Legion - 2 smiles

In “Legion,” Paul Bettany conveys the right amount of selflessness as the archangel Michael while also kicking ass and shooting any number of guns, which is a hoot to watch. Unfortunately, the script, co-written by director Scott Stewart and Peter Schink, borrows too much from “Terminator” and any number of zombie movies to provide us with an original story. What with so many apocalyptic movies, you wonder whether Hollywood is trying to tell us something. And to top it off, God is the villain.

The last time God became disillusioned with mankind, he sent a flood. This time, he sends his angels. Attempting to thwart his plans is Michael (Bettany), who refuses to obey God’s order to kill the unborn child of a pregnant waitress (Adrianne Palicki) at a remote diner called Paradise Falls. Michael has determined that this child is mankind’s sole hope for salvation and must be saved at all cost. The besieged group in the diner includes Bob Hanson (Dennis Quaid), the diner’s cranky owner; Jeep (Lucas Black), his mechanic son; Percy (Charles S. Dutton), his easygoing partner; Charlie (Palicki); Kyle (Tyrese Gibson), a stranger who takes a wrong turn and ends up at the diner; a suburban couple (Jon Tenney and Kate Walsh) and their rebellious daughter (Willa Holland). Ultimately, Michael must fight Gabriel (Kevin Durand), the archangel who’s eager to follow God’s orders. 1/25/10

The Tooth Fairy - 1 1/2 smiles

When five different writers get credit for creating a script, you know something’s wrong. Too bad I didn’t realize this before I saw “The Tooth Fairy,” a truly uninspired comedy. Dwayne Johnson, aka The Rock, stars as Derek, a washed-up hockey player whose bad behavior gets him magically sentenced to working two weeks as a tooth fairy. And although Johnson has on-screen charisma, he seems to be trying too hard to generate laughs. What bumps this movie up a notch is Johnson’s co-stars: Julie Andrews as Lily, the tooth fairy matriarch, an uncredited Billy Crystal as Jerry, Fairyland’s gadget-provider and Stephen Merchant as Tracy, Derek’s case worker. “The Tooth Fairy,” predictable fare with a hit-you-over-the-head message that ‘Everyone needs dreams,’ is pleasant enough if you’ve got young children in tow. Otherwise, you should probably skip this one. 1/24/10

Extraordinary Measures - 2 1/2 smiles

“Extraordinary Measures,” starring Harrison Ford and Brendan Fraser and inspired by true events, is pretty much a genre movie, adhering to familiar themes: one, parents facing the eminent death of their children who suffer from a fatal genetic disorder and two, mismatched partners – a quarrelsome, solitary scientist (Ford) and the earnest and emotional father (Fraser) – who set out to find a cure. Where this movie rises above its made-for TV predictability is the examination of how medical research is conducted and financed. US drug companies don’t develop new drugs unless they can be guaranteed lots of money in return. Few films illustrate so clearly the politics and competing agendas behind our for-profit health care.

John and his wife, Aileen (Keri Russell) do what they can to give Megan (Meredith Droeger) and Patrick (Diego Velazquez), who use wheelchairs and breathing tubes, a normal life. John’s research leads him to Robert Stonehill, a University of Nebraska professor, who thinks he has isolated an enzyme that has the potential to stop the progress of Pompe’s disease. They put together a start-up company, seeking venture capitalists support. Later they sell out to a biotechnology firm in Seattle. John’s desperate impatience is contrasted with Stonehill’s deliberate scientific methodology. We also see how a company’s rules for medical research and development can both help and hinder progress. “Extraordinary Measures” is touching tale of parental love and devotion, with Ford and Fraser’s performances clicking it up a notch from a made-for-TV melodrama. 1/23/10

Creation - 1 smile

“Creation” purports to tell the story behind ‘the biggest single idea in the history of thought’ – the writing of Charles Darwin’s 1859 treatise on evolution, On the Origin of Species. By choosing to focus on the loss of Darwin’s 10-year-old daughter Annie, director Jon Amiel turns this movie into a lackluster melodrama about grief and loss instead of developing the conflict between religious creation and scientific discovery. And some of Darwin’s ideas, developed while he was a young man sailing on the HMS Beagle, are only seen briefly in flashbacks. Plus Amiel jumps back and forth in time so often it’s hard to know what’s happening. Although Paul Bettany’s performance as the tormented Darwin is overly emotional, that does allow him to delve into Darwin’s personal struggle to come to terms with his revolutionary ideas. Jennifer Connelly’s Emma is tolerant of her husband’s scientific interests, but worried about his soul. “Creation” was based on a book by Randal Keynes, Darwin’s great-great-grandson and while it might be an accurate portrait, it is not revealing (or interesting) enough for me to recommend. 1/22/10

