“Thor” Movie Review

Directed by Kenneth Branagh, Written by Ashley Miller, Zack Stentz, Don Payne, J. Michael Straczynski, Mark Protosevich, Stan Lee, Larry Lieber, and Jack Kirby, 114 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

Marvel has a lot riding on its big screen version of “Thor.” Not only does this extravagant, Kenneth Branagh-directed superhero flick set up its own would-be franchise, but also another overarching one, “The Avengers.” As such, Marvel has a right to be nervous— their first forays into setting up hero-heavy pictures have not been successful. With Hulk needing another reboot, and Iron Man 2 crumbling under the weight of Avenger advertisements, there was little reason to think a Shakespearian director like Branagh could get bring the nearly-DOA project back from the dead.

Surprisingly, all that time dealing in four-hour-long adaptations of “Hamlet” made Branagh perfectly equipped to balance the many sides of “Thor.” Charging through the duties of origins, romance and franchise, Branagh and his immensely likable cast connect the realms of Earth, Asgard and Hollywood with ease. The director’s heavy-handed dramatics and swooping camera match the Saturday Matinee theatrics of the Norse God of Thunder, as Branagh and his star, Chris Hemsworth, command the screen with charisma and excitement.

After foolishly attacking a rival realm against his father’s (Anthony Hopkins) wishes, the hotheaded son of Odin, Thor (Hemsworth), finds himself living in exile as a mortal man on Earth. There, he meets Jane Foster (Natalie Portman), an astrophysicist looking to explain Thor’s sudden appearance. Back on the unprotected Asgard, Thor’s vengeful brother Loki (Tom Hiddleston) begins a reign of terror to usurp his father’s crown.

Appropriately, “Thor” allots equal time to both realms, and even without the added excitement of Asgard’s colorful effects and extravagant battles with the Frost Giants, Branagh claims Earth for Thor. Chris Hemsworth and Natalie Portman charm the pants off each other and the audience—at least enough to make the time between explosions worth paying attention to. Thor swings his mighty hammer frequently, but the quirky romance is equally worth watching.

Just as much credit should go to Branagh for also making the bureaucratic mission of S.H.I.E.L.D essential to the plot and making that piece of the film appear larger than life. The director doesn’t waste a shot in making his film feel like the grandest superhero movie ever. From the Golden Halls of Asgard to the exterior of a hospital, Branagh’s frame tilts and swoops its way into excitement. With a director this interested in making every shot exciting, it shouldn’t come as too much of a surprise that his film is just that.

Grade: B+

“Thor” Movie Review

Directed by Kenneth Branagh, Written by Ashley Miller, Zack Stentz, Don Payne, J. Michael Straczynski, Mark Protosevich, Stan Lee, Larry Lieber, and Jack Kirby, 114 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

Marvel has a lot riding on its big screen version of “Thor.” Not only does this extravagant, Kenneth Branagh-directed superhero flick set up its own would-be franchise, but also another overarching one, “The Avengers.” As such, Marvel has a right to be nervous— their first forays into setting up hero-heavy pictures have not been successful. With Hulk needing another reboot, and Iron Man 2 crumbling under the weight of Avenger advertisements, there was little reason to think a Shakespearian director like Branagh could get bring the nearly-DOA project back from the dead.

Surprisingly, all that time dealing in four-hour-long adaptations of “Hamlet” made Branagh perfectly equipped to balance the many sides of “Thor.” Charging through the duties of origins, romance and franchise, Branagh and his immensely likable cast connect the realms of Earth, Asgard and Hollywood with ease. The director’s heavy-handed dramatics and swooping camera match the Saturday Matinee theatrics of the Norse God of Thunder, as Branagh and his star, Chris Hemsworth, command the screen with charisma and excitement.

After foolishly attacking a rival realm against his father’s (Anthony Hopkins) wishes, the hotheaded son of Odin, Thor (Hemsworth), finds himself living in exile as a mortal man on Earth. There, he meets Jane Foster (Natalie Portman), an astrophysicist looking to explain Thor’s sudden appearance. Back on the unprotected Asgard, Thor’s vengeful brother Loki (Tom Hiddleston) begins a reign of terror to usurp his father’s crown.

Appropriately, “Thor” allots equal time to both realms, and even without the added excitement of Asgard’s colorful effects and extravagant battles with the Frost Giants, Branagh claims Earth for Thor. Chris Hemsworth and Natalie Portman charm the pants off each other and the audience—at least enough to make the time between explosions worth paying attention to. Thor swings his mighty hammer frequently, but the quirky romance is equally worth watching.

Just as much credit should go to Branagh for also making the bureaucratic mission of S.H.I.E.L.D essential to the plot and making that piece of the film appear larger than life. The director doesn’t waste a shot in making his film feel like the grandest superhero movie ever. From the Golden Halls of Asgard to the exterior of a hospital, Branagh’s frame tilts and swoops its way into excitement. With a director this interested in making every shot exciting, it shouldn’t come as too much of a surprise that his film is just that.

Grade: B+

"Born to Raise Hell"

DVD, Blu-Ray Movie Review

Directed by Lauro Chartrand, Written by Steven Seagal, 98 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Surely, many have been waiting for the latest direct-to-DVD offering from that auteur of non-theatrical entertainment, Steven Seagal, and "Born to Raise Hell" will surely scratch that itch, assuming that itch is for dead partners, mixed martial arts from a guy that barely moves let alone emotes, and gratuitous sex and violence.

But we'll get to all that. Let's get that necessary burden called a story out the way, shall we? Seagal stars as Samuel Axel -- that's right, Samuel Axel -- a trash talking, nose-breaking Interpol Agent who protects the corrupt cities of the Balkans from the swarm of drug smuggling action movie clichés. Having never known the meaning of "police brutality," Axel beats his way to a lead on a rape and double homicide case (which comes five minutes into the film--Seagal's script wastes no time), which connects to a aristocratic drug smuggler named Dimitri (Dan Badarau), whom, because he's from a more respectable era of drug smuggling, agrees to help Axel bring his own men down.

Seagal's script really doesn't stray to far from the actor's strengths. He's got a doomed partner with a baby on the way, a smooth talking, aristocratic villain that plays chess and listens to classical music, a host of nameless soldiers with paper bones, and a city with a majority supermodel population. However, to discredit the actor would be to miss the distinct and surprising changes in his character type. Instead of his Eastwood squints and whispers, Seagal takes a daring chance and names all of his other characters "bitch" and/or "boy," or at least that's what Axel seems to think their names are. He’s got more fervor, yet it’s mostly hilarious, rather than intense.

Nevertheless, it's hard to be too disappointed with a film like and called "Born to Raise Hell." As written, produced and acted by Steven Seagal, it's no worse than his other recent outings. Seagal punches and kicks to throbbing techno soundtrack and “Saw”-like jump cuts, which further serve to distract from the plot.

As he grows older and any kind of self-awareness slowly fades, Seagal continues to make films that his fans want to see, but refuses to acknowledge that it's all pretty stupid. A little irony would go a long way in this case, but Seagal continues to take himself seriously, which, supposedly, is what his fans want. Everyone else would do better watching “Above the Law” again.

Grade: D

"Born to Raise Hell"

DVD, Blu-Ray Movie Review

Directed by Lauro Chartrand, Written by Steven Seagal, 98 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Surely, many have been waiting for the latest direct-to-DVD offering from that auteur of non-theatrical entertainment, Steven Seagal, and "Born to Raise Hell" will surely scratch that itch, assuming that itch is for dead partners, mixed martial arts from a guy that barely moves let alone emotes, and gratuitous sex and violence.

But we'll get to all that. Let's get that necessary burden called a story out the way, shall we? Seagal stars as Samuel Axel -- that's right, Samuel Axel -- a trash talking, nose-breaking Interpol Agent who protects the corrupt cities of the Balkans from the swarm of drug smuggling action movie clichés. Having never known the meaning of "police brutality," Axel beats his way to a lead on a rape and double homicide case (which comes five minutes into the film--Seagal's script wastes no time), which connects to a aristocratic drug smuggler named Dimitri (Dan Badarau), whom, because he's from a more respectable era of drug smuggling, agrees to help Axel bring his own men down.

Seagal's script really doesn't stray to far from the actor's strengths. He's got a doomed partner with a baby on the way, a smooth talking, aristocratic villain that plays chess and listens to classical music, a host of nameless soldiers with paper bones, and a city with a majority supermodel population. However, to discredit the actor would be to miss the distinct and surprising changes in his character type. Instead of his Eastwood squints and whispers, Seagal takes a daring chance and names all of his other characters "bitch" and/or "boy," or at least that's what Axel seems to think their names are. He’s got more fervor, yet it’s mostly hilarious, rather than intense.

Nevertheless, it's hard to be too disappointed with a film like and called "Born to Raise Hell." As written, produced and acted by Steven Seagal, it's no worse than his other recent outings. Seagal punches and kicks to throbbing techno soundtrack and “Saw”-like jump cuts, which further serve to distract from the plot.

As he grows older and any kind of self-awareness slowly fades, Seagal continues to make films that his fans want to see, but refuses to acknowledge that it's all pretty stupid. A little irony would go a long way in this case, but Seagal continues to take himself seriously, which, supposedly, is what his fans want. Everyone else would do better watching “Above the Law” again.

