blind Side

An inspirational sports drama coupled with the star power of Sandra Bullock might be a dream for some people and a neverending nightmare for others. Dash over to CinemaSpy to see where my loyalties lie. Meanwhile, where's my Ohio State Buckeyes movie?

Mammoth

After making films such as Fucking Amal and Lilya 4-Ever, Swedish director makes his English-language debut with Mammoth. My review of the drama starring Gael Garcia Bernal and Michelle Williams appears on TVGuide.com.

New Moon

Though I've read all the books in the Twilight series, I'm not what you'd call a typical fan. ThePlaylist has my take on the frighteningly successful teen romance New Moon.

The Messenger

Iraq war films such as Lions for Lambs and Stop Loss have failed to win over audiences or critics, but The Messenger transcends the genre with its emotional drama and authentic characters. AllMovie has my review of the film, as well as my interview with star Ben Foster and writer/director Oren Moverman.

Collapse

If you thought Paranormal Activity was too unrealistic to be scary, be sure to check out my review of the terrifying documentary Collapse. My review reveals some of the horrors, but be warned: I was nearly in the fetal position after the film screening.

The Men Who Stare at Goats

Does the latest George Clooney movie have me entranced, or am I merely in a catatonic stupor? I reveal my thoughts on the blackly comic war satire at CinemaSpy.

The Playlist blog

In addition to AllMovie and CinemaSpy, the movie blog The Playlist now serves as a home for my writing and film geekiness. For updates on everything from the dreamy to the disturbing, jump to this exhaustive resource for all your film news.

The House of the Devil

Can't sit through another round of the torturous Saw? Check out my review of the perfectly nostalgic--and absolutely terrifying--horror film The House of the Devil at CinemaSpy.

The Magnolia Pictures release is currently playing on demand, but if you live in Hollywood, New York, or Austin, it'll arrive in theaters on Friday, just in time for Halloween.

Food Beware

Is the French documentary Food Beware cinematically nutritious and delicious? Jump to the AllMovie blog to see my take on this organic eating opus.

Where the Wild Things Are

Between Spike Jonze's seven-year absence from the screen and the beloved source material, does Where the Wild Things Are live up to the hype? Skip over to CinemaSpy for my take on the hotly debated film.

New York, I Love You

Is New York, I Love You more like the sunny-day-in-Central-Park-with friends city that I've come to love, or is it the hole-in-my-galoshes-pouring-buckets hell that has me checking for flights out of LaGuardia? Head to the AllMovie Blog to find out.

Deadgirl

Not to be confused with Karen Moncrieff's well-received 2006 drama Dead Girl, the 2008 horror film Deadgirl boasts a fresh premise that starts to rot as the movie progresses (much like the titular character). Despite my preppy wardrobe and nice-girl looks, I have a weakness for the cinematic undead (and I've got the T-shirt to prove it). The best of these films use zombies to comment on society, from George Romero's condemnation of consumerist impulses in Dawn of the Dead to the joking jabs at our own walking dead existence in Shaun of the Dead. Directors Gadi Harel and Marcel Sarmiento's movie tries to follow in the Sasquatch-sized footsteps of these giants with its take on teenage sexuality and class, but Deadgirl seems to celebrate as much as condemn the ills it addresses.

The film begins when high school loser JT (Noah Segan) convinces his best friend Rickie (Shiloh Fernandez) to skip class, chucking textbooks in a classroom in favor of a six pack at an abandoned mental hospital. Horror fans -- and perhaps even the brain dead -- recognize this as a typical trope in the genre, but Deadgirl goes somewhere unexpected. In addition to a snarling stray dog, the teens find a naked young woman strapped to a gurney behind a door that had rusted shut. Hormones take over for JT, and he turns the captive into his plaything, despite Rickie's half-hearted protests. Unsurprisingly, the grayish girl doesn't like being raped, and their encounter turns violent, allowing JT to discover that she can't be killed (he makes several unsuccessful attempts). Rickie bounces between drooling over pretty cheerleader Joann (Candice Accola) at school and making nightly trips to the sanitarium, where he shakes his head as his friend slips further into depravity as he finds new ways --and orifices -- to violate his snarling pet zombie.

With its commentary on high school politics and teenage hormones, Deadgirl plays like Mean Boys. But instead of a witty Tina Fey script, this film feels like a collaboration between James Wan, Tucker Max, and a talentless film student. I've giggled my way through Dead Alive and sat in awe of the strange beauty of Suspiria, but Deadgirl's combination of rape, wound sex, and eager violence left me feeling sick to my stomach at JT's easy cruelty.

The movie earns praise for being incredibly effective in its efforts to disturb the audience, but that doesn't mean that it's worth watching. What starts off as an intriguing idea and innovative approach to the zombie sub-genre is strapped down not only by its gleeful approach to rape and degradation, but also by its truly awful script. The dialogue would shame a Syfy original screenwriter, and scenes alternately appear out of nowhere and lead to nothing. For disturbing (but quality) fare, head for Audition or Old Boy. Meanwhile, I'm going to need a shot of The Big Lebowski's laughs to wash this taste out of my mouth.

Peter and Vandy

Does the indie romance Peter and Vandy make me swoon? Head over to the AllMovie Blog for my take on this realistic love story set in my beloved city.

Trucker

Michelle Monaghan has impressed me in Gone Baby Gone and Kiss Kiss Bang Bang, but my review at the AllMovie Blog reveals if her talent overcomes Trucker's tired story.

