PopCulturedwithMovieMike Reviews

The Nightingale (I) (2018)

Brutally Powerful

[9/10 · 23 November 2020]

In 2014, Jennifer Kent made the transition from character TV actress to director of a feature-length film. That film was The Babadook, not only one of the best horror films of the decade but one of the very best films of the decade period. The film was showered with critical praise and landed Kent on the shortlist of "it" directors. Then nothing.

Kent could have easily jumped at the first studio horror film or blockbuster that came her way. Instead, she decided to write and direct The Nightingale about a young Irish convict woman named Clare who is hell-bent on revenge for a terrible act of violence committed against her family.

What follows is one of the most brutal and unflinching films I've ever seen. There were some reports that during its festival run, there were counselors present for audience members after they left the theater. If hell hath no fury like a woman scorned, then you don't even want to know what happens to a woman that is way more than scorned.

What makes The Nightingale stand out from other revenge films is how we see how the main character's actions affect her. No matter how vengeful Clare is, it doesn't make her feel any better once she gets her revenge. I really appreciated the climax of the film because it didn't go where I thought it was going to go.

The other major theme in The Nightingale is race. Throughout the film, we see how the British Troops treat the Aboriginal population. Those aspects of the film might feel heavy-handed, but I couldn't help but think that the way the aboriginals were treated was probably even more brutal than depicted in the film. Jennifer Kent is a really talented filmmaker and if it takes her 4 years to make her next film, I will be patient.

The Drop (2014)

Tom Hardy Shines and James Gandolfini Leaves Us With a Memorable Performance.

[9/10 · 16 September 2014]

"I just tend the bar," Bob Saginowski innocently states in this under- the-radar gem of a film. Tom Hardy plays Bob, a quiet, reserved bartender at his cousin Marv's bar. Cousin Marv is played by James Gandolfini in his final role. The Drop is getting a lot of attention because of Gandolfini, who gives another memorable performance, but The Drop is much more than an opportunity to see one our generation's greatest actors one last time, it's one of the best films of the year.

In The Drop, Marv owns a local neighborhood bar that also happens to be a "drop bar", which means the bar essentially collects money from illegal betting and god knows what else and then delivers it to the local Chechen gang. Gandolfini plays Marv as a Tony Soprano that never was. A guy that tried to get into the game, but couldn't really cut it when the big guys came into town. Those "big guys" are the Chechen mob that have taken over Marv's bar. It's his bar in name only and he's relegated to serving drinks and cleaning up spills. Gandolfini plays Marv as a bitter, beaten down man. It's vintage Gandolfini and a perfect way to end a career that was cut way too short.

As one actor takes his final bow, it's another actor who officially arrives. The Drop is clearly Tom Hardy's film. Granted, Hardy certainly hasn't come out of no where. He burst on the mainstream scene with Inception and should have become a household name after his performance as Bane in The Dark Knight Rises. He didn't, and I'm not really sure why. He seemingly has everything you'd want in a leading man.

Hardy's performance in The Drop should finally change that. I know it's early, but it's Oscar worthy. Hardy plays Bob with such an authentic nature that it's downright astounding. He really inhabits this character. Bob seems to take everything in stride, nothing seems to bother him. When he is confronted by the Chechen mobsters, he keeps his head down and chooses every word with precision, knowing that his life depends on it. Bob is non-threatening and unassuming and almost comes off as simple-minded, but as the film progresses, it's clear something is brewing beneath the surface. Bob is an example of a guy who is a product of his environment. He's a good man that doesn't really have a choice in life. He either adapts to survive or dies.

Bob also has a big heart as is evidenced when he rescues a puppy that has been beaten and literally thrown in the trash. This is where he meets Nadia, played by Noomi Rapace (Prometheus). Nadia is also reserved and seems wounded in some way. It makes sense that The Drop is written by Dennis Lahane (writer of Mystic River, Gone Baby Gone and Shutter Island) who adapted the film from his short story "Animal Rescue," a title with more than one meaning. Not only does Bob rescue an injured dog, but both he and Nadia seem like animals that need rescuing in one way or another.

The Drop is the kind of film that Hollywood just doesn't make anymore. It really does feel like it was ripped right out of the 80's. It has a slow, deliberate pace that perfectly builds suspense. The Drop is a character driven film that constructs each scene with great dialogue and fantastic acting. The director allows his characters to inhabit the world they live in. It's the wardrobe and the set design that really help bring everything together and add to the authenticity of the film. Everything seems organic and not like it's part of a movie set.

The Drop is a film lovers film. It has everything you could possibly ask for: a top notch cast, great direction, dialogue, set design, cinematography, and an understated score. You name it, and The Drop has it. It's easily one of my favorite films of the year. We need more films like The Drop. Go see it.

Guardians of the Galaxy (2014)

The Most Fun You'll Have At the Movies All Year in This Galaxy or Any

[9/10 · 15 September 2014]

Guardians of the Galaxy follows in the footsteps of its more powerful, well-known superhero family members. What Marvel has done over the past six years is just short of amazing. Pumping out one, sometimes two big budget films a year to (mostly) critical and commercial success in almost every case.

That being said, Guardians of the Galaxy was somewhat of a risk for the studio. Unlike the previous Marvel films that featured well-known comic book characters for those who have never even picked up a comic book, Guardians is unknown by even the most die-hard comic book fans. Not to mention the fact that director James Gunn (Super, Slither) doesn't exactly have a massive track record and had never directed a big budget studio film before.

Last but not least, Guardians doesn't have a big name actor like Robert Downey Jr. or Chris Evans to sell the film to the public. In fact, the most recognizable faces among the cast are Bradley Copper and Vin Diesel. Ironically, neither actor actually appears in the film, they just lend their voices to CG created characters.

Much of the success or failure of Guardians of the Galaxy and their presumed sequels falls on the shoulders of Chris Pratt. Pratt is asked to walk in the shoes of other legendary Marvel superheroes. A lot of pressure for an actor who is hardly a household name. Pratt is best known as the perennial scene stealer on the NBC sitcom Parks and Recreation. Pratt's film career mainly consists of small roles where he normally plays the goofy best friend.

Pratt plays Peter Quill, who was abducted from Earth in the 80's as a young boy. Quill is now a swash-buckling space outlaw who goes by the name of Star-Lord, an infamous rogue feared across the galaxy, or so he likes to think. As a child of the 80's, you can see who Quill probably grew up idolizing. As Star-Lord, Quill feels like a cross between Indiana Jones and Han Solo. Quill's memory of pop culture is the one thing that keeps him connected to Earth. That and a Walkman that is constantly playing 80's pop songs.