Grade: D

“Fast Five”

Movie Review

Directed by Justin Lin, Written by Chris Morgan and Gary Scott Thompson (characters), 130 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

The fact that the fifth installment in the seemingly endless “The Fast and the Furious” franchise isn’t a total disaster is cause for celebration. That it's actually pretty good will leave most flabbergasted.

Justin Lin’s “Fast Five” never takes itself too seriously. The script is goofy and the action is ridiculous, which is fine because the movie has no pretensions other than to be a pitch-perfect car-chase movie. Lin presents two formidable foes--a great setting and some relentless car chases--which create some of the best, turn-your-brain-off action this year.

When Lin catches up with Dominic, Brian and Mia (Vin Diesel, Paul Walker, and Jordana Brewster), they’re springing Dom from the joint and heading to Brazil to lay low. This doesn’t stick, though. Does it ever? To make some quick cash, Brian and Mia get back to their old tricks. But by the time they realize the deal has gone bad, a train explodes and Brian and Dom drive a sports car off a cliff. Dom and Brian, still reaming from this sour deal, decide to take matters into their own hands and assemble a team to rob the drug lord responsible--hopefully before the DEA catches up with them.

“Fast Five”’s plot rarely makes sense, but, then again, it doesn’t have to. On a conventional level, it gives the audience exactly what it wants--good villains and great chases. Johnson offers a little of both as Hobbs, a bloodthirsty DEA agent who kills first and speaks in weak metaphors later. Meanwhile, the film’s overarching villain, the drug smuggling, Reyes (Joaquim de Almeida), needlessly toasts to human misery and ensnares a destitute city in unnecessary crime.

Diesel and Walker, already extremely comfortable in the roles that made them famous, are less enjoyable. Chris Morgan’s script regulates both characters to a series of T-shirt slogans and smug grins. Diesel inspires his team like a football coach, while Walker responds with typical variations on “Let’s do this thing.”

The script may be lackluster, but Lin doesn’t seem to notice. Each chase is composed of the right amount of speed and clarity. He cuts quickly to keep up the pace and shoots wide to make sure we don’t miss a second of it. Most importantly, Lin never puts his foot on the break until the last possible second.

Grade: B-

“Fast Five”

Movie Review

Directed by Justin Lin, Written by Chris Morgan and Gary Scott Thompson (characters), 130 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

The fact that the fifth installment in the seemingly endless “The Fast and the Furious” franchise isn’t a total disaster is cause for celebration. That it's actually pretty good will leave most flabbergasted.

Justin Lin’s “Fast Five” never takes itself too seriously. The script is goofy and the action is ridiculous, which is fine because the movie has no pretensions other than to be a pitch-perfect car-chase movie. Lin presents two formidable foes--a great setting and some relentless car chases--which create some of the best, turn-your-brain-off action this year.

When Lin catches up with Dominic, Brian and Mia (Vin Diesel, Paul Walker, and Jordana Brewster), they’re springing Dom from the joint and heading to Brazil to lay low. This doesn’t stick, though. Does it ever? To make some quick cash, Brian and Mia get back to their old tricks. But by the time they realize the deal has gone bad, a train explodes and Brian and Dom drive a sports car off a cliff. Dom and Brian, still reaming from this sour deal, decide to take matters into their own hands and assemble a team to rob the drug lord responsible--hopefully before the DEA catches up with them.

“Fast Five”’s plot rarely makes sense, but, then again, it doesn’t have to. On a conventional level, it gives the audience exactly what it wants--good villains and great chases. Johnson offers a little of both as Hobbs, a bloodthirsty DEA agent who kills first and speaks in weak metaphors later. Meanwhile, the film’s overarching villain, the drug smuggling, Reyes (Joaquim de Almeida), needlessly toasts to human misery and ensnares a destitute city in unnecessary crime.

Diesel and Walker, already extremely comfortable in the roles that made them famous, are less enjoyable. Chris Morgan’s script regulates both characters to a series of T-shirt slogans and smug grins. Diesel inspires his team like a football coach, while Walker responds with typical variations on “Let’s do this thing.”

The script may be lackluster, but Lin doesn’t seem to notice. Each chase is composed of the right amount of speed and clarity. He cuts quickly to keep up the pace and shoots wide to make sure we don’t miss a second of it. Most importantly, Lin never puts his foot on the break until the last possible second.

Grade: B-

"Legend of the Fist: Return of Chen Zhen"

Movie Review

"Legend of the Fist: The Return of Chen Zhen," written by Gordon Chan, directed by Wai-keung Lau, 105 minutes, rated R.

By our guest blogger, Joel Crabtree

Chen Zhen is a Chinese legend comparable to Western heroes like Robin Hood or James Bond. Previously on screen, he has been portrayed by Bruce Lee and Jet Li, two of greatest martial arts stars of all time. In “Legend of the Fist,” Donnie Yen takes a crack at Chen Zhen, and although he's not as well-known in America as his predecessors, Yen is arguably the single greatest action star of his generation.

In “Legend of the Fist,” Yen portrays Chen Zhen in a new light, building him up beyond a mere martial arts hero and into something that borders on superhuman. We meet the unbeatable Chen Zhen quite literally flying through WWI combat zones in France, where he is both a laborer and soldier for the Allies.

When one of his comrades is killed in battle, Chen Zhen chooses to fake his death, killing off the legend he has created, and takes on the identity of the fallen soldier. Several years later, Chen Zhen finds himself as a key player in a resistance movement in Japan-occupied Shanghai.

It is there that Chen Zhen grabs the attention of a devoted Chinese club owner (Anthony Wong Chau-Sang) and a hostess (Qi Shu), and lands a job giving him access to Japanese, Chinese and European officials.

As tensions rise over Japan’s occupation, however, Chen Zhen adopts yet another identity, “The Masked Warrior,” to stand up for his countrymen and help rid China of the Japanese.

If it sounds like a blend of Chinese nationalism and comic books with some martial arts thrown in and a pinch of noir, that’s probably because it is. The combination, needless to say, is pretty irresistible.

Director Wai-keung Lau’s bustling post-WWI Shanghai backdrop is reminiscent of United States’ Jazz Age, leaning on early superheroes such as The Shadow and Batman for inspiration. It helps set the film apart from previous incarnations.

“Legend of the Fist” also finds its identity through extensive use of wire-work, giving Chen Zhen a larger-than-life appearance while sacrificing the gift of Donnie Yen’s martial arts in its purest form. When the wires finally do come off, however, there is a scene that is so visceral it will make you forget about the high-flying silliness. That’s the Donnie Yen I was waiting to see.

Grade: B

"Legend of the Fist: Return of Chen Zhen"

Movie Review

"Legend of the Fist: The Return of Chen Zhen," written by Gordon Chan, directed by Wai-keung Lau, 105 minutes, rated R.

By our guest blogger, Joel Crabtree

Chen Zhen is a Chinese legend comparable to Western heroes like Robin Hood or James Bond. Previously on screen, he has been portrayed by Bruce Lee and Jet Li, two of greatest martial arts stars of all time. In “Legend of the Fist,” Donnie Yen takes a crack at Chen Zhen, and although he's not as well-known in America as his predecessors, Yen is arguably the single greatest action star of his generation.

In “Legend of the Fist,” Yen portrays Chen Zhen in a new light, building him up beyond a mere martial arts hero and into something that borders on superhuman. We meet the unbeatable Chen Zhen quite literally flying through WWI combat zones in France, where he is both a laborer and soldier for the Allies.

When one of his comrades is killed in battle, Chen Zhen chooses to fake his death, killing off the legend he has created, and takes on the identity of the fallen soldier. Several years later, Chen Zhen finds himself as a key player in a resistance movement in Japan-occupied Shanghai.

It is there that Chen Zhen grabs the attention of a devoted Chinese club owner (Anthony Wong Chau-Sang) and a hostess (Qi Shu), and lands a job giving him access to Japanese, Chinese and European officials.

As tensions rise over Japan’s occupation, however, Chen Zhen adopts yet another identity, “The Masked Warrior,” to stand up for his countrymen and help rid China of the Japanese.

If it sounds like a blend of Chinese nationalism and comic books with some martial arts thrown in and a pinch of noir, that’s probably because it is. The combination, needless to say, is pretty irresistible.

Director Wai-keung Lau’s bustling post-WWI Shanghai backdrop is reminiscent of United States’ Jazz Age, leaning on early superheroes such as The Shadow and Batman for inspiration. It helps set the film apart from previous incarnations.

“Legend of the Fist” also finds its identity through extensive use of wire-work, giving Chen Zhen a larger-than-life appearance while sacrificing the gift of Donnie Yen’s martial arts in its purest form. When the wires finally do come off, however, there is a scene that is so visceral it will make you forget about the high-flying silliness. That’s the Donnie Yen I was waiting to see.

Grade: B

“Tron: Legacy” 3D

DVD, Blu-ray Movie Review

Directed by Joseph Kosinski, written by Edward Kitsis and Adam Horowitz, 127 minutes, rated PG.

By our guest blogger, Joel Crabtree

Editor's Note:  The 3D version we were sent three times by our helpful distributor had significant issues with it.  While the movie looked beautiful when it worked, too often it seemed to "catch" between transitions and made for an experience that was less than the movie deserved.  We are unsure whether this is a widespread issue, though the equipment we used is just over one month old and all firmware was updated.

In 1982, Disney released “Tron,” a visually groundbreaking risk that didn’t pay off at the box office, but has lingered around for nearly 30 years as a cult classic among a particular brand of nerd. Somewhere, somehow, someone at the studio decided it was time for a “Tron” sequel. Thus, “Tron: Legacy” was born. All I have to ask is this--what took you guys so long?