The Spy Next Door - 1 1/2 smiles

I like Jackie Chan. His acrobatic action scenes are always amazing and entertaining. Unfortunately, Chan’s fight scenes are not enough to save “The Spy Next Door.” Poor directing and an equally weak script make for a pretty awful movie, even on a rainy afternoon. Usually children in a film increase the cute factor, but not so here and I have to blame director Brian Levant. He manages to make the children more annoying than they’re supposed to be and Magnus Scheving and Katherine Boecher do a miserable job of imitating the Boris-and-Natasha villains. Even George Lopez as his grinning CIA boss isn’t funny. And whose idea was it to cast Billy Ray Cyrus as a spy? Chan’ s comedic gifts and nimble moves are wasted in “the Spy Next Door.” Hopefully, his upcoming “The Karate Kid” remake with Jaden Smith will be better. 1/19/10

The Book of Eli - 2 1/2 smiles

For whatever reason, there’s been a spate of apocalyptic movies recently: “Knowing,” “2012,” “The Road” and “The Book of Eli.” A key difference in these end-of-the-world tales is “The Book of Eli” advocates the importance of faith as the path through the darkness. The movie’s strength is the visuals, a bleak, ash-strewn landscape devoid of life, very reminiscent of “The Road,” but instead of constant gray skies and rain, Eli’s world endures a relentlessly blazing sun where water and lip balm are valuable commodities. Directors Albert and Allen Hughes don’t always seem in control of their narrative with their shifting tones. At one point, Eli is effectively fighting off a gang of thugs and later, he and his companion, Solara (Mila Kunis) seek refuge with an older couple, where their situation almost takes the form of a comedy skit. And when the Hughes brothers throw in the final plot twist, you have to say, ‘Give me a break!’ Denzel Washington gives a strong performance as a man whose abilities border on the superhuman and Gary Oldman is always effective as the bad guy.

It’s 30 years after the apocalypse and a whole generation has grown up without books, reading or the advantages they entail. After all, knowledge is power, a concept that Eli (Washington) and his antagonist Carnegie (Oldman) know because they were educated before the war. Carnegie runs a small town, controlling its inhabitants because he controls the water. Every day Carnegie sends out his minions, charging them to bring back any books they find. Of course, the one book Carnegie wants is the book Eli protects. “The Book of Eli” is foremost an action film that touches on some interesting ideas. Just don’t expect a meaningful analysis of the Bible’s place in a post-apocalyptic world. 1/15/09

The Lovely Bones - 1 1/2 smiles

I didn’t read Alice Sebold’s novel, the source material for Peter Jackson’s “The Lovely Bones,” so I can only comment about what’s on the screen. Unfortunately, this movie is disappointing; it’s a jumbled narrative that’s lacking any emotional impact. The film’s narrator is Susie Salmon (Saoirse Ronan), a young 14-year-old girl killed in the first quarter of the film. The rest of the movie alternates between what’s happening to Susie in the afterlife and what’s happening to her family. And although Jackson’s interpretation of Susie’s heaven is technically impressive, the abrupt tone shifts from her grieving family to Susie romping in Technicolor splendor is distracting. And the amount of time spent with Susie prevents us from emotionally connecting with the ones left behind.