Pratt carries the whole film and his character really sets the tone. He infuses almost every scene with his free spirit and wise-cracking personality. You can't help but not love his character. Guardians is sure to blow up Pratt's career (he can be seen in the Jurassic Park sequel due out next year) and rightly so.

Quill rounds out his motley crew with Gamora, played by Zoe Saldana, a green-skinned assassin. Drax, an eloquent behemoth trying to avenge the death of his family. Drax is played by professional wrestler Bautista, who is surprisingly competent here as a cerebral brawler who takes everything literally, which happens to be one of the many areas mined for laughs. Then there is Rocket, voiced by Bradley Cooper, a genetically engineered Raccoon whose temper is about as short as his stature. Finally, there is Groot, a gentle giant of a creature that resembles a tree. Groot is voiced by Vin Diesel, who has all of three words the entire film, but is sure to become a fan favorite.

This group of characters is what sets Guardians apart from all the other Marvel films. They all have their flaws and they're all interesting and unique. They feel new and fresh and you can't wait to see what kind of mischief they will get into next. I'm not taking anything away from the other Marvel movies, I've enjoyed most of them, but many of them feel a little too formulaic and often times they take themselves a little too seriously.

Maybe the best way to compare Guardians of the Galaxy and The Avengers would be to equate them to a high school setting. The Avengers would be the popular jocks that get all the girls and the Guardians would be the misfits who are always getting into trouble. As cool as The Avengers are, they are so powerful that it's almost too easy to root for them. Everybody loves to root for the underdogs and that's exactly what the Guardians are.

Although Guardians is a pretty light film, there are quite a few heartfelt scenes, including one 5 minutes into the film that will have you reaching for a tissue before the opening title. We get just a nugget of a back story from each member, which helps us invest and care for these strange characters.

Guardians also features one of the best soundtracks of the year. Often times mixing catchy 80's pop songs with fast-paced action scenes. Possibly my favorite scene is one that will remind some people of a more deranged version of "Singin' in the Rain."

In the end, Guardians of the Galaxy was a huge risk for Marvel, a studio that can seemingly do no wrong since Iron Man came out in 2008. To say that the risk paid off in a huge way is putting it mildly. Guardians of the Galaxy is one of the best Marvel films to date and it might just be the funniest and most fun film of the year.

Blue Ruin (2013)

Sweet, Sweet Vengeance Like You've Never Seen it.

[9/10 · 15 September 2014]

Sometimes my favorite part of being a movie fan is discovering a film. Every year when I put together my list for my most anticipated films of the year, I do a little research in order to properly compose my list. Most of the films on the list are big blockbusters with well known actors and directors. I don't need to do any research to fill the list with those kinds of films. I then do some digging to find some other films that are getting some buzz.

I stumbled upon a website and down at the bottom they mentioned a film called Blue Ruin. There was no plot synopsis, just a picture of a desperate looking bearded man holding a rifle. The film wasn't set to come out for another year, so I decided that I would just remember the name and include it the next year. When the next year rolled around, the haunting image of the bearded man with the rifle still stuck with me, unfortunately, I couldn't remember the name of the film. All I could remember is that it had the word "blue" in it. After an exhaustive internet search, I found Blue Ruin and immediately put it in my Netflix queue. I've been eagerly awaiting it's DVD release ever since. It turns out that I would have heard about the film anyway because it has become a huge critical hit and is currently one of the best reviewed films of the year.

It's all deserving as well. Blue Ruin is an intense, gritty thriller that takes normal revenge movie clichés and puts a realistic twist on it. On the surface, Blue Ruin seems like your typical revenge film, but pretty early on it becomes evident that the film wasn't going subscribe to the normal Hollywood standards when it comes to revenge flicks. It's never made more clear than when we meet the main character Dwight, a homeless man living in his car. He's docile and withdrawn. A solemn man living on the fringes of society.

Dwight learns some information that brings him back to his hometown to avenge the death of his parents. Dwight is played by relative unknown Macon Blair. Blair gives a quiet, but powerful performance. The first 20 minutes of the film are done with almost no dialogue. Blair carries the film with just his eyes and facial expressions. It's a grim, haunting performance. Evans is a man with nothing to lose and it shows in the desperation in his eyes.

Once Evans cleans up a little bit, he looks even less threatening and you get the vibe that he is even less capable of accomplishing his goals. He looks like an accountant, not some heartless killer hell-bent on revenge. I think this is where a film like Blue Ruin really stands out from dozens of other revenge films. Most other revenge films feature a main character that is some unstoppable killing machine. Evans is the polar opposite of that. He's an everyman that finds himself doing something he would never have thought about doing in a million years. He's bumbling and scared, just like most of us would be in a situation like this.

Blue Ruin also features some fantastic cinematography and quite a few moments of dark humor. Maybe the highest compliment I could pay the filmmakers is that Blue Ruin really echoes many of the Coen brothers' best films. Ruin lacks the stylized trademark of the Coen brothers, but the natural realism is what sets Blue Ruin apart from all other revenge flicks.

Blue Ruin is a true success story and I can't help but root for films like this. Director Jeremy Saulnier and Macon Blair are childhood friends that grew up making home movies. Saulnier was a struggling cinematographer that dreamed of making his own film. After years of getting told no by studios, he decided to make the film by himself, borrowing money from family and friends and maxing out credit cards. A true rags-to-riches story.

When people tell me there aren't any good movies out there anymore, I tell them they're wrong and that they just aren't digging hard enough because movies like Blue Ruin are out there and they're fantastic and they stick with you long after the credits role. Just like the screenshot I first saw of the bearded man and the rifle.

Godzilla (2014)

An uneven, but entertaining film that suffers from lack of Godzilla.

[7/10 · 22 May 2014]

Godzilla is one of the most well known and recognizable movie characters of all time. His name and image has been ingrained into our pop culture vocabulary for decades. Even people who have never seen a Godzilla film, know the name. That's the definition of an iconic character.

With that being said, I fall into the category of people that has never actually seen a Godzilla film. Although I'm passionate about cinema, I've just never been particularly interested in the story. Sure, I've seen parts of the original 1954 Japanese film, but that's about it.

Despite being an iconic figure, it wasn't a nuclear bomb that almost killed Godzilla, it was Hollywood. In 1998 Roland Emmerich's Godzilla was released starring Matthew Broderick and Jean Reno. The film is now a Hollywood punchline and infamous for being one of the biggest box office bombs of all time. The 1998 version of Godzilla is also known for possibly killing more careers than its titular star kills civilians.