On the verge of a major breakthrough in The Grid, Kevin Flynn (Jeff Bridges), the head of Encom, goes missing, thus tarnishing his business reputation and leaving behind a son, Sam (Garrett Hedlund, finding his footing as a leading man), who has inherited his father’s rebellious nature -- and his share of the company.

A mysterious page (yes, a page) from Flynn’s abandoned arcade office sends Sam on a quest to find his father. After being sucked into the grid, he discovers a totalitarian cyber world ruled by the iron fist of Clu (also Jeff Bridges), who is a program with the likeness of Kevin Flynn that was assigned to create “the perfect system.”

Only, it isn't perfect.

Sam is forced into a gauntlet of dangerous games, only to be rescued by Quorra (Olivia Wilde), who whisks the young Flynn away safely off The Grid, where his father has been hiding out for years. And he’s changed. No longer the hotshot, risk-taking programmer, Flynn is a tranquil god among programs.

Sam’s impulsive behavior clashes with his father’s passiveness when Sam leaves the safe house to put an end to Clu from outside The Grid, leaving Quorra and Kevin with no option but to follow.

“Legacy” more directly addresses the idea of man playing God with technology than its predecessor, and it even presents some pretty serious religious symbolism (Flynn, a creator, and his son, a saviorlike figure). It’s all a bit heavy-handed, but it’s kept dormant under the pounding Daft Punk score (awesome) and neon-infused action scenes. As breathtaking and as enjoyable as the action is, it comes at the sacrifice of many unexplored story arcs and ideas in the “Tron” universe.

The film does find time to delve into the duality of Kevin Flynn and his out-of-control alter ego Clu, with Bridges having a lot of fun portraying both the tyrant and the aging zen master. His performance lends “Legacy” some clout, but it’s topped by Michael Sheen’s brief turn as Zuse, a frosty-haired David Bowie-inspired program whose fanciful dance moves are almost straight out of a cartoon.

Everything in the movie, however, takes a back seat to the effects. Like the original movie, “Tron: Legacy” was made to push the boundaries of technology in cinema. It succeeds. The film is a special effects spectacle to behold, and it's deserving of Academy Award nominations in art direction, costume design and visual effects.

As with any movie that's so dependent on state-of-the-art technology, you have to wonder how it will hold up over time. Maybe we’ll find out in, say, 28 years? But for 2010?  "Tron: Legacy" is quite an achievement.

Grade: B

View WeekinRewind.com's video preview of the movie below.

“Tron: Legacy” 3D

DVD, Blu-ray Movie Review

Directed by Joseph Kosinski, written by Edward Kitsis and Adam Horowitz, 127 minutes, rated PG.

By our guest blogger, Joel Crabtree

Editor's Note:  The 3D version we were sent three times by our helpful distributor had significant issues with it.  While the movie looked beautiful when it worked, too often it seemed to "catch" between transitions and made for an experience that was less than the movie deserved.  We are unsure whether this is a widespread issue, though the equipment we used is just over one month old and all firmware was updated.

In 1982, Disney released “Tron,” a visually groundbreaking risk that didn’t pay off at the box office, but has lingered around for nearly 30 years as a cult classic among a particular brand of nerd. Somewhere, somehow, someone at the studio decided it was time for a “Tron” sequel. Thus, “Tron: Legacy” was born. All I have to ask is this--what took you guys so long?

On the verge of a major breakthrough in The Grid, Kevin Flynn (Jeff Bridges), the head of Encom, goes missing, thus tarnishing his business reputation and leaving behind a son, Sam (Garrett Hedlund, finding his footing as a leading man), who has inherited his father’s rebellious nature -- and his share of the company.

A mysterious page (yes, a page) from Flynn’s abandoned arcade office sends Sam on a quest to find his father. After being sucked into the grid, he discovers a totalitarian cyber world ruled by the iron fist of Clu (also Jeff Bridges), who is a program with the likeness of Kevin Flynn that was assigned to create “the perfect system.”

Only, it isn't perfect.

Sam is forced into a gauntlet of dangerous games, only to be rescued by Quorra (Olivia Wilde), who whisks the young Flynn away safely off The Grid, where his father has been hiding out for years. And he’s changed. No longer the hotshot, risk-taking programmer, Flynn is a tranquil god among programs.

Sam’s impulsive behavior clashes with his father’s passiveness when Sam leaves the safe house to put an end to Clu from outside The Grid, leaving Quorra and Kevin with no option but to follow.

“Legacy” more directly addresses the idea of man playing God with technology than its predecessor, and it even presents some pretty serious religious symbolism (Flynn, a creator, and his son, a saviorlike figure). It’s all a bit heavy-handed, but it’s kept dormant under the pounding Daft Punk score (awesome) and neon-infused action scenes. As breathtaking and as enjoyable as the action is, it comes at the sacrifice of many unexplored story arcs and ideas in the “Tron” universe.

The film does find time to delve into the duality of Kevin Flynn and his out-of-control alter ego Clu, with Bridges having a lot of fun portraying both the tyrant and the aging zen master. His performance lends “Legacy” some clout, but it’s topped by Michael Sheen’s brief turn as Zuse, a frosty-haired David Bowie-inspired program whose fanciful dance moves are almost straight out of a cartoon.

Everything in the movie, however, takes a back seat to the effects. Like the original movie, “Tron: Legacy” was made to push the boundaries of technology in cinema. It succeeds. The film is a special effects spectacle to behold, and it's deserving of Academy Award nominations in art direction, costume design and visual effects.

As with any movie that's so dependent on state-of-the-art technology, you have to wonder how it will hold up over time. Maybe we’ll find out in, say, 28 years? But for 2010?  "Tron: Legacy" is quite an achievement.

Grade: B

View WeekinRewind.com's video preview of the movie below.

“Hanna”

Movie Review

Directed by Joe Wright, Written by Seth Lochhead and David Farr, 111 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Hanna” isn’t your typical action movie. From its star to its low-key electronic soundtrack, the film sharply contrasts usual shoot-em-up fare. Gravitating between the story of an assassin born to kill and a young girl coming of age, Joe Wright delivers a fascinating look at what we expect from action movies, subverts those expectations, while also playing to them.

Hanna (Saoirse Ronan) is the name of our hero. Born into a life of hunting and running, her father (Eric Bana) raised her to become a well-oiled killing machine, testing her abilities to adapt and survive in the harsh wintry climates of Finland. Her past, kept secret for fear that a team of mysterious captors would come to their cabin and kill her and her father.

However, all children must one day leave the nest, and when Hanna decides to live a life outside of her cabin, she makes a choice to signal her captors and make a run for it.

From here, the film takes on a variety of point-of-views. The first, and most important, is Hanna’s. She escapes to Germany where, for the first time, she experiences a world totally unlike her own. Hanna uses electricity for the first time, in one disorienting and frightening scene, as well as makes her first friend, a fellow teenage girl named Sophie (Jessica Barden).

All the while, two teams pursue her: Her father in his desperate attempt to reconvene with Hanna, and Marissa (Cate Blanchett), her father’s former partner, who has a mysterious interest in the young assassin.

Hanna’s journey isn’t merely marked by her interest in other cultures--all of which remain foreign to her--but also her survival. Marissa and her cohorts go on a murderous rampage in their pursuit of the girl, taking apart anyone who stands in their way.

Wright makes this distinction through his quick transitions, manic camera work, and versatile soundtrack provided by the Chemical Brothers. The director keeps the two stories (Hanna’s coming of age and Hanna’s survival) cleverly intertwined, allowing her to handle these changes in her own way. She kills her attackers and openly accepts her newfound friendships.

The film keeps up this energy through this division. As one starts to slow down, usually when Hanna’s joy takes over, the other will quickly jog us back to the chase. It’s a balancing act the stars, particularly the young Saoirse Ronan, who takes on her first starring role magnificently, keep up with emotion and energy.

There are some slight pacing problems towards the middle, but, for the most part, the film tackles the tricky subject in a new and interesting way. “Hanna” delivers the action to those in the mood for gunplay with insight sorely missing in today’s action films.

Grade: B+

“Hanna”

Movie Review

Directed by Joe Wright, Written by Seth Lochhead and David Farr, 111 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Hanna” isn’t your typical action movie. From its star to its low-key electronic soundtrack, the film sharply contrasts usual shoot-em-up fare. Gravitating between the story of an assassin born to kill and a young girl coming of age, Joe Wright delivers a fascinating look at what we expect from action movies, subverts those expectations, while also playing to them.

Hanna (Saoirse Ronan) is the name of our hero. Born into a life of hunting and running, her father (Eric Bana) raised her to become a well-oiled killing machine, testing her abilities to adapt and survive in the harsh wintry climates of Finland. Her past, kept secret for fear that a team of mysterious captors would come to their cabin and kill her and her father.

However, all children must one day leave the nest, and when Hanna decides to live a life outside of her cabin, she makes a choice to signal her captors and make a run for it.

From here, the film takes on a variety of point-of-views. The first, and most important, is Hanna’s. She escapes to Germany where, for the first time, she experiences a world totally unlike her own. Hanna uses electricity for the first time, in one disorienting and frightening scene, as well as makes her first friend, a fellow teenage girl named Sophie (Jessica Barden).