A Serious Man

Larry Gopnik enters a world of pain in the Coen brothers' A Serious Man. Is it a similar experience for the audience? Check out my review at CinemaSpy.

Surrogates

Is the new Bruce Willis movie better than its trailer? Travel to CinemaSpy to figure it out. 

SURROGATES trailer in HD

Brief Interviews with Hideous Men

Attractive men do ugly, ugly things in John Krasinski's directorial debut. Does the film fare better than its heartbroken heroine? Check out the AllMovie blog for my review. I try not to let my love of Jim Halpert get in the way...

Bright Star

Can Keats' line "A thing of beauty is a joy forever" apply to this Jane Campion-directed film about his romance with Fanny Brawne? Head over to CinemaSpy for a bit of swooning.

Interview with Guillermo Arriaga (Babel screenwriter)

I participated in an interview with Babel screenwriter Guillermo Arriaga, who is making his directorial debut with the Charlize Theron-starring drama The Burning Plain. Go here to learn the daring process he uses for his multi-narrative scripts. My review of the film can also be found on the AllMovie Blog.

Jennifer's Body

I hope no one mistakes this review for an attack on my beloved Buffy the Vampire Slayer.

The Burning Plain

Guillermo Arriaga--the screenwriter behind the complex, multi-thread narratives of Babel, 21 Grams, and Amores Perros--makes his directorial debut with this complex, multi-thread narrative starring Charlize Theron. Check out the AMG Blog for my review.

9

How far will creativity take you? Find out in my review of the post-apocalyptic, steampunk animated film 9.

No Impact Man

Is this documentary better as a book, blog, film, or simply an experiment? Venture over to the AllMovie Blog for my review.

Gamer

Is Gamer Gerard Butler's return to 300-level glory? Jump here for my thought on the latest film from Crank makers Neveldine and Taylor.

Still Walking

My review of the Ozu-like film Still Walking can be found here on the AllMovie Blog.

The September Issue

Is this documentary about Anna Wintour's Vogue all style and no substance? Put down the slimmed-down magazine and go here. Anna tells you to.

Ponyo

Can Hayao Miyazaki make another Spirited Away with Ponyo?

Julie & Julia

How did I feel after watching Julie & Julia (other than hungry)? Travel to CinemaSpy.com to find out.

Cold Souls

I define "Kaufmanesque" over at Cinemaspy.com. I suppose I also review the mind trip of a film Cold Souls...

The Hurt Locker

At CinemaSpy, I explain why The Hurt Locker gets my vote for movie of the year.

Harry Potter and the Half-Blood Prince

Is the latest adventure at Hogwarts more Azkaban or Chamber of Secrets? I get geeky over at CinemaSpy.

Bruno

My review of the virulently anti-P.C. Bruno is up at CinemaSpy. Does it repeat the awkwardness of watching Borat with my new bosses?

Public Enemies

The combination of Michael Mann, Johnny Depp, Christian Bale, and Oscar-winner Marion Cotillard is a potent one. At CinemaSpy, I reveal if Public Enemies lives up to its potential.

The Proposal

Take a road trip to CinemaSpy where you can read my (surprisingly positive) review of The Proposal.

Drag Me to Hell

There's a fine line between terror and laughter--at least as far as movie-watching is concerned--and Sam Raimi treads that line well. After jumping out of your seat or gasping at the horrors on screen, a natural reaction is to giggle nervously or in relief. His horror comedies--the Evil Dead films and now Drag Me to Hell--capitalize on these bordering reactions with glee, placing a scary moment right next to one that could have audiences falling out of their seats with laughter.

Alison Lohman stars in Drag Me to Hell as Christine Brown, a pretty, likable loan officer up for a promotion at her bank. But a cutthroat coworker(Reggie Lee) is vying for the same job, and their boss (David Paymer) advises her to make the tough decisions. Her next client is an elderly Hungarian woman (Lorna Raver), who begs Christine to give her more time on her house loan. With her promotion in mind, Christine denies the request, setting her off on a road to, well, hell. Despite her fragile appearance, the woman is a powerful gypsy, and she saddles Christine with a curse that will first torment her, then it will claim her soul.

There are shocks and scares aplenty in Drag Me to Hell, but it's most horrifying when Raimi goes for the gross-out. It's easy to imagine him consulting his young sons for advice here; the ideas are so disgusting that it seems they could've only come from boys used to being as creatively crude as possible. But that's not to say the scenes aren't perfectly executed: Raimi and his crew use excellent techniques, and it all looks far too real for the audience's good.

Though the marketing makes Drag Me to Hell look like a traditional chiller, the film is far more comic than we've been led to believe. Fans of Raimi's past work in Evil Dead 2 and Army of Darkness will be happy to see their director returning to the genre, and they'll be glad that he hasn't lost his taste for flying eyeballs.

Land of the Lost and Moon reviews

You'll have to travel to CinemaSpy.com for my reviews of Moon and Land of the Lost.

The Hangover

My review of The Hangover can be found on CinemaSpy.com.

Terminator Salvation

Terminator Salvation is exactly what you'd expect a post-apocalyptic action film from the direction of Charlie's Angels to be like. There are plenty of nicely choreographed action sequences, some rather attractive people (Moon Bloodgood, Christian Bale, Sam Worthington), and more silliness than you should find in any film whose budget tops nine figures. The silliness might have worked (to a point) in McG's Charlie's Angels, but that was a remake of a '70s cheesecake TV show. Terminator Salvation is a film about the end of the world, hardly an occasion for giggling (unless, of course, you're Brian K. Vaughn, and then, please, go ahead).