The good news is, nothing ever truly dies in Hollywood - it's just reborn. Boasting some of the best trailers you will ever see, Godzilla once again took a strong grip on pop culture. The trailer spread like wild fire through social media making Godzilla the must-see movie of the early summer. Godzilla is perfect blockbuster escapist fare and a perfect night out for anybody looking to turn their brain off for two hours. There's not a ton of great dialogue or character development. It's a Godzilla film, this is to be expected.

The film starts out with a quick montage showing us what happened to Godzilla in 1954. We are soon introduced to Joe Brody, played by Bryan Cranston, in an effort to capitalize on his post Heisenberg high. Brody is a scientist working at a Japanese nuclear power plant. The film quickly fast forwards 15 years and Cranston's brilliant scientist has now been disgraced and reduced to a jittery wacko. Or so he seems to everybody else. Like with any disaster film, Cranston isn't crazy; in fact, he knows something is about to go horribly wrong but nobody will listen to him.

As usual, Cranston is on top of his game. You can see the desperation in every wrinkle of his forehead and can hear it in every word he utters. Unfortunately, the focus soon shifts to Brody's son, played by Aaron Taylor-Johnson. Taylor-Johnson really hasn't done much. I enjoyed him in the Kick-Ass films, but he's never struck me as a particularly strong actor. When a gigantic CGI lizard has more facial expressions than your male lead, there's a problem.

The more of the film Taylor-Johnson is asked to carry, the faster it starts to go downhill. Another unfortunate part of the film is how they waste Elizabeth Olsen, who plays Taylor-Johnson's wife. Like many female characters in films like this, Olsen's character is reduced to sitting at home wringing her hands waiting for news about her husband. Elizabeth Olsen is a great actress, but she's not going to break away from the shadow of her famous Full House siblings if she keeps choosing roles like this. Got it, dude?

Maybe the biggest grievance I have with the film is the fact that Godzilla has his own film hijacked from him by two creatures most people have never heard of. While the two massive insect-like creatures are creating havoc, Godzilla is riding the pine. I paid money to watch Godzilla stomp on buildings, not to watch two over grown insects have sex.

I know it sounds like I didn't like the film, but that's not the case. The first half of the film is especially strong. Godzilla also features some of the best music you will hear in a film all year, as well as some truly breathtaking special effects. The film also boasts a satisfying climax. It's so awesome, it made me wish there was more of that throughout the film.

With Godzilla's success at the box office, it's safe to assume that he will stay in our current pop culture landscape for a little longer. I just hope Godzilla gets to flex his muscles more in the next film.

Gomorrah (2008)

Not the gangster classic it's cracked up to be.

[7/10 · 29 January 2014]

Gomorrah expertly brings to life a side of Naples you won't see on a post card.

If you are expecting a Hollywood gangster film, you are looking in the wrong place. Unlike films like Goodfellas and The Godfather, Gomorrah does not romanticize the gangster lifestyle.

Instead, the film shows the violent, brutal lifestyle of one of the deadliest organized crime units in the world. The little known, real life Comorra.

There are no expensive suits. There are no shiny, black Crown Vics. There are no big houses with a kidney shaped pools.

What we get instead is a documentary style look into the life of the Comorra and the people who are effected by them, which is seemingly everybody. This is exactly what the film strives to do; show us how the influence of the Comorra spreads through Naples like veins in in a body.

Gomorrah chronicles the lives of 5 separate story lines. Don Ciro is a timid middleman who delivers money to families of the Comorra. He lives in fear of the very people who employ him. Toto is an otherwise good boy who helps his mother's store by delivering groceries to the locals. He is literally saturated in the lifestyle of the Comorra (and probably has been his whole life) and therefore joins up with the local gang.

Roberto is a recent college grad whose father gets him a job with a local business man who profits from the illegal dumping of waste. Pasquele is a local fashion designer whose business is being run by the mob. Then there is the most entertaining of the bunch, Marco and Ciro, two Tony Montana wannabes that see the life of a gangster as romantic as the Hollywood movies make it out to be.

Unfortunately, these five story lines is where the film fails for me. We are introduced to so many characters in such a short span of time that it's hard to keep everybody straight. I also feel that the film struggles to juggle all the threads.

Instead of focusing on two or three story lines and fleshing out each character, we get short glimpses of each story. Just enough to see how they live, but not enough to care for them.

I believe this was the intention of the film. Kind of like "a day in the life" look at the most brutal mafia in the world. Keeping the audience at arms length might have been the intention of the filmmakers, but for that reason I couldn't enjoy the film as much as I would have liked.

Gomorrah succeeds in bringing the savage climate in which the people of Naples live. The actors don't seem like actors at all. They seem like real people. The environments are picture perfect and show the gritty, impoverished side of a beautiful city.

In the end, Gomorrah's 5 story lines fail to deliver the emotional connection I need to be fully immersed in a story. There are also parts of the story that remain unclear. For example, there are two rival clans at war, but it's never made clear who is on which side.

I really wanted to love Gomorrah, but it just fell short. Instead of being the classic I was hoping for, it's just merely good.

Kiss Kiss Bang Bang (2005)

Not as smart and witty as it thinks it is.

[7/10 · 29 January 2014]

A smart, witty mob comedy that isn't quite as smart and witty as it thinks it is.

Robert Downey Jr. plays petty thief Harry Lockhart who gets caught up in a murder investigation by posing as an actor and heading to Los Angeles for an unlikely audition, where he finds an authentic acting coach in detective Perry Van Shrike played by Val Kilmer.

Lockhart accompanies Perry on night in order research for a role as a detective. When the two men stumble upon the dead body of a woman, all hell breaks loose. Soon the two men are on the run from the mob and need to figure out what the heck is going on.

Unfortunately, the plot is so muddled, we never fully understand what's going on. Thankfully, Kiss Kiss has enough comedy and chemistry between the two leads to make it work. Downey Jr. is perfect as a fast talking thief turned "actor" and Val Kilmer is nicely cast as the tough guy with a secret.

Another interesting part of the film is how Downey Jr. routinely breaks the fourth wall and talks directly to the viewer. I know it's kind of been over used in film and TV in recent years, but it works here.

In the end, I enjoyed Kiss Kiss, Bang Bang for it's snappy dialogue and the buddy comedy all wrapped in a mob noir taco, I just would have liked the plot to be a little more coherent.

I didn't really care who the murderer was and why they did it. To me that's a problem. A good film, just not a great one.

The Boondock Saints II: All Saints Day (2009)

Slightly off the mark sequel to a cult classic.

[7/10 · 29 January 2014]

The Boondock Saints are back, and boy does it feel familiar...a little too familiar.

If you are a die hard fan of the first film, then you will love the second film. If you hated the first film or haven't seen it yet, then stay away from All Saints Day.