All the while, two teams pursue her: Her father in his desperate attempt to reconvene with Hanna, and Marissa (Cate Blanchett), her father’s former partner, who has a mysterious interest in the young assassin.

Hanna’s journey isn’t merely marked by her interest in other cultures--all of which remain foreign to her--but also her survival. Marissa and her cohorts go on a murderous rampage in their pursuit of the girl, taking apart anyone who stands in their way.

Wright makes this distinction through his quick transitions, manic camera work, and versatile soundtrack provided by the Chemical Brothers. The director keeps the two stories (Hanna’s coming of age and Hanna’s survival) cleverly intertwined, allowing her to handle these changes in her own way. She kills her attackers and openly accepts her newfound friendships.

The film keeps up this energy through this division. As one starts to slow down, usually when Hanna’s joy takes over, the other will quickly jog us back to the chase. It’s a balancing act the stars, particularly the young Saoirse Ronan, who takes on her first starring role magnificently, keep up with emotion and energy.

There are some slight pacing problems towards the middle, but, for the most part, the film tackles the tricky subject in a new and interesting way. “Hanna” delivers the action to those in the mood for gunplay with insight sorely missing in today’s action films.

Grade: B+

“Source Code”

Movie Review

Directed by Duncan Jones, Written by Ben Ripley, 93 minutes, Rated PG-13

By our guest blogger, Matthew Schimkowitz

Duncan Jones’ “Source Code” is one of the spoils of living in a post-“Inception” society. With original and smart sci-fi a viable commodity, films like this one can exist without precaution, franchises, or source materials. Jones builds a well-paced and structured sci-fi thriller that’s as complex as it is clear-headed.

But amidst the time travel, alternate realities, and quantum physics, Jones and star Jake Gyllenhaal offer enough fun cinematic surprises and dramatic turns to keep your eyes locked to the screen and your mind away from its messy science.

Captain Colter Stevens (Jake Gyllenhaal) awakes on a speeding train a new man, literally, as the woman across from him identifies him as Sean Fentress, school teacher. Confused, Stevens makes a mad dash for the bathroom, observing his fellow passengers in a haze, when suddenly, the train explodes.

Stevens reawakes in a cold, desolate pod, with a voice on a screen asking him for the bomber’s name. After some debriefing, he is reminded of his mission--travel eight-minutes into the past and find the train’s bomber, before the culprit can strike again.

“Source Code”’s Philip K. Dick influenced plot keeps things complicated not confusing. Ben Ripley’s script layers on the genre tropes without the heavy science, allowing it to move like a speeding train without stopping for extended exposition. It builds to dramatic shocks, which causes the science to fall apart by the third act. But much like Christopher Nolan’s dream machine in “Inception,” the details are secondary to the ideas.

Jones realizes this brilliantly, constructing a film around shifts in perception through repetition. He transports us to the same place and time again and again, and as Colter becomes more aware of his surroundings, the more emotional his journey becomes, setting “Source Code” apart from the cold, sterility of most sci-fi.

Gyllenhaal carries the film’s existential weight as the man in the bubble and the man in another’s body, acting with compassion and a little bit of fun. And the star, who usually rests on his confused disposition, is perfectly suited for the mission. Michelle Monaghan and Vera Farmiga offer similarly human and confident performances. Gyllenhaal may ask the questions, but they give the answers.

Duncan Jones proved himself a directorial heavyweight with “Source Code.” As he transports his indie tendencies (namely, respecting the audience enough to give them a meaty plot), Jones offers a film that is altogether intelligent and entertaining. With theaters still reaming with remakes and sequels, it’s a welcome change of pace.

Grade: A-

“Source Code”

Movie Review

Directed by Duncan Jones, Written by Ben Ripley, 93 minutes, Rated PG-13

By our guest blogger, Matthew Schimkowitz

Duncan Jones’ “Source Code” is one of the spoils of living in a post-“Inception” society. With original and smart sci-fi a viable commodity, films like this one can exist without precaution, franchises, or source materials. Jones builds a well-paced and structured sci-fi thriller that’s as complex as it is clear-headed.

But amidst the time travel, alternate realities, and quantum physics, Jones and star Jake Gyllenhaal offer enough fun cinematic surprises and dramatic turns to keep your eyes locked to the screen and your mind away from its messy science.

Captain Colter Stevens (Jake Gyllenhaal) awakes on a speeding train a new man, literally, as the woman across from him identifies him as Sean Fentress, school teacher. Confused, Stevens makes a mad dash for the bathroom, observing his fellow passengers in a haze, when suddenly, the train explodes.

Stevens reawakes in a cold, desolate pod, with a voice on a screen asking him for the bomber’s name. After some debriefing, he is reminded of his mission--travel eight-minutes into the past and find the train’s bomber, before the culprit can strike again.

“Source Code”’s Philip K. Dick influenced plot keeps things complicated not confusing. Ben Ripley’s script layers on the genre tropes without the heavy science, allowing it to move like a speeding train without stopping for extended exposition. It builds to dramatic shocks, which causes the science to fall apart by the third act. But much like Christopher Nolan’s dream machine in “Inception,” the details are secondary to the ideas.

Jones realizes this brilliantly, constructing a film around shifts in perception through repetition. He transports us to the same place and time again and again, and as Colter becomes more aware of his surroundings, the more emotional his journey becomes, setting “Source Code” apart from the cold, sterility of most sci-fi.

Gyllenhaal carries the film’s existential weight as the man in the bubble and the man in another’s body, acting with compassion and a little bit of fun. And the star, who usually rests on his confused disposition, is perfectly suited for the mission. Michelle Monaghan and Vera Farmiga offer similarly human and confident performances. Gyllenhaal may ask the questions, but they give the answers.

Duncan Jones proved himself a directorial heavyweight with “Source Code.” As he transports his indie tendencies (namely, respecting the audience enough to give them a meaty plot), Jones offers a film that is altogether intelligent and entertaining. With theaters still reaming with remakes and sequels, it’s a welcome change of pace.

Grade: A-

“Limitless”

Movie Review

Directed by Neil Burger, Written by Leslie Dixon and Alan Glynn (novel), 105 minutes, PG-13.

By our guest blogger, Matthew Schimkowitz

If you could access every corner of your brain, what would you? Write an epic sci-fi manifesto? Play the stock market? Or simply take your chances with some murderous gangsters? Well, if you’re Eddie Morra in “Limitless,” you dip your hands in a little bit of everything, even if the results aren’t always as boundless as they may appear.

Bradley Cooper stars as Morra, a down on his luck writer, with an overdue book, struggling for a way out. Then, a chance encounter provides him with one. Eddie runs into his ex-brother-in-law, Vern (Johnny Whitworth), who offers him an experimental new drug called MDT, designed to open all of the closed doors of his mind.

Within moments of taking his first dose, Morra is hooked. MDT allows him to finish his book with speed and success, but he wants more. Morra takes a $100,000 loan from a local hitman (Andrew Howard) and plays the stock market, where he meets Carl Van Loon (Robert De Niro), a market mogul impressed by Morra’s quick rise to success.

However, as the drug begins to take hold of Eddie’s life, his drug-induced fantasy turns into a violent, paranoid nightmare. And as he loses control, everyone he meets on the way up, shows up to kick him on the way back down.

Neil Burger’s “Limitless” commits completely to its conceit of the wonder drug that can make anyone’s dreams come true. His visceral effects and clever editing lend to a kinetic ride, if not a disorienting one. Morra’s out-of-body experiences have hints of “Fight Club” and “Requiem for a Dream,” but Burger’s camera work never entirely matches the coolness of the idea or his star.

Bradley Cooper manages the many sides of Morra successfully, shifting from hapless writer to suave Wall Street mastermind to drug fiend seamlessly. Burger captures Morra’s growth effectively, and in a movie about a guy who learns twice as fast as a normal man, this goes a long way towards making his journey engaging.

“Limitless” delivers the goods in terms of fun, suspense, and an above average story. The twists and turns never appear without reason, and with Cooper delivering an assured, charismatic performance, Morra’s problems grab the audience and bring them closer to the film.

Burger’s direction may not be as cool or subtle as others, but it certainly gets the point across. He concentrates his efforts on getting us to like Morra, and Cooper, who generally plays a downright jerk, actually comes off as likable. “Limitless” may be bound by its constraints, yet its story is addictive enough to leave you wanting more.

Grade: B

“Limitless”

Movie Review

Directed by Neil Burger, Written by Leslie Dixon and Alan Glynn (novel), 105 minutes, PG-13.

By our guest blogger, Matthew Schimkowitz

If you could access every corner of your brain, what would you? Write an epic sci-fi manifesto? Play the stock market? Or simply take your chances with some murderous gangsters? Well, if you’re Eddie Morra in “Limitless,” you dip your hands in a little bit of everything, even if the results aren’t always as boundless as they may appear.

Bradley Cooper stars as Morra, a down on his luck writer, with an overdue book, struggling for a way out. Then, a chance encounter provides him with one. Eddie runs into his ex-brother-in-law, Vern (Johnny Whitworth), who offers him an experimental new drug called MDT, designed to open all of the closed doors of his mind.

Within moments of taking his first dose, Morra is hooked. MDT allows him to finish his book with speed and success, but he wants more. Morra takes a $100,000 loan from a local hitman (Andrew Howard) and plays the stock market, where he meets Carl Van Loon (Robert De Niro), a market mogul impressed by Morra’s quick rise to success.