All that said, Terminator Salvation isn't a miserable moviegoing experience. Director McG knows how to craft a jaw-dropping set piece; it's just crafting a coherent narrative that people care about that gives him trouble. If your expectations are low (think Terminator 3: Rise of the Machines levels), you might have a good time. Of course, alcohol could only help in the experience.

Or you could just see Up or Star Trek again.

Up

My review of the new Pixar film, Up, is on this website: http://www.cinemaspy.ca/article.php?id=2470.

DVD Review: Revolutionary Road

If the recent upholding of Prop 8, the gray weather, or some bad news at your job isn't enough to get you down, there's always today's DVD release of Revolutionary Road to do the trick.

What begins as a briefly sweet romance between Kate Winslet's April and Leonardo DiCaprio's Frank Wheeler quickly descends into relationship hell. Like the film version of He's Just Not That Into You (and I'm guessing the book, too), Revolutionary Road behaves like a how-not-to handbook for romantic interaction. These reluctant suburbanites fight dirty, making sure that each verbal barb is a lethal one capable of killing any self-esteem or satisfaction.

Based on Richard Yates's oh-so depressing (and far superior) novel, Revolutionary Road is set in the 1950s. Frank wastes his time at a New York City job, then he makes the dreaded commute home to Connecticut, where his wife labors at a job she never wanted: housewife. An unplanned pregnancy forced the pair into the suburbs, and neither is happy with where they've ended up, geographically or career-wise. Their attempts at escape don't remove them from their situation, and they brutally take it out on one another.

Like Yates's book, Revolutionary Road is cold and detached, but unlike the book, it seems to want to be more. Directed by American Beauty helmer (and Winslet's husband) Sam Mendes, the drama rants about the evils of suburbia, but it's not a very effective denouncement. Of course, DiCaprio and Winslet deliver fantastic, grimace-giving performances, but the highest praise should go to Oscar nominee Michael Shannon, who plays a neighbor's son who is a fantastic combination of mental patient and highly astute observer.

Though the novel came out decades ago, the adaptation seems to be nipping at the heels of TV's Mad Men. Both the film and the series explore the same themes, but the AMC drama does it with far more style and success.

Star Trek

Once thought to be as passé as Yeoman Rand's beehive, the world of Star Trek is now cool again, not that the true believers ever asked for your approval (well, maybe just that one time). To date, J.J. Abrams's blockbuster reboot has earned more than $150 million, allowing trekkers to laugh openly at jokes about redshirts and the Vulcan neck pinch. And despite all Abrams's statements about being on the wrong side of the Star Trek vs. Star Wars debate, the creator of Lost and Alias was the perfect man for the director's chair.

Like Abrams's TV shows, Star Trek is full of labyrinthine plots, insider references, and pretty people who can actually act. For this, Star Trek's eleventh voyage onto the big screen, Abrams went back to the beginning (not Enterprise!), for Kirk's (Chris Pine) first encounter with Spock (Zachary Quinto) and his first meeting with his true love, his ship. The plot revolves around a tattoed Romulan named Nero (Eric Bana), bent on revenge against the Federation, but that all seems secondary to the introduction of new versions of the iconic characters. Each actor seems perfectly cast, and though they seem to be aware of their predecessors, the performances never resort to caricature or impersonations. There's not a weak link here; even the pretty boy Pine plays Kirk like a badass I can enjoy. But I was most entertained by Simon Pegg as Scotty, Karl Urban as "Bones" McCoy, and Anton Yelchin as Chekov. They're largely there for comic relief (and a brief break from the special effects-driven action), but they aren't disposable characters.

Positioning Star Trek for an early summer release (rather than its initial December date) was a perfect move by Paramount. This is summer entertainment at its best: big action sequences are balanced by moments of humor, and though it's lighthearted, it's never mindless. The May weather maybe near perfect at times, but it's worth missing a few hours of sunshine for this. Your skin--and inner geek--will thank you.

Anvil! The Story of Anvil

I was wondering if I could handle Anvil! The Story of Anvil. Before seeing the documentary about the '80s metal band, I didn't know if my mellow, Feist-loving self could take 90 minutes of hard rocking and head banging. But from the film's opening minutes, Anvil! (and Anvil themselves) had me in its leather-gloved grip with its potent mixture of humor and heart.

For the uninitiated (like me), Anvil is a band that inspired the biggest names in '80s rock, including Metallica, Guns N' Roses, and Anthrax. But unlike those heavy metal heavyweights, Anvil never reached superstar status. Instead the two remaining members--Steve "Lips" Kudlow and Robb Reiner--have toiled away ever since, fitting in shows after their days of blue collar work. The glamour of being rock star is gone: Aqua net has been replaced by hairnets, and tour buses have become minivans. But Lips and Robb--trust me, you'll be on a friendly, first-name basis after seeing the film, too--still struggle to achieve what they never could, even though most people have never heard of them.

There are plenty of resemblances--and references--to This is Spinal Tap in Anvil!, but this documentary is proof that you don't need screenwriters to script the jokes. Lips, Robb, and those in their circle are genuine and genuinely funny. For all its heavy metal, Anvil! is lighthearted entertainment at its best. And despite my indie-pop-heavy ipod, I had to stop myself from pumping my fist along with "Metal on Metal." But even with that impulse ignored (at least for my first viewing), it was impossible not to cheer for this deserving film and its talented subjects.