The Boondock Saints II seems to exist only as a love letter to fans of the first. That's okay for most people, but I've been looking forward to the sequel for so long I was expecting a little more than we got.

There are a lot of rehashed jokes and bits in the longawaited sequel. Some of it works, a lot of it doesn't. I also think Duffy tried too hard to stuff all the ideas he had for the second film into the script. By doing so, it ends up feeling like a disjointed, hurried mess.

The best part of the film is just seeing the brothers back in action. Some of the action sequences are shot perfectly and really bring out the flavor of the first film.

We also get a little back-story for Billy Connolly that explains how he got in the business of killing. Although it's shot and acted well, it ends up feeling out of place in the film.

Another annoying part of the film is the 3 stooges, I mean cops. They get so much screen time you might think it's their film. There's also a lot of cheesy dialogue here and the character of the new detective didn't really work for me.

I know the review sounds like I should have given it a rotten rating, but I gave it a 70% because of the trip down memory lane.

There's just enough of our old friends that make it worth it. And when the bullets start flying and the brothers start praying, you realize why you feel in love with them in the first place.

The China Syndrome (1979)

An intense, underrated film.

[9/10 · 29 January 2014]

The China Syndrome is a perfect example of what I love about film. It was made a year before I was born, and until Netflix recommended it to me, I had never heard of it before.

Of course I've seen hundreds of films from before my time, but they are always films that are hugely popular like the Godfather series, Jaws, etc.

So it's refreshing to find a hidden gem that has gotten lost in the shuffle over the years.

Jane Fonda plays Kimberly Wells, a TV news reporter stuck doing fluff pieces who deserprately wants to be taken seriously in her field. She gets her big break covering a routine story at a nuclear power plant with her freelance cameraman Richard Adams, played by Michael Douglas.

The story turns out to be anything but routine as they witness an accident and covertly video tape it.

Jack Lemmon gives arguably the performance of his career as the shift supervisor who soon discovers the accident could lead to an outcome far worst.

Lemmon plays the character of Jack Godell with a mix of cautious apprehension and loyalty to the company that he believes in. The weight of responsibility of running a nuclear power plant can literally be seen on Lemmon's face in every scene.

Unfortunately, nobody takes Godell's warnings seriously except for Wells and Adams. All the company worries about is the millions of dollars that would be lost if the plant is shut down, not the thousands of lives that might be lost if it's not shut down.

The China Syndrome is a superb thriller that is just as relevant today as it was 30 years ago. Fonda, Douglas and Lemmon are all on the top of their game.

The film also deals with other issues including the emergence of women in the broadcast news business.

The China Syndrome might not be as well known as many of the other films out there, but it just as good as most of them.

Cool Hand Luke (1967)

Newman at his coolest

[10/10 · 29 January 2014]

I'm not really sure where the origin of the word "cool" can be traced back to, but as far as I'm concerned it starts with Paul Newman.

Nobody is cooler than Paul Newman in Cool Hand Luke. Paul Newman gives a wonderful, yet subdued performance as a prisoner doing time for cutting the head off parking meters.

At first, Luke is even too cool for prison. Nothing seems to bother him. He quickly becomes a favorite of his fellow prisoners and some of the guards by taking a beating in a boxing match. He never stays down and keeps getting up.

This shows the kind of heart Luke has that comes in to play later in the film. Unfortunately for Luke, he soon discovers that he is not meant for prison. The film touches upon what it's like to lose ones freedom and what a person will go to to get it back.

Newman is not the only reason to see Cool Hand Luke. George Kennedy won an Oscar for his portrayal of Dragline, a loud, somewhat dim good ole' boy who becomes Luke's closest friend.

The cinematography is also spectacular. The images literally jump off the screen.

And when Newman cracks that smile of his and flashes those blue eyes, it's easy to see why he is one cool dude.

Revolver (2005)

Ritchie fails to capture the energy of Snatch and Lock Stock

[6/10 · 29 January 2014]

I finally watched Revolver the other night and I'm still not sure if I liked it or not.

There were parts that I really enjoyed and there were parts that I just found downright annoying. I'm not sure what Guy Ritchie was going for here. I think he wanted to make a film that had a message instead of just making one of his normal films.

The problem with that is I like his normal films. I always hate when a filmmaker tries to send a message with a film instead of just trying to tell a good story.

I think if Ritchie just stuck to his formula Revolver might have been as good as Snatch and Lock, Stock and Two Smoking Barrels. Instead, we get a twisted, convoluted plot that just ends up coming off as pretentious.

There were parts of Revolver that may have saved the film for me. The first was Mark Strong as the hit-man. He was so cool and captivating in every scene. I wanted more of him. He's easily one of the most badass hit men I've seen in a long time.

The other is Jason Statham. I love him in almost every movie and he gives another great performance here. He tries his best with the overly complicated material and make it watchable.

Only the most die hard Ritchie fans should watch Revolver. Everyone else should steer clear.

Slumdog Millionaire (2008)

An amazing feast for the eyes, mind and heart.

[10/10 · 29 January 2014]

An amazing feast for the eyes, mind and heart.

When I first heard about Slumdog Millionaire, I had no interest in seeing it. As the hype grew for the film and it won an Oscar, it made me even less interested in seeing the film.

It was On Demand for free the other day and I thought there's no better way to watch it so I gave it a shot and boy am I glad I did.

When I first heard about the plot of the film, I couldn't see how they could make it work. To say that the back story flashbacks and the game show scenes are weaved together seamlessly would be an understatement.

From the very beginning the viewer is meant to care for the characters in the film. Even as they grow older, it's believable that they are the same person.

Danny Boyle does a great job at capturing the streets of Mumbai. It's filled with life and color even in the face of poverty. Slumdog Millionaire is literally a film that will appeal to everybody. Young, old and everybody in between.

I also think that wherever you are in the world, this movie will touch you. I can honestly say it's one of the most original films you will ever see.

If you are on the fence about watching this film, take it from me, you will not regret it.

Lars and the Real Girl (2007)

Misunderstood for all the wrong reasons.

[9/10 · 29 January 2014]

It's unfortunate that Lars and the Real Girl was probably dismissed as some raunchy comedy about a boy and his sex doll. One might be led to believe that's all this film is about after watching the trailer or reading the back of the DVD case.

Lars is way more than that. In fact, Lars never even has sex with the doll. The film is more about loneliness, compassion, and mental illness.

One criticism for the film might be that it's a little unrealistic to believe the whole town would play along with a man's mental delusions, but Ryan Gosling is so believable, that you can't help but play along.

Ryan Gosling really shines here. He's one of my favorite actors around right now. The rest of the cast is spot on. Paul Schneider is perfect as Lars' brother. He reacts to Lars like most of us would, with embarrassment, disgust and sadness. Emily Mortimer does a nice job as Lars' sister-in-law who is determined to help Lars in any way possible. Unlike her husband, her devotion for Lars never wavers.