The best performance is provided by Stanley Tucci as the nerdy neighbor, George Harvey, who waylays Susie on her way home from school. He is appropriately creepy as all serial killers are, but like Stephen Lang’s colonel is “Avatar,” he’s a one-dimensional villain. Saoirse Ronan is satisfactory as Susie, the only character with depth. And though Marc Wahlberg and Rachel Weisz as Susie’s parents try to bring some emotional intensity to their roles, they’re unsuccessful. Wahlberg overacts and Weisz doesn’t have many scenes. Perhaps Sebold’s novel is one that doesn’t adapt well to the big screen. Perhaps Jackson should have made major changes, like who narrates the movie. For whatever reason, “The Lovely Bones” doesn’t work. 1/17/10

Did You Hear about the Morgans - 1 smile

I resisted going to see “Did You Hear about the Morgans?” for a long time and I regret that I gave in and saw it. Sarah Jessica Parker, not one of my favorites, plays a shrill, hyperactive, self-absorbed real estate agent and wife to Hugh Grant’s cheating lawyer husband. They’ve separated, but he wants her back although why is not clear. They don’t seem to love each other and there’s absolutely no chemistry between them. Director Marc Lawrence, who also wrote the script, apparently believes that an audience that enjoys romantic comedies will suspend all disbelief so anything, no matter how stupid, goes. So Paul (Grant) and Meryl (Parker) witness a murder and the killer sees their faces. The FBI places them in a witness relocation program, sending them to Ray, Wyoming to stay with the local sheriff, Clay Wheeler (Sam Elliott) and his wife, Emma (Mary Steenburgen). While there, Paul and Meryl work to rebuild their relationship while doing silly things that are guaranteed to attract the attention of the killer.

The basic idea, a materialistic city girl out of her element, isn’t successful here. Too many of the comic opportunities fall flat, including the scene with the bear. To be fair, Grant has a few good lines and Elliott and Steenburgen are always solid. Overall, “Did You Hear about the Morgans?” is a waste of time. 1/10/10

Leap Year - 2 smiles

The typical formula for Harlequin romances, paperback love stories that run about 180 pages, is that the man and woman are usually in conflict for about 80 percent of the book. There is some indication that each finds the other attractive, however, so the happily-ever-after ending has some credibility. Unfortunately, that is not the case with “Leap Year,” starring Amy Adams and Matthew Goode. The sense of heated antagonism that develops between the two characters is so strong, without any undercurrent of attraction, that it’s hard to believe they eventually fall in love. Nonetheless, the rom-com genre formula calls for a happy ending so that’s what we get. And although Adams and Goode are game enough to make the best of a messy script, there’s just too much wrong with the screenplay and direction to save the movie. The slapstick (and there’s too much of it) isn’t funny, just cringe-inducing, especially at a wedding where Anna’s (Adams) flying shoe knocks the bride in the head. And why is Declan (Goode) so grungy throughout the film? I’m sure part of the reason Anna dislikes him from the outset is his slovenly appearance. But as she gets to know him, and especially at the end, couldn’t his appearance improve? After all, Matthew Goode is a pretty handsome guy, but you wouldn’t know it under all of that facial hair.

Anna cares more about appearances, which makes her a pretty superficial person. So when her long-term boyfriend doesn’t propose, she decides to follow him to Ireland (where he’s attending a medical conference) and propose. It seems there’s an old Irish legend that says on Leap Day, a woman can propose to a man. (Come on, this is the twenty-first century. Can’t a woman propose to a man without going to Ireland to do it?) Unfortunately, bad weather interferes and Anna ends up in a small Irish town a great distance from her goal of Dublin. A local pub owner/taxi driver, Declan, offers to help her for the right price. Thus begins a road trip where Anna is supposed to learn about the important things in life, especially true love. If you like Amy Adams, “Leap Year” is diverting enough. But better to rent “The Proposal,” which takes a similar situation, two characters that despise each other, and develops a credible romantic comedy. 1/8/10

The Road - 3 1/2 smiles

If you’ve read The Road by Cormac McCarthy, you know it’s a difficult story. So it’s no surprise that the film version, starring Viggo Mortensen and Kodi Smit-McPhee, is not a pleasant movie-going experience. In fact, it’s ugly and grueling. However, it’s significant for its character development and its examination of good and evil and the lengths man will go to survive. Also interesting is how fully director John Hillcoat has created McCarthy’s blighted landscape where modern society has been reduced to savagery. And Mortensen and Smit-McPhee have difficult, physically demanding roles. Mortensen's character is a man determined to live, using every ounce of his strength and cunning to protect his young son. Smit-McPhee shows impressive range for one so young. Mortensen definitely deserves an Oscar nomination for his performance.