Management

As genuineily funny as he is, Steve Zahn cannot save a movie all by himself. I offer the following evidence, in reverse chronological order (God bless IMDb): Strange Wilderness, Sahara, Employee of the Month, Daddy Day Care, National Security, Chelsea Walls, Dr. Dolittle 2, and Saving Silverman. And that is only the new millennium.

Management isn't a truly bad movie (a Daddy Day Care, perhaps), but that's largely thanks to Zahn's goofy charm. He plays a variation on his usual theme; his Mike is amiable, but directionless. He works at his parents' motel in Arizona, and he doesn't seem to have had much human contact that hasn't been familial. When he sees the sophisticated Sue (Jennifer Aniston) check in, he's smitten, and one of film's most awkward attempts at seduction actually works, much to the surprise of both of them. But Sue leaves for her home in Maryland, leaving Mike to do the least logical thing imaginable (unless you're a stalker): he buys a last-minute plane ticket and goes to her office to find her.

That this only comes off as mildly creepy is all thanks to the harmless air that Zahn exudes. Their encounter won't end up on the evening news because all he wants to do is talk and, umm, touch her butt. Distance and an ex-boyfriend (Woody Harrelson) threaten the would-be couple's happiness, but Mike won't let a little thing like thousands of miles or threats from an ex-punk deter him from the woman he loves.

Even the most romantic member of the audience (you know, the one who thought she was seeing a "normal" Jennifer Aniston movie) would have doubts about this coupling. There's almost no basis for Mike's attachment, other than the fact that Sue appears to be the only attractive woman he's ever seen. Plus, Sue's acquiescence seems unlikely at best, and even Mike's proffered wine and champagne could only go so far.

For all the film's problems, there's Zahn, who appears to be in every scene. Though Aniston gets top billing (which I hope is only due to the alphabet), she's really a secondary character to his lead. Other co-stars, including character actress Margo Martindale as Mike's mother and a hilarious James Liao as his friend and partner in crime, make the film watchable and might even give Zahn a break from being the night's sole entertainment.

State of Play

Director Kevin Mcdonald's latest film has far less weight than his last one, the Idi Amin drama The Last King of Scotland, but perhaps that is by default, since State of Play doesn't dwell on genocide or torture. But this thriller, based on a BBC miniseries of the same name, is serious stuff, questioning the validity and the very existence of newspaper journalism in the age of on-the-ball bloggers and the 24-hour news cycle. Not to mention Blackwater-style mercenaries, the collision of personal and professional ethics, and political corruption...

While investigating a double murder, journalist Cal McCaffrey (Russell Crowe) discovers its connections to the death of a young woman who served as the research assistant and mistress to his college roommate, Congressman Stephen Collins (Ben Affleck). Of course, the three murders aren't as straighforward as they appear, and McCaffrey investigates the mazelike connections with the help of young political blogger Della Frye (Rachel McAdams). Not only does the pair have to race against the clock, as is common in political thrillers, but they're on deadline, and upsetting their strict, seething editor (a fantastic Helen Mirren) is almost as deadly as not finding out the identity of the killer.

As always, Crowe is capable in the role of the old-school-rooted journalist whose own colleagues don't even read his work. The character is cliched, but the actor is strong enough to move past the boundaries of the page. Though the excellent Gone Baby Gone made me wish for more Affleck behind the camera, he does a good job as the fallen, former golden boy of his party (which is, smartly, never named). At times, McAdams seems a bit too eager and broadly drawn, but she is charismatic enough to carry the role. Jason Bateman has a far-too-small part that proves he is just as adept with comedy as he is drama.

Tony Gilroy, Matthew Michael Carnahan, and Billy Ray all contributed to the script, and it's easy to see where their previous work (including Michael Clayton, The Kingdom, Breach, and Shattered Glass) has informed this screenplay. Political intrigue and journalism collide with action to produce a contemporary All the President's Men with a bit more gunfire for audiences weaned on high-octane thrillers and up-to-the-minute news updates.

Adventureland

Red band trailer aside, director Greg Mottola's Adventureland bears little in common with his previous effort Superbad. There's less raunch here, and a little more heart. It's like a slightly lesser, reverse version of Almost Famous, minus the rock star antics and including an excellent period soundtrack.

Set in Pittsburgh in 1987, Adventureland centers on James Brennan (Jesse Eisenberg), a recent college grad who finds his degree in comparative lit won't get him many jobs in the city while he bides his time waiting to go to grad school at Columbia. His last, best chance lies at Adventureland, a local amusement park, where his childhood best friend (and current ball buster) Frigo (Matt Bush) spends his days. Hired by Bobby (Bill Hader), James takes a bottom-of-the-barrel job working in games, where the sole bright spots are nerdy Joel (Martin Starr) and pretty Em (Kristen Stewart). Pot and alcohol fuel the summer fun, and James attempts to mend a broken heart and cure his unwanted case of virginity with help from Em.

There's plenty of fun, low-brow humor to be had in Adventureland, but there's more to it than pot cookies, erections, and kicks to the balls. Unrealized dreams lie at the heart of the film, which manages to straddle the gross-out comedy and coming-of-age genres remarkably well. A lot of credit goes to Eisenberg, whose awkwardness works just as well here as it did in The Squid and the Whale. He's likable, earnest, and relatable in his efforts to win over Em. Ryan Reynolds is excellent as the park's handyman, a musician who coasts on the story of how he played with Lou Reed. Hader and fellow SNL star Kristen Wiig also deserve praise for playing the strange couple who run the park. Both are far funnier than their work on the TV show would suggest.