Another bright spot is Kelli Garner who plays Lars' co-worker, who's in love with Lars despite the fact that he's in love with a fake doll. She's an actress to keep an eye on.

Overall, Lars and the Real Girl is an original film that could have been a horrible, raunchy train wreck. Instead, it delivers a compassionate film with strong performance all around.

Edge of Darkness (2010)

Gibson at his best.

[8/10 · 29 January 2014]

Mel Gibson is back, and he's angry.

Edge of Darkness doesn't try to reinvent the wheel of the revenge flick genre, but it's a welcome addition. Mel Gibson is a straight-laced, hard-nosed Boston cop who picks his daughter up from the airport. She's home for what feels like minutes when she is killed by a masked man.

The rest of the film unfolds in pretty paint by numbers style with Mel Gibson trying to get to the bottom of who killed his daughter. There's a little bit of a mystery mixed in that leads us to believe that Gibson's daughter may not exactly have been Daddy's little girl.

Maybe the best part of the film is Ray Winstone. He plays a corporate cleaner who's intentions are so vague that every scene he shares with Gibson is overflowing with tension because you just don't know if he's on Gibson's side or if he's going to kill him.

My only problem with the film is that Gibson's daughter is killed so soon into the film that we really don't get a feel for their relationship. Throughout the film, there are some flashbacks sprinkled in showing his daughter as a young girl. The scenes work well to tug at our heart strings, but it doesn't help give us a good view of the current relationship between father and daughter.

Never the less, Gibson is so brooding it literally looks like he could explode at any moment. If you're a fan Mel Gibson or just love a good revenge movie, then as Mel Gibson's character says, "fasten your seatbelt."

Moon (2009)

Instant Sci-fi classic.

[9/10 · 29 January 2014]

Moon is an instant classic, a sci-fi masterpiece.

Sam Rockwell plays Sam Bell, an astronaut nearing the end of a 3 year contract aboard a lunar space station that's used for mining energy for Earth. The only interaction Sam has is with the station's computer, Gerty, voiced by Kevin Spacey.

Gerty's eerie, monotone voice will make you wonder if he's not a relative of 2001's H.A.L. While out on the moon to check on one of the harvesters, Sam has an accident in his rover.

To say anymore would be ruining the plot.

Moon is a rare thought-provoking, intellectual drama that succeeds in holding your attention for the duration of the film. Not an easy thing to do considering there is essentially only one character in the film.

This is a testament to Sam Rockwell. A true Oscar snub in every sense of the word.

While watching Moon I couldn't help but feel that this film was pulled right from the early days of science fiction. It could have easily existed 80 years ago.

Moon deals with some pretty interesting issues like what it's like to be alone and the toll it can take on the mind. It also deals with the treatment of the blue collar worker.

All in all, Moon is one of the very best films of the year and deserves to be seen by all.

Source Code (2011)

Duncan Jones' solid follow up to Moon.

[9/10 · 29 January 2014]

Source Code is the second feature film by director Duncan Jones who directed the fantastic Moon. After I finished watching Moon a few years back, I instantly went to IMDb and checked what Jones had in the works. After reading the plot synopsis for Source Code, I immediately started looking forward to it. The wait was certainly worth it.

Source Code centers around Captain Colter Stevens, played by Jake Gyllenhaal, who finds himself in the body of another man while traveling on a commuter train that's doomed to explode. Stevens' mission is to find the man who bombed the train. Each time he fails, he is sent back in for another 8 minutes. Just like Groundhog Day, we see the same scenario and conversations over and over, but the scenes never get boring due to a mix of editing and alternate camera angles.

The 8 minute time constraints gives the film a certain urgency that's often attempted in film, but rarely executed to the extent in Source Code. As Stevens continues his search for the bomber in 8 minute bites of time, the film turns into an engaging "who done it". Not satisfied with just finding the bomber, Stevens sets out to find a way to save the passengers, particularly Christina Warren played by Michelle Monaghan. Stevens is told that this is impossible because the fate of the people on the train is already set and that time on the train only exists in that 8 minute memory. This knowledge doesn't keep him from trying.

Source Code has another interesting aspect and that is how Captain Stevens even got involved with the Source Code. In between trying to find the bomber/save the passengers on the train, Stevens is trying to solve who he is.

I thought that they could have given Monaghan a little bit more to do, but watching the relationship between Stevens and Mongahan blossom in 8 minute intervals is truly heartwarming. The more Stevens blows up on the train, the more he empathizes with Warren. The sorrow can be seen on Gyllenhaal's face every time he looks at Warren. Knowing that she is doomed only drives him more to find a way to saver her.

Maybe the most memorable parts of the film is at the end of the 8 minutes when the train repeatedly explodes. It sounds odd to say, but the explosion is portrayed in such a beautifully tragic way.

Source Code has similar elements from some great films including 12 Monkeys, Groundhog Day, and even Inception. Unlike Inception that doesn't even try to burden the viewer with the ins and outs of how they are able to enter dreams, Source Code explains its physics in an easy to understand way. That's not to say you don't have to suspend belief a little bit.

Source Code feels like a lot of popular Sci-fi films, but it takes the viewer in unexpected directions. Watching the same 8 minutes over and over again never gets old and only adds to the building tension of the film. All in all, Source Code is the best film I've seen this year and one of the better Sci-fi films I've seen in years.

Hugo (2011)

Scorsese proves his versatility

[9/10 · 29 January 2014]

There's so much to love about Hugo, I'm not really sure where to begin. The film is impeccably shot. Every frame is chosen with care and you can tell that the director has a passion for his work. This should come as no surprise from one of the greatest living directors, Martin Scorsese.

The film takes place in 1930's Paris and centers around a boy named Hugo who lives by himself in a train station. He has taken it upon himself to restore a mysterious machine that he and his father were working on. Hugo operates the many clocks that are spread throughout the train station. This is where some of the greatest shots take place. The cinematography while inside the bowels of the train station are simply stunning. This is also where the use of 3D truly shines. The gears and other inner workings of the clock literally make you feel like you are with Hugo as he makes his way around the hidden hallways of the train station. I've been pretty vocal about the 3D craze, but it's clear to me that, when in the right hands, 3D can be an amazing tool. Scorsese uses it to perfection here.

Hugo also pays homage to silent films. There are many scenes, especially early in the film, where there is no dialogue and the scenes play out while Hugo is spying on the inhabitants of the train station from the inside of his hidden lair.