However, as the drug begins to take hold of Eddie’s life, his drug-induced fantasy turns into a violent, paranoid nightmare. And as he loses control, everyone he meets on the way up, shows up to kick him on the way back down.

Neil Burger’s “Limitless” commits completely to its conceit of the wonder drug that can make anyone’s dreams come true. His visceral effects and clever editing lend to a kinetic ride, if not a disorienting one. Morra’s out-of-body experiences have hints of “Fight Club” and “Requiem for a Dream,” but Burger’s camera work never entirely matches the coolness of the idea or his star.

Bradley Cooper manages the many sides of Morra successfully, shifting from hapless writer to suave Wall Street mastermind to drug fiend seamlessly. Burger captures Morra’s growth effectively, and in a movie about a guy who learns twice as fast as a normal man, this goes a long way towards making his journey engaging.

“Limitless” delivers the goods in terms of fun, suspense, and an above average story. The twists and turns never appear without reason, and with Cooper delivering an assured, charismatic performance, Morra’s problems grab the audience and bring them closer to the film.

Burger’s direction may not be as cool or subtle as others, but it certainly gets the point across. He concentrates his efforts on getting us to like Morra, and Cooper, who generally plays a downright jerk, actually comes off as likable. “Limitless” may be bound by its constraints, yet its story is addictive enough to leave you wanting more.

Grade: B

“Excalibur”

DVD, Blu-Ray Review

Directed by John Boorman, Written by John Boorman, Rospo Pallenberg, and Thomas Malory (book), 140 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

A King Arthur tale without romantics isn’t much of an Arthur tale, but perhaps John Boorman’s retelling of the legend in “Excalibur,” now out on Blu-ray disc, goes too far. The enthused and decidedly hyperbolic actors ham it up; the smoky sets and purple- and green-lighting design date the production; and Boorman’s epic structure covers so much ground and time, it never fully engages the viewer. It has all the makings of an epic adventure -- it’s just not a very exciting one.

“Excalibur” features a remarkable amount the Arthur legend in its two-and-a-half hours. Beginning with the sheathing of the mighty sword into stone by the wizard Merlin (Nicol Williamson), who prophesizes the coming of the king, the film follows that prediction’s coming to pass.

After claiming the sword, King Arthur (Nigel Terry) follows Merlin through several trials of virtue before forming his own court. There, he enlists the knight Lancelot (Nicholas Clay), the Squire Percival (Paul Geoffrey), and his queen Guinevere (Cherie Lunghi) to take seat at the Round Table of Camelot. Arthur muses of the prosperity of Camelot, but wicked deeds are afoot. Morgana (Helen Mirren), Arthur’s sorceress sister, lusts after Merlin and the crown, plotting to claim both by to outsmarting Merlin, and birthing a son to dethrone and kill the king.

Boorman and his screenwriting partner Rospo Pallenberg give themselves to the legend, recounting Camelot’s greatest trials with haste and diligence. Each scene contains one story, delivering one aspect of the myth, before moving on to something entirely different while adding to the bigger picture. “Excalibur”’s episodic structure allot Boorman the time to cover most of the story, from the sword and the stone, to the formation of Camelot, and finally, the search for the Holy Grail.

Unfortunately, this structuring is a double-edged sword--Boorman breezes through the legends but he doesn't engage with his audience. The director strives to make “Excalibur” the most romantic epic possible, demanding exaggerated performances from his cast. But the facial gymnastics don’t bring the audience any closer to the Roundtable -- they alienate them. The story’s epic and the character’s are mythic, but the film’s production design and acting may be spoiled on a generation raised on Medieval Times commercials.

The lack of engagement and spotty scripting make “Excalibur” a slow-moving and messy endeavor. Boorman’s ambition stands in his way as he teaches us what Arthur does, but never who the man actually is. The idea and story are there--they just don’t lead to anything particularly entertaining.

Grade: B

“Excalibur”

DVD, Blu-Ray Review

Directed by John Boorman, Written by John Boorman, Rospo Pallenberg, and Thomas Malory (book), 140 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

A King Arthur tale without romantics isn’t much of an Arthur tale, but perhaps John Boorman’s retelling of the legend in “Excalibur,” now out on Blu-ray disc, goes too far. The enthused and decidedly hyperbolic actors ham it up; the smoky sets and purple- and green-lighting design date the production; and Boorman’s epic structure covers so much ground and time, it never fully engages the viewer. It has all the makings of an epic adventure -- it’s just not a very exciting one.

“Excalibur” features a remarkable amount the Arthur legend in its two-and-a-half hours. Beginning with the sheathing of the mighty sword into stone by the wizard Merlin (Nicol Williamson), who prophesizes the coming of the king, the film follows that prediction’s coming to pass.

After claiming the sword, King Arthur (Nigel Terry) follows Merlin through several trials of virtue before forming his own court. There, he enlists the knight Lancelot (Nicholas Clay), the Squire Percival (Paul Geoffrey), and his queen Guinevere (Cherie Lunghi) to take seat at the Round Table of Camelot. Arthur muses of the prosperity of Camelot, but wicked deeds are afoot. Morgana (Helen Mirren), Arthur’s sorceress sister, lusts after Merlin and the crown, plotting to claim both by to outsmarting Merlin, and birthing a son to dethrone and kill the king.

Boorman and his screenwriting partner Rospo Pallenberg give themselves to the legend, recounting Camelot’s greatest trials with haste and diligence. Each scene contains one story, delivering one aspect of the myth, before moving on to something entirely different while adding to the bigger picture. “Excalibur”’s episodic structure allot Boorman the time to cover most of the story, from the sword and the stone, to the formation of Camelot, and finally, the search for the Holy Grail.

Unfortunately, this structuring is a double-edged sword--Boorman breezes through the legends but he doesn't engage with his audience. The director strives to make “Excalibur” the most romantic epic possible, demanding exaggerated performances from his cast. But the facial gymnastics don’t bring the audience any closer to the Roundtable -- they alienate them. The story’s epic and the character’s are mythic, but the film’s production design and acting may be spoiled on a generation raised on Medieval Times commercials.

The lack of engagement and spotty scripting make “Excalibur” a slow-moving and messy endeavor. Boorman’s ambition stands in his way as he teaches us what Arthur does, but never who the man actually is. The idea and story are there--they just don’t lead to anything particularly entertaining.

Grade: B

“The Adjustment Bureau” 

Movie Review

Directed by George Nolfi, Written by George Nolfi and Philip K. Dick (short story “Adjustment Team”), 105 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

The Orwellian puppet-master is nothing new to science fiction, and in the recent Philip K. Dick adaptation, "The Adjustment Bureau," Director George Nolfi doesn't have much to add. The film, which centers on a man escaping an omnipotent agency that controls humanity's every move, seems suited "The Twilight Zone," but Nolfi’s heavy-handed tone, lack of mystery and allegorical interests hurt "The Adjustment Bureau"'s more thrilling moments.

David Norris (Matt Damon) is on his way to becoming the youngest senator in New York history when a chance meeting in a men’s bathroom puts him off course. It’s here that David meets Elise (Emily Blunt), a freewheeling dancer who’s ontrack to become one of the world’s most talented and famous choreographers. The two have an instant connection, but it wasn't meant to be, and a series of unfortunate coincidences separate the couple for three years.

But, as David soon learns, coincidence has nothing to do with it. A team of supernatural accountants called the Adjustment Bureau, who monitor and manipulate the life course of every person on the planet to keep them on a pre-ascribed track, are keeping these two apart, because their relationship is not part of the plan.

The Adjustment Bureau is far too conspicuous to pass as a secret organization, shattering their desired and much needed allure. Nolfi reveals so much about the team that whatever threat they pose or influence they have appears ridiculous. These aren't the Agents from "The Matrix," but rather just a couple of accountants who can't do their jobs.

Thankfully, Damon and Blunt save the picture. Blunt’s irresistible flirtation and Damon’s infatuation complement their attraction remarkably, making their relationship a treat. Despite the lack of a worthy opponent, these two are so likable that it's hard not to root for them. You'll want to see them succeed, even though their trials grow tired.

The film lacks the subtlety needed to make such a ridiculous premise work, and likewise, the religious allegory at the film's center comes off as too obvious and ham-fisted to be taken seriously. Nolfi never characterizes the Bureau as particularly secretive, making their operation appear sloppy when they should be menacing. Damon and Blunt are great--it's just a shame they don't have a stronger adversary for their love.

Grade: B-

“The Adjustment Bureau” 

Movie Review

Directed by George Nolfi, Written by George Nolfi and Philip K. Dick (short story “Adjustment Team”), 105 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

The Orwellian puppet-master is nothing new to science fiction, and in the recent Philip K. Dick adaptation, "The Adjustment Bureau," Director George Nolfi doesn't have much to add. The film, which centers on a man escaping an omnipotent agency that controls humanity's every move, seems suited "The Twilight Zone," but Nolfi’s heavy-handed tone, lack of mystery and allegorical interests hurt "The Adjustment Bureau"'s more thrilling moments.

David Norris (Matt Damon) is on his way to becoming the youngest senator in New York history when a chance meeting in a men’s bathroom puts him off course. It’s here that David meets Elise (Emily Blunt), a freewheeling dancer who’s ontrack to become one of the world’s most talented and famous choreographers. The two have an instant connection, but it wasn't meant to be, and a series of unfortunate coincidences separate the couple for three years.