Full of nostalgia, longing, and sincerity, Adventureland might have played better in the theatrical deadzone of August, when its end-of-the-summer feeling would have already been thick in the air-conditioned theaters. Unlike most of its would-be kin, this is a comedy dependent on its nicely crafted characters and mood, not just on the merits of its dirty jokes.

Gigantic

I'm itching to make a joke about how the title of indie comedy Gigantic is actually short for Gigantic Waste of Time or Gigantic Pile of.... I also debated saying that the film is as weak as the chin of its star, Paul Dano, but that seems rather meanspirited. I mean, a man can't help his facial structure, but he could certainly have helped starring in this absolute mess of a film.

Dano's resume includes Oscar-winning favorites like Little Miss Sunshine and There Will Be Blood, but there's none of that talent on display here. As mattress salesman Brian, the actor sleepwalks through the film's agonizing script, showing little life or character. Zooey Deschanel plays...Zooey Deschanel, or some approximation thereof, who goes by the name "Happy" and fits the manic pixie dream girl mold perfectly. John Goodman is the only source of joy here, playing Happy's pushy, overbearing millionaire of a father.

Gigantic begins with Brian being randomly attacked by a homeless man (comedian Zach Galifianakis, playing what appears to be a noncomedic role). The script-driven chaos continues with the introduction of Brian's job and his casually racist boss (THE WIRE's Clark Peters), as well as his childhood-born desire to adopt a Chinese baby. He's on the cusp of realizing his dream when he meets the flitting, flaky Happy, while her father grumbles through their awkward courtship.

Directed by Matt Aselton, Gigantic suffers from a common flaw of films from first-time filmmakers. Elements seem randomly crammed in, as though Aselton thought that this was his one shot to get in every idea he ever had. Homeless guy stalking his prey from New York to Vermont? Check. Scene with numerous men getting "happy endings" at a massage parlor? Check. Skinny-dipping at night? Check. Drinking Crayola-colored cocktails from a beaker in a lab filled with rats? Check. This film has numerous problems, but it's mostly a film with an identity crisis. Aselton tried to make at least three different movies in one--a surreal indie, a romantic comedy, and a coming-of-age drama, by my count--but, despite its name, Gigantic is a case where less would've certainly been more.

I Love You, Man

It's hard not to think of Judd Apatow while watching I Love You, Man. The players are there, including Jason Segel, who has been with Apatow from his Freak-y beginning. And like Apatow's Knocked Up and The 40-Year-Old Virgin, this film's script skillfully sweetens up its raunchy humor with moments of genuine tenderness. But Apatow's name is nowhere to be found; instead, I Love You, Man arrives courtesy of John Hamburg. He's rightfully not the brand name that Apatow is (his last major screen credit was the awful, sweaty-Phillip-Seymour-Hoffman-filled Along Came Polly), but a scan of his résumé does prove a connection: he directed a few episodes of the Apatow series Undeclared.

Apatow film or not, I Love You, Man is a great comedy that had me giggling throughout, from its high-minded reference to Anwar Sadat to its wealth of jokes about oral sex. The supporting cast, from a hilarious Thomas Lennon to a joyfully jerky Jon Favreau, are nearly perfect, but the film is carried by Paul Rudd. Normally a supporting character, Rudd gets top billing here, and he does it without recycling any old tricks. His I Love You, Man character, Peter Klaven, isn't the one making the jokes--or at least not the good ones. For all his awkwardness, he's usually the butt of the humor, but he's never unlikable. In this comedy, his goal is to find a best man for his upcoming wedding to Zooey (The Office's Rashida Jones), a task that leaves Peter sweating. A few unsuccessful man-dates in, and Peter is ready to throw in the perspiration-filled towel. But then he meets Sidney (Segel), and their friendship begins to follow all the romantic comedy rules, which provides a lot of the fun. From decades of watching Meg Ryan and Katherine Heigl movies, the audience knows exactly what to expect, but I Love You, Man at once follows and subverts the conventions of the genre with hilarious results.

Duplicity

Closer, the last pairing of Clive Owen and Julia Roberts (Oscar or no, that is the order in which they will be announced) left me feeling like I'd been punched in the gut -- in a good way. The big-screen adaptation of Patrick Marber's play was brutal and biting, a fine follow-up to director Mike Nichol's own Who's Afraid of Virginia Woolf? Duplicity is another thing entirely, and that's not necessarily a bad thing. As in Closer, there's plenty of distrust, but here it's all in the name of fun, rather than sheer cruelty.

Like Shoot 'Em Up, Duplicity allows audiences to see what might have been if Owen had been chosen for the role of Bond that eventually (and rightly) went to Daniel Craig. Here, his Ray Koval is a suave ex-spy who is using his vast knowledge and connections to "earn" millions of dollars. He partners with another former agent, Claire Stenwick (Roberts), and they try to steal the formula for a revolutionary product out from under the turned-up noses of two rival CEOs (perfectly played by Tom Wilkinson and Paul Giamatti). Ray and Claire's professional relationship is clouded by their steam-driven personal one, and neither one is sure if he--or she--can trust the other. Out of this lack of trust is born a marvelously mazelike script that leaves the audience wondering who they can trust: Ray, Claire, or filmmaker Tony Gilroy.