One thing I want people to realize is that Hugo is not really a kids film. The trailer makes the film out to be a fantasy film, but that is a little misleading. In fact, the second half of the movie deals with the history of cinema and the preservation of the arts. A topic that most kids (and some adults, you know who you are:tongue:) would find pretty boring. As a fan of cinema, I found it to be fascinating.

The cast is great lead by relative newcomer Asa Buterfield who plays Hugo. Sometimes in the same scene he shows the strength of a young boy all on his own, with the fear of a child just yearning to be taken care of. Chloe Grace Moretz is superb as usual as a girl Hugo befriends who just wants to go on adventures. Ben Kingsley gives the films best performance as a shop owner who has lost his passion. Sacha Baron Cohen provides the films comic relief. Ray Winstone and Jude Law have small parts, but both are solid as usual. One complaint is that I wish there was more for Christopher Lee and Emily Mortimer to do.

Please don't dismiss Hugo as a kids movie. It's far more than that. Also, don't read into the trailers. This is not some fantasy adventure. That being said, Hugo is perfect movie escapism. It mixes mystery with themes about being a dreamer and to never stop doing what you're passionate about. One thing is for certain, Scorsese is passionate about making films and I, for one, hope he never stops making them.

The Tree of Life (2011)

A peculiar slice of life film.

[8/10 · 29 January 2014]

I would like to preface this by saying that I am not a fan of Terrence Malick's work. I hated the Thin Red Line. The film seemed like it was all over the place and I just could not get into it. The New World is an exercise in patience. The film is so slow and plodding that I questioned my love for cinema after the credits were rolling.

So as you can see, I was a little hesitant about watching The Tree of Life. Mix in the reports of dinosaurs and the creation of the universe and I was really on the fence about seeing it. Then the movie got good reviews and started popping up on a bunch of "best of 2010 lists." Needless to say, I now had to see the movie and I'm glad I did because The Tree of Life is a unique film experience that cannot be duplicated.

The Tree of Life is not so much a movie as it is a series of images and ideas. The plot is thin, especially in the beginning of the film. We don't really start to get to know the characters until about half way through the movie. There are really only three characters that the film follows. The father, played by Brad Pitt, who can be extremely strict (especially with his oldest son) but also very loving at times. The oldest son Jack, played by Sean Penn when he is older. Jack is just coming of age and struggling with numerous emotional feelings. He's constantly being verbally abused by his father and lashing out at the rest of his family because of it. Then there is the mother, played by Jessica Chastain, who is a free spirited, fun loving woman who is often seen showing her children affection. She is the polar opposite of her husband. She also seems to be very close to the Earth and all of the living things that inhabit it, which is a common theme throughout the film.

Jessica Chastain's character is the one I identified with the most. I found her story to be the most inspiring and interesting part of the film. Jessica Chastain also happens to be my summer celebrity crush. After seeing her in The Help, I was instantly drawn to her. She's even more magnetic in the Tree of Life. She's an extremely beautiful woman and some of the photography in the film literally makes it impossible for the viewer to take their eyes off of her. Her face is so expressive that you can really feel what she's going through in every scene. Chastain is a true star and I can't wait to see where her career goes from here.

Perhaps the most talked about part of the film is the creation sequence. It's a little drawn out and, I admit it, more than a little odd, but it worked for me. I'm the kind of person that often reflects on the creation of the Earth and how everything came to be. I think Malick is trying to show us that our lives on Earth is so fleeting. In the grand scheme of things, we are really only here for a small fragment in time. This is something else that I think about a lot. How we have to make the best of life and enjoy it as much as possible because we really aren't here for very long.

What impressed me most about The Tree of Life is the cinematography. It's some of the best work I've seen in years.

With all that being said, The Tree of Life is not for everybody. I couldn't recommend this movie to most people and, to be honest, I don't know if I would ever feel compelled to watch it again. I think my main problem with it, and it's one of the problems I have with a lot of Malick's films, is that there are many scenes that just come off as entirely pretentious. I could understand if some people wrote the whole movie off as that, but there are a lot of important themes going on here. Different viewers will find different themes that impact them more. It truly is a subjective film.

The Tree of Life is unlike any film I've ever seen. That doesn't make it great, but it also doesn't make it bad. It's not the cinematic masterpiece some would make it out to be, but it also shouldn't be dismissed as artsy trash. I think the best thing I can say about The Tree of Life is that hours after the film finished, I was still thinking about it. Even when I woke up this morning, some of the images and themes were still running through my head. For me, that's enough to make it a film that was worth seeing.

Fish Tank (2009)

Fish Tank.

[8/10 · 29 January 2014]

Fish Tank is an English film that follows the life of Mia, played by Katie Jarvis, a troubled 15-year-old in a lower-middle class town in England. Mia is getting into fights at school, fighting with her mother who seems to not care about her at all. Her mother spends most of her day drunk, catering to a revolving door of men coming into her life. The only way Mia can cope with her troubles is by dancing. She aspires to be a hip-hop dancer. Spending most of her time watching American rap videos and practicing their dance moves.

Her life begins to change when her mother starts a relationship with a man named Connor, played by the always fabulous Michael Fassbender. Conner seems different from the other men that Mia's mother brings home. He seems to be caring, kind and has a steady job. As always, things are quite what they seem.

Fish Tank unfolds like many teen angst films. The environment feels authentic and the acting is top notch. This is especially true for newcomer Katie Jarvis. Her anger is overwhelmingly apparent. There is also an innocence in her that makes her whole story heartbreaking. You can't help but feel bad for her and wonder how different her life would be if she was living somewhere else and being raised by caring parents.

Mia yearns to be free of her current life. She comes across a horse that is chained up and seems to be neglected. She tries to free the horse. Showing a gentle, caring side of Mia. The horse is also a metaphor. She wants the horse to be free, just as she wants herself to be free of her troubled life in the toxic environment that is the town she lives in.

The Dark Knight (2008)

Legendary performance from Heath Ledger.

[9/10 · 29 January 2014]

Like many people throughout the world, Dark Knight Rises has been one of my most anticipated films of the year. I didn't grow up reading Batman and I didn't even see Batman Begins until years after it was released. I can hardly be put in the category of Batman fanboy lovefest. That being said, I love film and the spectacle of the event. I thought my anticipation and excitement would be stolen away by the tragedy in Colorado and for a moment, it was, but once the movie got started, I lost myself in the seedy underbelly of Gotham City. From that point on, I could have been on Mars and I wouldn't have noticed. I was hooked.

As much as I loved The Dark Knight, I might have enjoyed Rises even more. As a whole, I think it might be a better movie. I felt that The Dark Knight was Ledger's film. Even if he hadn't tragically passed away before the films release, it was still his movie. Nobody was taking it from him.