An unspecified cataclysm has destroyed most of the world. The story follows two survivors, the father (Mortensen) and the son (Smit-McPhee) (or as McCarthy calls them, man and boy) as they travel to the coast and then south. The mother (Theron), who gives birth after the cataclysm, is no longer around. We see in flashbacks her increasing waves of despair that send her out into the cold dark night to die. Each day brings new dangers, including cannibalistic gangs, disease, and starvation. And each new day reinforces how alone the father and son are, but the father continually tells his son that they are ‘the good guys; they carry the fire.’ Unfortunately, circumstances can bring out the worst in man and it’s often burdensome to weigh survival against morality. Yes, “The Road” is a difficult and exhausting two hours, but that makes the hope that father and son embrace during their journey all the more powerful. 1/5/10

Broken Embraces - 2 smiles

I have to admit, I’m not a Pedro Almodovar fan so I can’t compare “Broken Embraces” to any of this other work. I know that Penelope Cruz has been in several of his movies and in this one, she’s luminous. “Broken Embraces” is a movie-within-a-movie, not a particularly new approach to storytelling. However, here it’s engaging for most of the movie. As long as the present (2008) proposes questions and the past (1994) answers them, the story is compelling. But there are a few too many coincidences at the end.

A blind writer, Harry Caine (Luis Homar), is a middle-aged man who was once Mateo Blanco, a successful filmmaker. Harry has been using the pseudonym after his latest movie, “Girls and Suitcases” debuted in 1994. It starred the woman he loved, Lena (Cruz) and was produced by her rich and powerful jealous lover Ernesto Martel (Jose Luis Gomez). There’s also Diego (Tamar Novas), Harry’s protégé; Judit (Bianca Portillo), who seems more than just Harry’s manager; and the mysterious Ray X, who knows a lot about Harry’s previous life. “Broken Embraces” is an okay movie, but, for some reason, I was expecting more. Subtitles. 1/28/10

A Single Man - 2 1/2 smiles

“A Single Man” is successful only because of Colin Firth’s performance as George, a man unable to recover from the death of his partner. Novice director Tom Ford’s approach to directing is too stylized and it often interferes with our identifying with George. Ford has filmed much of this movie in a near monochrome and his intent is clear: life is colorless for George without Jim (Matthew Goode). Then, when something piques George’s interest, we get flashes of full color. This metaphor becomes tiresome after a while and irritating by the end of the movie. However, Firth’s interpretation of repressed grief is as effective as it can be within the world Ford controls. Julianne Moore gives an overly dramatic performance as George’s close friend

It’s 1962 and the Cuban Missile Crisis dominates the news. But George, a professor at a small Southern California university, is busy preparing for his last day. It becomes obvious that George is planning to kill himself as he cleans out his office, empties his safe deposit box, writes letters to friends, arranges his burial clothes. We know George is experiencing loss and sorrow. It’s too bad that Ford’s heavy-handed direction prevents us from an emotional connection to George. 12/23/09

Sherlock Holmes - 3 smiles

There’s never a dull moment in Guy Ritchie’s “Sherlock Holmes,” starring Robert Downey, Jr. and Jude Law. Lots of action, strong characters, humorous buddy bickering, and sumptuous Victorian London sets and costumes. The best reason to see this film is the chemistry between RDJ and Law, which fuels the subplot involving Holmes’ jealousy over Watson’s engagement and his plans to move out of their shared flat at 221B Baker Street. With the images of Basil Rathbone’s portrayal of Holmes dancing in our heads, it’s a relief to see that Ritchie has a firm grasp of this revised Holmes and RDJ has the skill to play him. Yes there’s action and violence, but there’s also deductive reasoning and intellectual dialogue. And it’s not a problem that Watson is the most changed character (from the bumbling sidekick played by Nigel Bruce). Law’s Dr. Watson is a fully competent colleague with his own life and issues and he balances many of Holmes’ eccentricities, including a huge ego. It’s obvious why Holmes needs Watson; he just can’t admit it.