Gilroy wrote the scripts for the Jason Bourne films, and he made his directorial debut with 2007's excellent Michael Clayton. None of that work seems to point to the relatively light (but still smart) screenplay for Duplicity. With Michael Clayton, he may have been channeling a '70s director like Sidney Lumet, but this latest offering seems far more in line with Steven Soderbergh's Ocean's 11 or Out of Sight. Like those films, Duplicity is a twist-filled trip that is fun without being entirely frivolous.

Coraline 3D returns to theaters

Since the Jonas brothers 3D extravaganza didn't turn out to be quite the moneymaker Disney had hoped for, the film is now being kicked out of theaters in favor of...Coraline in 3D! By far my favorite film of the year so far, Coraline is stunning visually, but it doesn't compromise in any of its other elements. It's a beautiful, haunting film that both kids, parents, and the gleefully childless (like, um, me) can enjoy.

Coraline returns tomorrow, and it's definitely worth your time and the extra money for the 3D screening.

DVD review: Let the Right One In

After playing in limited release since late fall, the Swedish import Let the Right One In makes its way to the shelves this week. Ranking in my top five films from last year (with Wall-E, The Dark Knight, Slumdog Millionaire, and In Bruges), this horror film did remarkably well for its distributor Magnolia, and it's already been chosen for an American remake. But please, please don't wait for 2010 for the English-language redo that is almost sure to lose the heart, mood, and beauty of the original.

Alternately chilling, hilarious, and sweet (sometimes even in the same scene), Let the Right One In centers on pre-pubescent Oskar, a boy living in a snowy Swedish suburb. Brutally bullied by his schoolmates, Oskar finds solace in a single friend: his new neighbor, Eli, who looks like a 12-year-old girl, but is actually an ageless vampire. Eli gives Oskar the strength to stand up to his classmates, making Let the Right One In an engaging coming-of-age tale that is as much a film about friendship as it is about Eli's incredible thirst for blood.

If horror films don't normally rise to the top of your queue (or even if you keep pushing them back in favor of Apatovian comedies), don't fear Let the Right One In. There's violence and blood, but the overall mood is not one of terror. It's surprisingly moving and entirely original, not at all to be confused with last fall's other teen vampire film, Twilight.

Watchmen

Like most of the other fangirls (and boys), I wanted to feel pummeled by Watchmen. Somewhat unrealistically, I had hoped that the film would leave me feeling sore from a punch to the gut, just like the graphic novel did. And while Watchmen features plenty of violence, I left surprisingly unscathed and almost unimpressed.

I say "almost" because there are some amazing moments in Zack Snyder's film, especially in the first few scenes. The moment of Comedian's (Jeffrey Dean Morgan) murder is incredible, due in part to the excellent acting by Jeffrey Dean Morgan of Grey's Anatomy fame (does the man always die?!?) as well as the brutal ballet that precedes the actual death. The opening credit sequence establishes the world of Watchmen in a gorgeous way as the photography-in-motion action interacts perfectly with the text of the title and credits. There are scenes that fit perfectly with my memory of the source material, particularly the genesis of Dr. Manhattan, aka Jon Osterman (Billy Crudup).

As a whole, the acting swayed me, with Morgan in particular creating a marvelously human (and not a little flawed) Comedian. Jackie Earle Haley, a former child actor best known for his masterful return as a pedophile in Little Children, is chilling as the vigilante hero Rorschach. Those who were freaked out by Heath Ledger's turn as the Joker have much to fear in Rorschach, and he's (kind of) one of the good guys. Haley's Little Children costar Patrick Wilson is perfectly bland as Dan Dreiberg, aka Night Owl II. That sounds like an insult, but his all-American good looks and normal-guy persona fit well with the Dreiberg character.

Watchmen is the third film from director Snyder, who cut his sharper-than-sharp teeth on gorefest (and solid remake) Dawn of the Dead and fight-filled action hit 300. And like those two films, Watchmen is visually audacious and never lacks in style. It also features more of Snyder's romance with violence, crafting each scene with such loving care that it almost contrasts with the bashing and gnashing onscreen. But it's becoming more and more clear: Snyder can't direct a scene that doesn't have any action in it. If it's just talking, watch as things fall flatter than Dr. Manhattan's abs, and wait for the incredibly loud music to cue you in to start watching again.

The soundtrack is one of Watchmen's greater failings. With the exception of the use of Bob Dylan's "The Times They Are A'Changin'" in the title sequence, each classic song from Simon & Garfunkel's "The Sounds of Silence" to KC & the Sunshine Band's "I'm Your Boogie Man" serves to take the audience out of the moment, distracting them from the action at hand.

And while Morgan, Haley, Wilson, and even Crudup are well-suited to their parts, Matthew Goode and Malin Akerman drain every scene they're in (when they have to actually act, and not just look pretty and powerful). Both of them have turned in watchable performances before--Akerman in a variety of comedies, most of them bad, and Goode especially lives up to his name when he plays against type in The Lookout--so the problem may not just lie in their acting abilities but in the casting itself.

The screenwriters behind the film do deserve credit for distilling such a complex work into such a relatively short film (it runs 2 hours and 40 minutes, but feels remarkably fast). The plot of Watchmen isn't your standard superhero film, which is certainly one of its assets. The setting is an alternate 1985, where masked heroes are a normal--if recently outlawed--part of society. Nixon is still president, thanks to a law abolishing term limits, and the Cold War is reaching a fever pitch with everyone dreading a fast-approaching nuclear war. In this tense atmosphere, aging hero the Comedian is murdered, and another "hero," Rorschach, begins to suspect that his death is part of a conspiracy to eliminate all of his former contemporaries: the superhuman Dr. Manhattan, Nite Owl II, Silk Spectre II (Akerman), and Adrian Veidt aka Ozymandias (Goode).