The Joker is one of the greatest villains in film history, but it's more because he's so insanely charismatic and not really for his physical prowess. I never felt that Batman was going to be bested by The Joker. The same can't be said for Batman in Rises. Batman has clearly met his match in Bane. He's so powerful I was wondering if Batman had what it took to defeat him. In fact, there's one point in the movie where I didn't think Gotham needed Batman, they needed The Avengers. Gotham's fate seemed that dismal to me and it had me that much more invested in the story.

In The Dark Knight, the Joker's performance was so iconic that any storyline almost seemed secondary. This is where Rises really succeeds for me. The stakes are raised with the introduction of an even more powerful villain in Bane. At the same time, Rises is able to weave together a story that perfectly encompasses Bruce Wayne's journey throughout the three films.

Christian Bale has always done a great job as Batman. In fact, he's the best Batman ever put to film in my opinion. His acting in the two previous films was top notch, but he really shines here in Rises. He's a broken man at the start of the film. You can literally see the physical toll that being Batman has taken on his body, but it's the mental toll that makes his performance even more haunting.

Bale isn't the only actor that has brought his "A" game. Anne Hathaway is superb as Catwoman. She's sexy and dangerous at the same time. Michael Caine also brings a lot of heart to the film. His scenes with Bruce Wayne are some of my favorites in the film and are down right tear jerking.

I know a lot of people have some problems with plot holes and logistical concerns. I never really trouble myself with things like this in films. Sure, it seems unlikely Batman would be able to make it back to Gotham in 19 hours without a passport, but having a scene where he tracks down a counterfeiter, travels to the airport, narrowly gets through security and then eats a bag of peanuts on the plane is entirely unnecessary and would make the movie 5 hours long. It's a movie, get over it.

In the end, Rises is a perfect finale to the greatest comic book trilogy of all time. The film does a great job of putting a bow on the trilogy. It feels right and it feels satisfying. At the same time, they don't tie the bow too tight and clearly leave it open for us to spend more time in Gotham.

I don't know where the franchise is going to go from here, but what I do know is that Nolan has created a masterpiece. He has single-handedly made comic book films box office powerhouses, but more importantly he has taken them from silly popcorn flicks to serious cinema that can be put on a list among some of the best films of any genre. Nolan has made the comic book film relevant, important, timely and most of all, intelligent.

Looper (2012)

A twisty sci-fi classic.

[9/10 · 29 January 2014]

After enjoying Rian Johnson's first film Brick a few years back, I was inspired to check what films he was working on. I noticed Looper in his bio and upon reading what it was about, I was instantly hooked and couldn't wait to see it.

I looked at the film as a sort of great hope for Hollywood. An R rated Sci-fi film that was wholly original. If it could succeed at the box office, then there was hope that Hollywood would start to green light other films that don't just have numbers in their titles. It's safe to say that Looper might very well live up to my expectations.

Looper takes place in the year 2044 where Joe, played by Joseph Gordon- Levitt, works as a Looper. His job is to dispose of bodies that are sent back in time from the year 2072. The job seems to be a piece of cake until his future self is sent back. Joe's reluctance to kill his older self sets up a chain of events that will change the future forever.

In Brick, Johnson puts a noir twist on high school. He administers the same treatment to Looper, which feels like a Sci-fi noir film set in the not too distant future.

Unlike many Sci-fi films from the 70's, Looper envisions a future society not unlike the world we live in today. Whereas many of the old Sci-fi films don't hold up today, Looper should stand the test of time 30 years from now. The future is not portrayed as a new and shiny metropolis filled with flying cars or slick gadgets.

Instead, it's a more bleak and mundane version of our world today. The cars are the same except they've been outfitted with solar panels and the gap between the haves and the have nots is even wider than it is today.

Looper is a tight, slick film that knows it's cool. Time travel films can sometimes collapse upon itself, but Looper never feels confusing. The rules are laid out to us and the film sticks to them. Looper never tries to bog the viewer down with the ins and outs of time travel, instead it forces you to invest in the characters.

This is where the film really succeeds. Joseph Gordon-Levitt continues to turn in great performances and solidifies himself as a legitimate box office draw. JGL also has many of Willis' mannerisms and looks down pat. The slight crack of a smile, the furrowed brow gives the illusion that we are watching a young Willis with hair. Bruce Willis returns to form and actually seems like he's invested in the film. Jeff Daniels steals every scene he's in as a mobster sent from the future to run the Looper organization.

Unlike most Hollywood films, Looper's characters aren't portrayed as black and white. Many of them, including Willis and JGL, are operating in shades of grey. We aren't totally sure we agree with the older Joe, but we can understand his actions. We can't help but applaud, but at the same time, scratch our heads at the younger Joe, who so dedicated to his profession that he is determined to finish the job and dispose of his future self.

The last act of the film slows down a bit and introduces new important characters. This is where some viewers may be turned off and could get confused. In the end, the threads tie together and the pay off is worth it.

The other problem with Looper is the same thing that plagues all time travel films and that is the inevitable loop holes. I've thought about Looper a lot since I watched it and I have indeed found a lot of loop holes and paradoxes. In the end, Looper doesn't want you to get caught up in time travel and diverging timelines, it's more concerned about making the viewer think about what it means to make the right decisions in life that will determine the future. A future where you can live with the decisions you've made or be destined to relive them in an endless loop.

Lincoln (2012)

A window through time

[9/10 · 29 January 2014]

Just saw Lincoln. I thought it was a very solid film. Obviously driven by a powerhouse performance from Daniel Day-Lewis. He truly embodies Abraham Lincoln. If I didn't know any better, I would have thought they dug up Lincoln's body and reanimated it. He was that good.

One of the things that I love about film in general is that it can be so many things. Lincoln feels like a window into the past. When Abraham Lincoln begins to tell one of his stories, it feels like he's telling it just to you.

The film takes a little bit of time to get going and runs the risk of getting bogged down with a lot of political jargon, but it takes off after that. Tommy Lee Jones also gives a superb performance and provides much of the comic relief. Sally Field plays Lincoln's grief stricken wife and her performance sheds light on a person whose claim to fame has historically been "Lincoln's crazy wife."

Abraham Lincoln has always been a larger than life figure. It was interesting to see him come to life and be introduced to him not as a legendary president or tragic historical figure, but as a real person. A person no different from the men dying on the field of battle or the slaves that he was trying to free.

Les Misérables (2012)

Finely crafted musical experience.

[9/10 · 29 January 2014]

Unlike most men, I'm not ashamed to say that I enjoy musicals. Every spring since I was a teenager my family and I would go watch the spring play at the prep school my mom works at. They put on a Broadway level show, no joke.