The plot involves a scheme by the villainous Lord Blackwood (the always effective Mark Strong), who aspires to control the world by assuming power in England. To aid him in this nefarious scheme seems to be the dark arts as Lord Blackwood appears to have risen from the dead. Holmes and Watson are on the scene to assist Inspector Lestrade (Eddie Marsan). Several subplots come together, including one involving Irene Adler (Rachel McAdams), an American con artist who has a pervious association with Holmes. When you reach the end, you see the obvious set up for a sequel. But you’ve so enjoyed spending time with the new Sherlock Holmes and Dr. Watson that you’re looking forward to doing it again. 12/25/09

Avatar - 4 smiles

“Avatar” is pure entertainment, clearly the best movie of 2009. From a visual perspective, director James Cameron gives us one of the most amazing presentations ever of an alien world and in 3D, it’s totally riveting. Add the IMAX screen and all of the elements – story, character, theme, emotional impact, special effects – grab you and don’t let go. Cameron’s detractors claim that “Avatar” is a science-fiction version of “Dances with Wolves,” but is that a bad thing? At a time when battles rage about whether or not man is destroying the planet, Cameron’s ideas resonate. And Stephen Lang’s Colonel Quartich is the perfect villain, who has yet to meet a foe that can defeat him. Sam Worthington and Sigourney Weaver are solid, even though a good portion of their time is animated. Like Andy Serkis’ Gollum in The Trilogy of the Rings, Zoe Saldana’s Neytiri is entirely based on motion capture. Fortunately, the Na’vi appear three-dimensional, transcending their CGI conception. We believe that they are real and we care about them.

“Avatar” takes place on the planet Pandora in the year 2154. Pandora is a jungle world rich in unobtanium, a rare mineral that will yield millions for the mining corporation that can get it. Human interactions with the indigenous humanoid population, the 10-foot tall, blue-skinned Na’vi, have been contentious. Leading the security detail is Colonel Miles Quartich (Stephen Lang). For a while, Dr. Grace Augustine (Weaver) was able to successfully run a school for the natives by using ‘avatars’ (synthetic Na’vi remotely controlled by humans), but when Grace’s interactions do not lead to unobtanium mining, she is ordered to close the school. For Grace, studying the Na’vi and their world is her prime objective and another opportunity arrives in the form of a paraplegic ex-marine, Jake Sully (Sam Worthington). Unfortunately for Jake, he’s caught between two masters. Quartich wants Jake to bond with the Na’vi so he can pass back tactical information while Grace wants him to rebuild a connection to the Na’vi. A series of events result in Jake being saved by Neytiri (Zoe Saldana), who distrusts him, but believes that he is connected to the Na’vi god. She takes him to the ‘home tree’ where he gains the opportunity to learn their ways and become a member of their society. Unfortunately, Colonel Quartich is planning a massive operation to force the Na’vi to relocate. “Avatar” is emotionally satisfying and a great visual ride. It’s top notch. 12/26/09

Up in the Air - 3 1/2 smiles

The main reason to see “Up in the Air,” besides being able to stare at George Clooney, is the creative script. Director Jason Reitman, who co-adapted the screenplay with Shelton Turner, brings a mixture of comedy and drama to this movie, giving his characters some laugh-out-loud moments yet grounding the story in serious ideas. Clooney is especially convincing as a man who has shed all of life’s usual attachments. And providing able support is Vera Farmiga, who plays Alex, a female version of Ryan, and Anna Kendrick, as Natalie, Ryan’s young co-worker who learns some of life’s hard lessons. And with the exception of two actors, all of the laid-off people are real people who have faced someone saying, ‘Your position is no longer available.’

Ryan is a corporate gunslinger; that is, his company is hired to fire people. So Ryan spends his days traveling from city to city, delivering the news of layoffs. He lives in hotels and spends the rest of his time in airports and airplanes and likes it that way. He has no time for relationships and his one goal in life is to collect 10 million frequent flier miles so he can join a rare club. When Ryan’s boss (Jason Bateman) decides to implement a new strategy proposed by new hire Natalie (Kendrick), one that uses teleconferencing technology to fire people, Ryan brings Natalie on the road with him to prove to her that this is not the way to handle such a sensitive issue. Along the way, Ryan has a chance encounter with Alex (Farmiga). “Up in the Air” might feel like a romantic comedy, but it’s not. At it’s heart is the analysis of a man whose chosen lifestyle might seem, on the surface, desirable. But that’s because Clooney plays him with such charisma. When you take a closer look, you see the loneliness lurking in Ryan’s dark eyes. And a secondary issue is the inhumane way corporations cut work forces. “Up in the Air” delivers a mix of humor and drama and I’m sure you’ll enjoy it. 12/11/09