There are elements here of the conpiracy film, murder mystery, thriller, action, and horror, thanks to the very graphic depictions of violence. Watchmen is almost unspeakably bleak film that doesn't comment favorably on humanity. Like the residents of Gotham City in last summer's superhero hit The Dark Knight, the citizens of Watchmen's New York are getting the hero they deserve. The grimy, crime-ridden city is well-matched in its heroes, who are largely human and far from perfect, blurring the lines between good and evil.

Watchmen has earned some criticism for being too complex, but its lack of black-and-white simplicity (even watered down from the subtlety of the graphic novel) makes for fascinating, viewing. Like its heroes, Watchmen is massively flawed, but that makes it all the more interesting to watch.

Coraline

There's no way I would have been allowed to watch Coraline in my cloistered childhood. The eerie poster alone would have sent my parents hunting for the safe, brightly colored haven of Disney, movies where parental lookalikes don't attack their children and hands stay attached to their owners. Which seems a bit boring, but that's what safety is all about. After all, I had nightmares after seeing Harry and the Hendersons, so I have to admit that perhaps my parents had some idea what they were doing. But I digress...

Based on the novel by Neil Gaiman, the stop-motion film Coraline belongs on the hallowed shelf right next to The Wizard of Oz and Spirited Away. It's a children's fantasy that would make Lewis Carroll, Terry Gilliam, and the book's author, the twisted genius Gaiman, proud. This is a gleefully, hilariously dark film that enjoys playing in the shadows, and it isn't afraid that it might send some children running for the exits.

Coraline (voiced by Dakota Fanning) is the only child of a mother and dad (Teri Hatcher and John Hodgman) who spend their days creating a gardening catalog. Buried in their work, her parents consistently tell her to go away, that is, when they're paying any attention to her at all. But Coraline has their new apartment to explore: a rickety, Victorian-style house that also is home to two retired actresses (Jennifer Saunders and Dawn French) and a Russian man (Ian McShane) who is training his mice in a circus. She also befriends a neighbor boy, but she tires of his constant chatter. When she discovers a hidden door that takes to to a shiny, new apartment that looks like hers--only better--and a new mother and father, who look like hers--only better--Coraline is tempted to stay for awhile. But her "other mother" (Hatcher again)--though a good cook who actually pays attention to Coraline--may have more sinister ideas in mind than just stuffing Coraline full of hearty food. More plot and visual details might spoil the fun, but Coraline is a jaw-dropping delight that I was more than a little sad to see fade to black.

Though the term "stop-motion animation" may spark memories of childhood viewings of Gumby, Selick's ambitious work is so refined that it could stand against any of Pixar's computer-animated offerings. The visuals are seamless, not to mention incredibly inventive and visibly painstaking in their construction. Huge amounts of effort went into the production, and it's obvious in every frame. It's not a stretch to call Coraline a work of art, but that's not to say that it isn't incredibly entertaining as well.

Confessions of a Shopaholic

In the current economic climate, it'd be easy to rail against conspicuous-consumption champion Confessions of a Shopaholic. The film attempts to be a cautionary tale against spending more than you can afford, but it spends its entire 100-minute run time hypocritically celebrating Sex and the City-level spending and fetishization of designer labels. The makers of Shopaholic should certainly feel guilty for the product they've made, but not for its message; they should regret making such a truly awful film.

Wedding Crashers' Isla Fisher stars as Rebecca Bloomwood, a girl with high heels and a low credit rating thanks to her shopping addiction. To get an in at Vogue stand-in "Alette," Becky takes a job at a financial magazine, writing a column about saving. With a debt collector trying to sniff out her designer perfume, Becky tries to keep her financial foibles a secret from the rest of the world, especially her charming new boss, Luke Brandon (Hugh Dancy). But how can she behave when shiny new toys beckon?

Shopaholic does have one thing going for it: its cast. Buoyed by the bouncy Fisher as the titular addict, this comedy features a list of recognizable faces as long as its heroine's credit card bill: Hugh Dancy, Kristin Scott Thomas, Krysten Ritter, John Goodman, Joan Cusack, Fred Armisen, Lynn Redgrave, John Lithgow, Leslie Bibb, Julie Hagerty, etc. But almost everyone's part is small, perhaps the problem of cobbling together a single script from two novels by Sophie Kinsella, Confessions of a Shopaholic and Shopaholic Takes Manhattan. The transition to film is a shaky one; the first book's London setting becomes Manhattan, and it loses a bit of its luster in the process (though perhaps this sometimes Anglophile and current New York resident finds that the move hits a bit too close to home). The worst addition? Ridiculous talking mannequins that tempt Becky into buying. They're silly, out of place, and poorly done. I expect better effects from a movie produced by Jerry Bruckheimer of all people.

Another of the film's faults is that many plot elements are glossed over, particularly Becky's romance with Luke. She gushes over a pair of Pucci boots far more than she does her potential beau, and there's the problem with calling Shopaholic a romantic comedy: there's far too little love here for that distinction. But for that matter, there's also far too little comedy, which is especially surprising given the level of talent here.