That being said, I was looking forward to Les Miserables. I really like Anne Hathaway and I got goosebumps just watching her performance of "I dreamed a dream" in the trailer.

The performances are what really carries the film. Hugh Jackman is haunting as Jean Valjean and Russll Crowe adds very stern and rugged vocals to Javert. Anne Hathaway turns in one of the most powerful scenes you will see in a movie all year.

Her head is shaven, her eyes are about to burst with tears, she has snot dripping out of her nose. It doesn't get any more vulnerable than that.

Sacha Baron Cohen and Helena Bonham Carter add some much needed comic relief. Then, a little more than half way through the film, something very interesting happens. Something that makes film so exciting. Les Miserables is stolen from some of the biggest actors Hollywood has to offer by newcomer Samantha Barks who plays Eponine, who's tragically in love with a man who has fallen in love with another woman.

Many people are going to have a hard time getting past the fact that everything in the film is sung. Yes...everything. The other problem is that the last act of the film really involves the French revolution. This sometimes seems out of place because the first half of the film really had nothing to do with the war. These are small problems and don't hurt the film.

Les Miserables is easily one of the most powerful films of the year, packed with some truly tear-jerking scenes. Guy or girl doesn't matter, go see Les Miserables.

Zero Dark Thirty (2012)

An authentic look at the capture of the most infamous villain of all time.

[9/10 · 29 January 2014]

Zero Dark Thirty is a high stakes cat-and-mouse game that spans ten years and multiple countries. It turns out that the hunt for the world's most notorious killer doesn't only take place on the ground with soldiers, but also in rooms buzzing with computer monitors and crowded market places.

Zero Dark Thirty tells the story of the ten year manhunt for Osama Bin Laden. The story follows Maya, a CIA officer tasked with tracking down and capturing Bin Laden. Maya is played to perfection by Jessica Chastain. Chastain infuses Maya with a steely focus that is downright disturbing. Maya would do anything to bring Bin Laden to justice and you can literally see this desperation on every line of her face.

The film picks up two years after 9/11. We are thrust in the middle of a brutal interrogation. Maya is visibly disturbed by the torture going on before her. As the film goes on and the years slip away, Maya is no longer bothered by the act of torture. So much so that she is now giving the orders to torture a detainee. The futile attempt to find Bin Laden has hardened Maya. Her morals have been compromised, yet she never reflects on this, nor are we supposed to. The film portrays the torture scenes in a matter of fact manner. A shrug of the shoulders and a "we did what we had to do" response is implied.

Maya is the focal point of the film, the thread that ties the whole story together, but the movie never becomes about her. It toes that fine line expertly. We never see Maya's personal life, we never see her "let her hair down" and we never see any flirty scenes with a co-worker. This isn't that type of movie and it's all the better for it. When asked what else she has done for the CIA besides look for Bin Laden Maya replies, "I've done nothing else." Even when she is drinking a can of soda on the couch, she's channel surfing through news channels just looking for any nugget of information. She's constantly checking her phone for updates. The search for Bin Laden has literally consumed her life.

Make no mistake about it, Zero Dark Thirty is Chastain's movie. She has solidified herself as one of the top actresses working today. Her meteoric rise to fame is actually pretty amazing. She was virtually unknown before 2011. She then appeared in seven movies in 2011 nabbing an Oscar nomination for her role as the bubbly yet sad housewife in The Help. She also earned raves for her performance as a gentle, carefree mother in Terrance Malick's The Tree of Life. I'm not sure I've seen an actor burst upon the scene like Jessica Chastain has done.

Zero Dark Thirty also doesn't pay a lot attention to the fact that Maya is a woman working in a male dominated environment. There are no confrontations with male co-workers or scenes where Maya has to prove herself to her male superiors. Again, it's not that type of movie. That being said, it's hard not to see the parallels between Maya and Kathryn Bigelow as a director. She too works in a male dominated profession. Especially since she isn't relegating herself to romantic comedies.

The climax of the film is one of the most tense, edge-of-your-seat sequences I've seen in a film in a long time. In a different movie, the soldiers would have raided the compound with guns blazing shooting anything that moved. Instead, Zero Dark Thirty gives us a textbook, methodical raid. Even though the whole sequence is slow paced, it builds the tension perfectly. You could literally hear a pin drop in the theater during the whole raid. We see most of the action through cameras mounted on the helmets of the soldiers. This gives the whole sequence a very authentic feel.

On the surface, Zero Dark Thirty seems somewhat clinical and lacks a lot of heart. Then again playful scenes or normal plot devices that we are used to seeing in a Hollywood film would have seemed out of place with the subject matter that ZDT is dealing with. Instead what we get is an all access, behind the scenes look at the people who worked a decade to find Bin Laden. The film doesn't pull any punches showing us some of the tactics used to get the job done. To tell the story any differently would have been a disservice.

The end of the film is very satisfying. To see Bin Laden taken down felt like closure to something that had been lingering for a very long time. To know that a woman played such an instrumental role in catching Osama Bin Laden makes it that much sweeter. Generations from now, when people are looking for a movie to tell the story of how Bin Laden was caught, they will find Zero Dark Thirty.

25th Hour (2002)

An unexpected love letter to post-911 New York.

[10/10 · 29 January 2014]

I'm not really sure how this got by me. I love Ed Norton, I love Philip Seymour Hoffman, I love Barry Pepper and I love New York.

For whatever the reason, I just missed it. Well, I'm really glad I finally got a chance to see it. It's easily one of the better films I've seen in a while.

I'm not a huge Spike Lee fan, but I loved Do the Right Thing and The Inside Man. I'm not sure if there is any other director whose love for his city is more apparent in their films than Spike Lee. He really does love New York and that love shines through in almost every frame of 25th Hour.

That being said, Lee uses the New York backdrop in a very subtle way. The film never turns into a love letter to NYC. Lee is also very classy with the way he deals with the aftermath of 9/11.

The 25th Hour includes some solid acting performances from some of today's greatest actors including Ed Norton who plays Monty Brogan, a drug dealer who is about to go to prison.

The film follows Monty around town on the night before he goes to jail. He's accompanied by his friends played by Pepper and Hoffman.

The film is very much about making choices and how one bad decision can change your life forever. Monty has clearly made some bad choices that have landed him in the situation he is in. At the same time, Hoffman is battling with his feelings for his underage student. He's struggling with urges that he's not sure he can suppress. Making the wrong choice could land him in jail like his friend.

The 25th Hour is very much a character study. The plot isn't overly complex and the story doesn't progress like your typical Hollywood film.

All in all, the 25th Hour is a haunting portrayal of a broken man (and city) who is hours away from hitting rock bottom.