But, as David soon learns, coincidence has nothing to do with it. A team of supernatural accountants called the Adjustment Bureau, who monitor and manipulate the life course of every person on the planet to keep them on a pre-ascribed track, are keeping these two apart, because their relationship is not part of the plan.

The Adjustment Bureau is far too conspicuous to pass as a secret organization, shattering their desired and much needed allure. Nolfi reveals so much about the team that whatever threat they pose or influence they have appears ridiculous. These aren't the Agents from "The Matrix," but rather just a couple of accountants who can't do their jobs.

Thankfully, Damon and Blunt save the picture. Blunt’s irresistible flirtation and Damon’s infatuation complement their attraction remarkably, making their relationship a treat. Despite the lack of a worthy opponent, these two are so likable that it's hard not to root for them. You'll want to see them succeed, even though their trials grow tired.

The film lacks the subtlety needed to make such a ridiculous premise work, and likewise, the religious allegory at the film's center comes off as too obvious and ham-fisted to be taken seriously. Nolfi never characterizes the Bureau as particularly secretive, making their operation appear sloppy when they should be menacing. Damon and Blunt are great--it's just a shame they don't have a stronger adversary for their love.

Grade: B-

"Battle: LA"

Movie Review

Directed by Jonathan Liebesman, Written by Christopher Bertolini, 116 minutes, PG-13.

By our guest blogger, Matthew Schimkowitz

If the recent slew of apocalyptic invasion pictures teaches us one thing, it's that they make better trailers than movies.

The bleakest example of this, "Battle: LA," is also among the most disappointing. This loud, jingoistic picture starts strong but quickly slows as the film grows more epic than personal. The film’s hardened marines, cliché speeches, and crazed camera work would make for a great video game and probably already has.  That said, less can be said for its cinematic qualities.

Michael Nantz (Aaron Eckhart), a decorated but dishonored Staff Sargent who is just one day away from retirement, gets called into duty when a group of robotic, colonizing aliens invade Earth's major cities. However, his team--which includes the brother of one of the fallen soldiers from Nantz’s final, controversial campaign--remains skeptical of their leader's skills. Attempting to hold his squad together, Nantz leads them across the decimated Los Angeles cityscape to the alien control center with hopes of ending the invasion.

"Battle: LA" starts with its best foot forward. Eckhart, the disgraced and tortured Sergeant, takes the reins and leads the film on a character-focused war movie. The doubt of Nantz and his squad makes their fear real, as they wander the city’s abandoned interiors. It’s maddening in the best way possible, if only because it takes its subject seriously.

However, this changes as soon as director Jonathan Liebesman's manic handheld camera work takes over. The tight framing and the camera’s whirlwind movements disorient the viewer and disserve the scope of Liebesman’s vision. As he tries and to get back to the characters in Act III, his cast grows and becomes a vehicle for big guns and bigger explosions.

The more epic Bertolini makes his script, the further we get from the heart of the story. Nantz and his company search out new ways to blow things up, when they should be searching for some humanity. They approach each mission with heart, but end in a cold display of violence. In the end, Liebesman never finds the characters, and "Battle: LA" becomes the mindless shooter it shouldn't be.

The trailer may look like "Black Hawk Down" with aliens, but the result is more like a mini-game in “Call of Duty” that loses its luster after a few minutes of gameplay.

Grade: C+

"Battle: LA"

Movie Review

Directed by Jonathan Liebesman, Written by Christopher Bertolini, 116 minutes, PG-13.

By our guest blogger, Matthew Schimkowitz

If the recent slew of apocalyptic invasion pictures teaches us one thing, it's that they make better trailers than movies.

The bleakest example of this, "Battle: LA," is also among the most disappointing. This loud, jingoistic picture starts strong but quickly slows as the film grows more epic than personal. The film’s hardened marines, cliché speeches, and crazed camera work would make for a great video game and probably already has.  That said, less can be said for its cinematic qualities.

Michael Nantz (Aaron Eckhart), a decorated but dishonored Staff Sargent who is just one day away from retirement, gets called into duty when a group of robotic, colonizing aliens invade Earth's major cities. However, his team--which includes the brother of one of the fallen soldiers from Nantz’s final, controversial campaign--remains skeptical of their leader's skills. Attempting to hold his squad together, Nantz leads them across the decimated Los Angeles cityscape to the alien control center with hopes of ending the invasion.

"Battle: LA" starts with its best foot forward. Eckhart, the disgraced and tortured Sergeant, takes the reins and leads the film on a character-focused war movie. The doubt of Nantz and his squad makes their fear real, as they wander the city’s abandoned interiors. It’s maddening in the best way possible, if only because it takes its subject seriously.

However, this changes as soon as director Jonathan Liebesman's manic handheld camera work takes over. The tight framing and the camera’s whirlwind movements disorient the viewer and disserve the scope of Liebesman’s vision. As he tries and to get back to the characters in Act III, his cast grows and becomes a vehicle for big guns and bigger explosions.

The more epic Bertolini makes his script, the further we get from the heart of the story. Nantz and his company search out new ways to blow things up, when they should be searching for some humanity. They approach each mission with heart, but end in a cold display of violence. In the end, Liebesman never finds the characters, and "Battle: LA" becomes the mindless shooter it shouldn't be.

The trailer may look like "Black Hawk Down" with aliens, but the result is more like a mini-game in “Call of Duty” that loses its luster after a few minutes of gameplay.

Grade: C+

"Red Riding Hood"

Movie Review

Directed by Catherine Hardwicke, Written by David Johnson, 100 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

Werewolves and the women who love them are all the rage in shopping malls, bookstores and movie theaters these days, but what "Twilight" director Catherine Hardwicke brings to this retelling of "Little Red Riding Hood" is just plain confusing. Hardwicke baits Twi-hards with the promise of supernatural teen romance but stumbles between her interest in Gothic horror and theatrical drama, with overacting and corsets a-plenty.

Hardwicke’s tale offers a bit more than a walk to Grandma’s house. Here, the wearer of the hood is Valerie, a young girl whose town is the age-old haunt of a local werewolf. For two generations, the villain stalked the village, so the natives bring in Brother Solomon (Gary Oldman), a werewolf hunter and religious fanatic, to vanquish the beast. However, he doesn’t do much to calm things when he informs the citizens that a wolf walks among them.

But that’s not all on Valerie’s plate. Her longtime love affair with Peter (Shiloh Fernandez) comes under fire when her mother sternly encourages a relationship with the wealthier Henry. If that weren’t bad enough, the wolf attacks the town in plain sight and speaks to Valerie, asking her to run away with him. After this brief conversation, Valerie is the subject of a witch-hunt, where she must not only attempt to figure out who’s the wolf, but also clear her sullied name.

Hardwicke dirties the playing field with convoluted mystery and stretches the tale too thin. Valerie’s trials offer so many confusing twists and frustrating dead ends, that her struggle causes vexation not sympathy. The director’s main interest, Valerie’s bourgeoning but oppressed sexuality, appears in overt visual motifs and vain panting. But for every flowing red cape and fiery embrace, there’s another distracting plot device to defuse the passion.

The cast appears equally confused as they move between Gothic romance and ridiculous camp. Each line of David Johnson’s screenplay falls awkwardly from the actors’ lips and hits the ground hard. This causes many unintentionally funny moments and too few dramatic ones. Seyfried and her suitors recite with gusto, yet they never seem too interested. Oldman hams it up and Seyfried stares wantonly at her suitors.

Instead of focusing on the wolf’s deceit, “Red Riding Hood” accidentally shows its own artifice. Against the phony sets and effects, Valerie’s world seems more like a cheap stage rather than an immersive fantasy world, making the film’s own flaws and missed opportunities clear as day even in the dark of night.

Grade: D

"Red Riding Hood"

Movie Review

Directed by Catherine Hardwicke, Written by David Johnson, 100 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

Werewolves and the women who love them are all the rage in shopping malls, bookstores and movie theaters these days, but what "Twilight" director Catherine Hardwicke brings to this retelling of "Little Red Riding Hood" is just plain confusing. Hardwicke baits Twi-hards with the promise of supernatural teen romance but stumbles between her interest in Gothic horror and theatrical drama, with overacting and corsets a-plenty.

Hardwicke’s tale offers a bit more than a walk to Grandma’s house. Here, the wearer of the hood is Valerie, a young girl whose town is the age-old haunt of a local werewolf. For two generations, the villain stalked the village, so the natives bring in Brother Solomon (Gary Oldman), a werewolf hunter and religious fanatic, to vanquish the beast. However, he doesn’t do much to calm things when he informs the citizens that a wolf walks among them.

But that’s not all on Valerie’s plate. Her longtime love affair with Peter (Shiloh Fernandez) comes under fire when her mother sternly encourages a relationship with the wealthier Henry. If that weren’t bad enough, the wolf attacks the town in plain sight and speaks to Valerie, asking her to run away with him. After this brief conversation, Valerie is the subject of a witch-hunt, where she must not only attempt to figure out who’s the wolf, but also clear her sullied name.

Hardwicke dirties the playing field with convoluted mystery and stretches the tale too thin. Valerie’s trials offer so many confusing twists and frustrating dead ends, that her struggle causes vexation not sympathy. The director’s main interest, Valerie’s bourgeoning but oppressed sexuality, appears in overt visual motifs and vain panting. But for every flowing red cape and fiery embrace, there’s another distracting plot device to defuse the passion.