The Class

Ably blending fact and fiction, the French drama The Class takes a real teacher and nonprofessional young actors and creates a true-to-life story. Director Laurent Cantet (Heading South) and actor/co-screenwriter Francois Begaudeau crafted the bones of the story based on Beaudeau's own novel about his experiences as a teacher. Then through workshops and improvisation with their teen actors, they chronicle life in a junior high classroom.

Begaudeau stars as Francois, a teacher in a school in a difficult part of Paris. Francois doesn't seem to be trying to have his students make intellectual leaps and bounds; instead, it's all about baby steps and just trying to survive the year with the frequently trying teens. Though there are good, hardworking members of the classroom, many of the students, especially Souleymane (Franck Keita), push Francois until he finally cracks, creating a rift in the classroom that pits him against his students.

Shot to resemble a documentary, The Class is alternately inspiring and heartbreaking. But those hoping for a French version of Dead Poets Society or Dangerous Minds will be surprised by the decidedly realistic, almost impossibly tough picture of a classroom presented here. There aren't any grand epiphanies where all the students suddenly realize the value of learning. Instead, The Class shows that even with the best of intentions, teachers sometimes can't create happy endings for all their students.

He's Just Not That Into You

He's Just Not That Into You is like P.T. Anderson for morons. An elaborate flowchart could be constructed to map the ways that each character is connected, since there seems to be a link between everyone in the film (she works with him, and he's married to that girl, and she is friends with so-and-so, etc.). Director Ken Kwapis (the unwatchable License to Wed and the awesome The Office) even--coincidentally--casts Anderson favorite Luis Guzman in a small role, which is undoubtedly the highlight of the film. But that's where the similarities end. Somehow HJNTIY isn't even an especially bad film, though it sure is a dumb one.

Based on a self-help book (which was based on an episode of Sex and the City), this romantic comedy boasts a ridiculous number of stars: Jennifer Connelly, Jennifer Aniston, Ben Affleck, Bradley Cooper, Ginnifer Goodwin, Justin Long, Drew Barrymore, Kevin Connolly, Scarlett Johansson, and, umm, Kris Kristofferson. Each of the major characters is experiencing a romantic crisis: one is tempted to cheat, another wants to marry her long-time boyfriend, while one girl (the adorable Goodwin) just wants to find the one, even if she has to resort to cringe-inducing tactics. Every situation is a cliche (though that does seem to be part of the point), and everything wraps up exactly how we might guess it will. There are some pleasant surprises in the dialogue, but the cast is far better than the material here. There were moments where I was watching Jennifer Connelly on screen, thinking, "This poor woman has won an Oscar."

Ultimately, HJNTIY offers no wisdom on the state of male and female relationships, which considering its source material seems at once incredibly ironic and entirely appropriate. It tries to say something transcendent about love, but it says nothing other than, "Women are stupid. Especially when it comes to relationships." Each of the women in the film as as though they're entirely brainless when there's a man involved. I'm not saying that it's entirely unrealistic, but my complaint is that there doesn't seem to be any alternative. There's not a woman who seems to keep her head here. The worst thing? Women in my theater were eating it all up like a post-break-up pint of Ben and Jerry's.

Medicine for Melancholy

It's hard to talk about Barry Jenkins's Medicine for Melancholy without talking about race. The subject pervades the film from start to finish, mostly in its dialogue. But to boil Medicine for Melancholy down to simply "the black indie film" does the film more than a bit of disservice. Jenkins, his small cast--basically just The Daily Show's Wyatt Cenac and newcomer Tracey Heggins--and crew have crafted a fine, dialogue-based film that should shame the proponents of the mumblecore mini-movement. Those films are supposedly about talking, but there's nothing that's really said.

Medicine for Melancholy begins with Mycah (Cenac) and 'Jo (Heggins) waking up together after an alcohol-fueled night in a San Francisco apartment. Though 'Jo is content to never know her bed partner's name, Mycah prods the reluctant woman into breakfast, then a trip to a museum, and so on. Awkward silences begin to move into a spirited push and pull, though 'Jo is frequently ready to bolt. But a warm chemistry pervades their interactions, even as their differences--Mycah is consumed by issues of race, while 'Jo dwells less on this aspect of her identity--become ever more obvious.

Medicine for Melancholy has the feel of a Before Sunrise or a In Search of a Midnight Kiss; there's unease and sweetness and reality in the way that Mycah and 'Jo relate, and it's tough for the audience not to root for them to end up together. But while most similar films focus solely on the will-they-or-won't-they aspect of the central pair, Medicine for Melancholy is about more than just this could-be couple. Race figures prominently, of course, but so do issues of class and housing. One scene stands out: the director captured the conversation between city residents at a housing rights forum. At first, this moment seems out of place, but the dialogue here fits nicely with the idea that San Francisco itself is a character in the film, and one that's in danger of being irrevocably changed as a result of gentrification.

Jenkins's film also distinguishes itself with its look. Other films that are this small frequently sacrifice style for dialogue, but Medicine for Melancholy is gorgeously shot. D.P. James Laxton earned a nod at the Spirit Awards for his cinematography, and he and the director desaturated the film in post-production, giving it a perfectly muted look that separates this from other warmly hued films about the West Coast City. Even at first glance, Medicine for Melancholy isn't quite like other films in its subgenre, and a closer look reveals that Jenkins has set his film apart even further with its authentic-seeming dialogue that feels like you're overhearing two intelligent people who are just discovering each other.