It's Complicated - 3 1/2 smiles

“It’s Complicated,” directed by Nancy Meyers and starring Meryl Streep, Alec Baldwin and Steve Martin, is pure entertainment. It’s an intelligent romantic comedy for the ‘more experienced’ set. And Meyers, who also wrote the screenplay, plays with the genre enough that you’re never quite sure who’s going to get the ‘girl’ at movie’s end (although you can hope). Jane (Streep), a divorced mother of three grown children, owns a bakery in upscale Santa Barbara. Her ex, Jake (Baldwin), who has re-married, finds himself yearning for Jane. Nice guy Adam (Martin) is an architect supervising Jane’s home kitchen remodeling project. And with the various interactions, well, it’s complicated

One of the strengths of this movie is the talent of its stars. The performances are skilled and unforced and the chemistry is obvious. And John Krasinkski, who plays the soon-to-be husband of Jane and Jake’s oldest daughter, has some laugh-out-loud reactions to what’s going on with Jane. Meyers was able to convince Diane Keaton to disrobe in “Something’s Gotta Give” and she’s just as successful here. This time it’s Alec Baldwin who bares all in the funniest scene in the movie. So if you want a break from the heavy Oscar contenders or if you just want to enjoy yourself, be sure to see “It’s Complicated. 12/25/09

The Imaginarium of Doctor Parnassus - 1 1/2 smiles

“The Imaginarium of Doctor Parnassus” is all flash with no substance, especially with regard to a cohesive story. With the death of Heath Ledger, it’s hard to determine how much of director Terry Gilliam’s original vision for this film remains, but it’s to his credit that he was able to make something out of the pieces he had. Unfortunately, those pieces result in a patchwork narrative that makes little sense. Doctor Parnassus (Christopher Plummer) is millennia old, having made a deal with the devil. Now, he works with a small roving carnival troupe that includes his daughter, Valentina (Lily Cole), Anton (Andrew Garfield) and tiny Percy (Verne Troyer), staging magic shows that transport people through a mirror into other realities. The group saves Tony (Ledger) when they find him hanging from a noose under a bridge. Tony immediately starts to revamp the show to make it more relevant and profitable. Of course, the devil sees this as interfering.

To finish the film, Gilliam uses Johnny Depp, Jude Law and Colin Farrell whenever Tony passes through the mirror into another world, which allowed Gilliam to finish the movie, but it doesn’t enhance the story in any way. And the CGI, while providing a lot of eye candy, doesn’t have a center to hold it together. “The Imaginarium of Doctor Parnassus” is a visually rich fantasy that’s impossible to follow. Perhaps Gilliam would have been better off walking away. 12/30/09

Crazy Heart - 3 smiles

More than its story or co-stars, the main reason to see “Crazy Heart” is for the strong performance Jeff Bridges gives as a veteran country and western singer on the down side of his career. Reminiscent of “The Wrestler,” Bridges is Bad Blake, an alcoholic who has fallen so far down the entertainment ladder that he finds himself performing in bowling alleys. Bad is too proud and stubborn to accept the helping hand Tommy Sweet (Colin Farrell) extends. Tommy sees Bad as a mentor, but Bad views Tommy as an ungrateful upstart who left him behind on his way to the top. And Bad’s love life consists of a string of one-night stands until he meets Jean Craddock (Maggie Gyllenhall), a journalist in Santa Fe. For some inexplicable reason, Jean is attracted to him, giving Bad the opportunity to interact with an intelligent woman. Jean has a four-year-old son, Buddy (Jack Nation), who is the age that Bad’s son was when the singer abandoned his family some 25 years ago. Although Bad enjoys spending time with Buddy, you know his alcoholic tendencies are going to cause him to make mistakes, perhaps fatal ones.

Daniel Day-Lewis is known for immersing himself in his roles, but the same can be said for Bridges. He is Bad Blake and this is Bridges’ movie. He gets everything right, from the slow, shuffling gait of someone who has given up to the dead look in his eyes. Yet when he picks up a guitar, you see vestiges of the man he once was. And luckily Bridges can sing. Don’t be surprised when Jeff Bridges receives his fifth Oscar nomination and second as a leading man (he was previously recognized for his performance in 1985 for “Starman.”) This is the best performance by an actor for 2009. 12/21/09