The cast appears equally confused as they move between Gothic romance and ridiculous camp. Each line of David Johnson’s screenplay falls awkwardly from the actors’ lips and hits the ground hard. This causes many unintentionally funny moments and too few dramatic ones. Seyfried and her suitors recite with gusto, yet they never seem too interested. Oldman hams it up and Seyfried stares wantonly at her suitors.

Instead of focusing on the wolf’s deceit, “Red Riding Hood” accidentally shows its own artifice. Against the phony sets and effects, Valerie’s world seems more like a cheap stage rather than an immersive fantasy world, making the film’s own flaws and missed opportunities clear as day even in the dark of night.

Grade: D

"Drive Angry 3D"

Movie Review

Directed by Patrick Lussier, Written by Todd Farner and Patrick Lussier, 104 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Clean visuals, overly loud guns and bad CGI. Is this exploitation cinema for the Hollywood set? Director Patrick Lussier would have you believe so. His loud, boob-and-blood-filled vision of apocalypse shares much in common with the B-Movies that inspired it, but "Drive Angry 3D" isn’t everything it’s cracked up to be.

Nicholas Cage returns from Hell to avenge the death of his daughter by hunting down her cult leader murderer before another falls at his hands. However, no one leaves Hell without permission, and hot on Cage's trail is the Accountant (William Fichtner), who tracks down Hell's fugitives.

"Drive Angry" makes the mistake of throwing everything but the kitchen sink into the picture. The big guns and even bigger cars overload the screen with "cool" -- it's a veritable what's what of things considered badass. But with all of these forces counteracting each other, they eventually neutralize their presence.

Much of the film plays like an unofficial remake of "The Terminator," and it borrows that film's sound design. Punches sound like gun shots, gun shots sound like explosions, and cars sound like locomotives. At several points in the film, don't be surprised if you give up and start covering your ears.

Lussier puts so much stock in 3D and loud noises that he ignores his strongest asset--Cage. Rather than allowing his scene-chewing lunacy to take over, Cage goes for his stone-faced lurch that puts most of his action films underground. Cage is a bore onscreen, and his repeated saving of co-star Amber Heard doesn't help to freshen the action.

Heard's place in the plot is all but entirely lost. She should be acting as a guide through this otherworldly tale, but Cage and Fichtner seem well enough off without her.

"Drive Angry" is never as cool as it thinks it is. It's filled with explicit sex and violence, yet none of it is ever stylized in a memorable or fun way. Unlike "Death Proof," which showed both a knowledge of the genre and a respect for it, "Drive Angry" only gives a cursory understanding of what makes exploitation films fun.

It takes heart, attitude and innovation to make a decent low-budget movie. When you shoot half your film on a green screen and the other half telling yourself that this demon-killing gun is the trick to winning your audience's approval, don't expect the film to benefit. “Drive Angry 3D is occasionally fun, but rarely anything great.

Grade: C

"Drive Angry 3D"

Movie Review

Directed by Patrick Lussier, Written by Todd Farner and Patrick Lussier, 104 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Clean visuals, overly loud guns and bad CGI. Is this exploitation cinema for the Hollywood set? Director Patrick Lussier would have you believe so. His loud, boob-and-blood-filled vision of apocalypse shares much in common with the B-Movies that inspired it, but "Drive Angry 3D" isn’t everything it’s cracked up to be.

Nicholas Cage returns from Hell to avenge the death of his daughter by hunting down her cult leader murderer before another falls at his hands. However, no one leaves Hell without permission, and hot on Cage's trail is the Accountant (William Fichtner), who tracks down Hell's fugitives.

"Drive Angry" makes the mistake of throwing everything but the kitchen sink into the picture. The big guns and even bigger cars overload the screen with "cool" -- it's a veritable what's what of things considered badass. But with all of these forces counteracting each other, they eventually neutralize their presence.

Much of the film plays like an unofficial remake of "The Terminator," and it borrows that film's sound design. Punches sound like gun shots, gun shots sound like explosions, and cars sound like locomotives. At several points in the film, don't be surprised if you give up and start covering your ears.

Lussier puts so much stock in 3D and loud noises that he ignores his strongest asset--Cage. Rather than allowing his scene-chewing lunacy to take over, Cage goes for his stone-faced lurch that puts most of his action films underground. Cage is a bore onscreen, and his repeated saving of co-star Amber Heard doesn't help to freshen the action.

Heard's place in the plot is all but entirely lost. She should be acting as a guide through this otherworldly tale, but Cage and Fichtner seem well enough off without her.

"Drive Angry" is never as cool as it thinks it is. It's filled with explicit sex and violence, yet none of it is ever stylized in a memorable or fun way. Unlike "Death Proof," which showed both a knowledge of the genre and a respect for it, "Drive Angry" only gives a cursory understanding of what makes exploitation films fun.

It takes heart, attitude and innovation to make a decent low-budget movie. When you shoot half your film on a green screen and the other half telling yourself that this demon-killing gun is the trick to winning your audience's approval, don't expect the film to benefit. “Drive Angry 3D is occasionally fun, but rarely anything great.

Grade: C

"I Am Number Four"

Movie Review

Directed by D.J. Caruso, Written by Alfred Gough, Marti Noxon, Miles Millar (screenplay), and Jobie Hughes and James Frey (Novel), 110-minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

For all it's apparent problems, "I Am Number Four" is just stupid enough to work. The bad guys carry enough nasty energy to make siding with good guys easy, and Number Four and co. appear perplexed enough to make following them worthwhile. In between, there are enough explosions, stunts and B-Picture fun to make the hour-and-fifty minutes breeze by.

Number Four (Alex Pettyfer) is one of the few survivors of his distant alien planet. He came to Earth with his protector Henri (Timothy Olyphant) in search of others like him. However, Number Four stands out like a sore thumb.

Under the obvious pseudonym John Smith, Four goes to high school for a sense of normalcy, but like all other sixteen-year-olds, his body is changing. He notice girls for the first time and has a newfound interest in his hands, which hold magical powers that he cannot contain.

Blending in is not Number Four's strong suit. His new girlfriend Sara (Dianna Agron) is the ex-squeeze of the school's star quarterback, and his powers attract hunters from another world. So as he and Henri look for the others, he becomes "it" in an intergalactic game of Manhunt.

"I am Number Four" works in the most superficial ways. Its story, which mostly relies on cliches of teen and sci-fi movies, runs dry quick. Caruso compensates by turning up the action and effects. The CGI effects and fight choreography impress enough to hold anyone's attention, even when the characters do not.

Pettyfer plays dumb for much of the movie, remaining quiet and out of the way. His disturbed, alienated (yuck, yuck) teenager never really gets a rounded characterization. Four circumvents the training process of his powers by abruptly changing without a real lesson. Rather than learning about his new abilities, like, say, Luke Skywalker, Four simply has them like Anakin -- his character yearns for more.

The peripheral characters have a ball, however. Timothy Olyphant and Kevin Durand, who plays the lead villain, play off the lackluster scripting with charisma. They embellish to great effect -- a strong opposition to the teenage casts' underplaying of everything.

Their experience gives them credence to have fun with the material, because they understand that's the only thing that's going to make "I Am Number Four" work. D.J. Caruso may have aspired to go beyond B-Movie sci-fi, but the film plays much better inside it. For all its mindlessness, "I am Number Four" is pretty fun--and sometimes that's all that matters.

Grade: B-

"I Am Number Four"

Movie Review

Directed by D.J. Caruso, Written by Alfred Gough, Marti Noxon, Miles Millar (screenplay), and Jobie Hughes and James Frey (Novel), 110-minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

For all it's apparent problems, "I Am Number Four" is just stupid enough to work. The bad guys carry enough nasty energy to make siding with good guys easy, and Number Four and co. appear perplexed enough to make following them worthwhile. In between, there are enough explosions, stunts and B-Picture fun to make the hour-and-fifty minutes breeze by.

Number Four (Alex Pettyfer) is one of the few survivors of his distant alien planet. He came to Earth with his protector Henri (Timothy Olyphant) in search of others like him. However, Number Four stands out like a sore thumb.

Under the obvious pseudonym John Smith, Four goes to high school for a sense of normalcy, but like all other sixteen-year-olds, his body is changing. He notice girls for the first time and has a newfound interest in his hands, which hold magical powers that he cannot contain.

Blending in is not Number Four's strong suit. His new girlfriend Sara (Dianna Agron) is the ex-squeeze of the school's star quarterback, and his powers attract hunters from another world. So as he and Henri look for the others, he becomes "it" in an intergalactic game of Manhunt.

"I am Number Four" works in the most superficial ways. Its story, which mostly relies on cliches of teen and sci-fi movies, runs dry quick. Caruso compensates by turning up the action and effects. The CGI effects and fight choreography impress enough to hold anyone's attention, even when the characters do not.

Pettyfer plays dumb for much of the movie, remaining quiet and out of the way. His disturbed, alienated (yuck, yuck) teenager never really gets a rounded characterization. Four circumvents the training process of his powers by abruptly changing without a real lesson. Rather than learning about his new abilities, like, say, Luke Skywalker, Four simply has them like Anakin -- his character yearns for more.

The peripheral characters have a ball, however. Timothy Olyphant and Kevin Durand, who plays the lead villain, play off the lackluster scripting with charisma. They embellish to great effect -- a strong opposition to the teenage casts' underplaying of everything.

Their experience gives them credence to have fun with the material, because they understand that's the only thing that's going to make "I Am Number Four" work. D.J. Caruso may have aspired to go beyond B-Movie sci-fi, but the film plays much better inside it. For all its mindlessness, "I am Number Four" is pretty fun--and sometimes that's all that matters.

Grade: B-

“Unknown”

Movie Review

Directed by Jaume Collet-Serra, Written by Oliver Butcher, Stephen Cornwell, and Didier Van Cauwelaert (book), 113 minutes, Rated PG-13.

By our guest blogger, Matt Schimkowitz

The accidental spy genre, born from films such as “The Third Man” and “The 39 Steps,” rests on the idea that secret agent in question doesn’t know what they are doing. Suddenly thrust into a convoluted situation, usually while on vacation, the protagonist searches for answers in a confusing and hostile new world, using their limited resources in a bizarre setting, creating tension, humor and excitement.

The latest Liam Neeson thriller, “Unknown,” deviates from these conventions a bit but removes some of the excitement. Director Jaume Collet-Serra ignores the genre’s strengths and orchestrates a production that bores more often than it thrills. Neeson and his co-stars realize this early and phone it in until the third act.

On trip to the Bio-Technology Summit in snowy Berlin, Dr. Martin Harris (Neeson) finds himself in a bit of a pickle. After a car accident, Harris falls into a coma and awakens to find his identity usurped by another Martin Harris (Aidan Quinn) and his wife of five years (January Jones) playing along. With his identity in crisis and his German lackluster, Harris searches out the cabbie that crashed his car for answers.

Things continue to escalate as Harris and his Russian cab-driver, Gina (Diane Kruger), employ a private detective (Bruno Ganz) and Rodney Cole (Frank Langella), Martin’s old friend and colleague for help; however, the more they uncover the more confusing the mystery becomes.

Collet-Serra keeps things decidedly quiet throughout much of the film’s runtime. Neeson barks and complains but keeps his cool in the face of danger. His director takes a more classical approach, resting on quick chases and Dutch angles to do his dirty work. The action appears in spurts but fails to disorient the viewer in a significant way.

“Unknown”’s dignified approach does a disservice for the ready-for-action Neeson. The constrained animal of “Taken” carried his gritty voice convincingly, but here, he appears bored and frustrated. January Jones and Frank Langella don’t fare much better – their stilted performances offer little to the convoluted plotting.

The spy genre benefits from the levity that a couple of laughs and explosions deliver. Hitchcock understood the former, while contemporary directors like Paul Greengrass get the latter. “Unknown” traps itself by taking things too seriously, and with a plot this ridiculous, there’s no reason to say “I remember how to kill you” with a straight face.

Grade: B-

“Unknown”

Movie Review

Directed by Jaume Collet-Serra, Written by Oliver Butcher, Stephen Cornwell, and Didier Van Cauwelaert (book), 113 minutes, Rated PG-13.

By our guest blogger, Matt Schimkowitz

The accidental spy genre, born from films such as “The Third Man” and “The 39 Steps,” rests on the idea that secret agent in question doesn’t know what they are doing. Suddenly thrust into a convoluted situation, usually while on vacation, the protagonist searches for answers in a confusing and hostile new world, using their limited resources in a bizarre setting, creating tension, humor and excitement.

The latest Liam Neeson thriller, “Unknown,” deviates from these conventions a bit but removes some of the excitement. Director Jaume Collet-Serra ignores the genre’s strengths and orchestrates a production that bores more often than it thrills. Neeson and his co-stars realize this early and phone it in until the third act.

On trip to the Bio-Technology Summit in snowy Berlin, Dr. Martin Harris (Neeson) finds himself in a bit of a pickle. After a car accident, Harris falls into a coma and awakens to find his identity usurped by another Martin Harris (Aidan Quinn) and his wife of five years (January Jones) playing along. With his identity in crisis and his German lackluster, Harris searches out the cabbie that crashed his car for answers.

Things continue to escalate as Harris and his Russian cab-driver, Gina (Diane Kruger), employ a private detective (Bruno Ganz) and Rodney Cole (Frank Langella), Martin’s old friend and colleague for help; however, the more they uncover the more confusing the mystery becomes.

Collet-Serra keeps things decidedly quiet throughout much of the film’s runtime. Neeson barks and complains but keeps his cool in the face of danger. His director takes a more classical approach, resting on quick chases and Dutch angles to do his dirty work. The action appears in spurts but fails to disorient the viewer in a significant way.

“Unknown”’s dignified approach does a disservice for the ready-for-action Neeson. The constrained animal of “Taken” carried his gritty voice convincingly, but here, he appears bored and frustrated. January Jones and Frank Langella don’t fare much better – their stilted performances offer little to the convoluted plotting.

The spy genre benefits from the levity that a couple of laughs and explosions deliver. Hitchcock understood the former, while contemporary directors like Paul Greengrass get the latter. “Unknown” traps itself by taking things too seriously, and with a plot this ridiculous, there’s no reason to say “I remember how to kill you” with a straight face.

Grade: B-

“The Eagle”

Movie Review

Directed by Kevin MacDonald, Written by Jeremy Brock (screenplay) and Rosemary Sutcliff (novel), 114 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

With a stern jaw and a bloodied sword, Channing Tatum cuts through about a dozen or so faceless soldiers in “The Eagle” and each one is as boring as the last. Director Kevin MacDonald’s stoic pace and convoluted mythology make “The Eagle” difficult to connect with--he takes things too seriously for his own good.

Opening with a novel’s worth of subtitles, “The Eagle” tells of a centurion named Marcus (Tatum) attempting to restore his family name. His father, a Roman commander, led his legion to failure several years prior, losing Rome’s prized golden eagle in his defeat. Neither he nor his 5,000 soldiers were ever heard from again.

Following in his father’s footsteps, Marcus rises up the ranks. After protecting his troops from an attack, his superior’s promote and honorably discharge the soldier. This does not sit well with the prideful Marcus who sets out with a slave Esca (Jamie Bell) to hunt down the missing Eagle, find out what happened to his father, and restore his family name to the pantheon of heroes.

The journey takes Marcus and Esca through a series of trials, which relentlessly test their loyalty and honor. They fight and travel, but much of the film’s dialogue is comprised of grunts and whispers, leaving little room for a dynamic relationship. Their quest circles the same key themes we’ve seen a thousand times, which contributes to our boredom.

Tatum adds little to the cliché mythology. He lacks the charisma and pathos needed from this type of hero tale. Like Sam Worthington, he brings quiet determination to his roles but none of the gusto that makes these archetypes compelling. Jamie Bell does little to heighten the mood. He’s a beat for beat clone of Tatum and repeatedly bounces between contemplative and angry.

“The Eagle” is a thoughtful and slow-moving beast. Bloated to epic proportions, MacDonald gives little to deepen his characters outside of their generic attributes. They’re tortured, resolute, but rarely engaging. Even though their quest is a serious one, there’s never a moment of levity to make spending time with these characters worthwhile.

By any means, “The Eagle” isn’t a bad film, but its wooden delivery makes it an easily forgotten one.

Grade: C

“The Eagle”

Movie Review

Directed by Kevin MacDonald, Written by Jeremy Brock (screenplay) and Rosemary Sutcliff (novel), 114 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

With a stern jaw and a bloodied sword, Channing Tatum cuts through about a dozen or so faceless soldiers in “The Eagle” and each one is as boring as the last. Director Kevin MacDonald’s stoic pace and convoluted mythology make “The Eagle” difficult to connect with--he takes things too seriously for his own good.

Opening with a novel’s worth of subtitles, “The Eagle” tells of a centurion named Marcus (Tatum) attempting to restore his family name. His father, a Roman commander, led his legion to failure several years prior, losing Rome’s prized golden eagle in his defeat. Neither he nor his 5,000 soldiers were ever heard from again.

Following in his father’s footsteps, Marcus rises up the ranks. After protecting his troops from an attack, his superior’s promote and honorably discharge the soldier. This does not sit well with the prideful Marcus who sets out with a slave Esca (Jamie Bell) to hunt down the missing Eagle, find out what happened to his father, and restore his family name to the pantheon of heroes.

The journey takes Marcus and Esca through a series of trials, which relentlessly test their loyalty and honor. They fight and travel, but much of the film’s dialogue is comprised of grunts and whispers, leaving little room for a dynamic relationship. Their quest circles the same key themes we’ve seen a thousand times, which contributes to our boredom.

Tatum adds little to the cliché mythology. He lacks the charisma and pathos needed from this type of hero tale. Like Sam Worthington, he brings quiet determination to his roles but none of the gusto that makes these archetypes compelling. Jamie Bell does little to heighten the mood. He’s a beat for beat clone of Tatum and repeatedly bounces between contemplative and angry.

“The Eagle” is a thoughtful and slow-moving beast. Bloated to epic proportions, MacDonald gives little to deepen his characters outside of their generic attributes. They’re tortured, resolute, but rarely engaging. Even though their quest is a serious one, there’s never a moment of levity to make spending time with these characters worthwhile.

By any means, “The Eagle” isn’t a bad film, but its wooden delivery makes it an easily forgotten one.

Grade: C

“Black Death"

Movie Review

Written by Dario Poloni, directed by Christopher Smith, 97 minutes, rated R.

By our guest blogger, Joel Crabtree

“Black Death,” the new film from British director Christopher Smith, lives up to its foreboding title, painting a far more grim and complex picture of plagues and religion in the middle ages than its 2011 predecessor “Season of the Witch.” Despite the surface correlations, to put “Season of the Witch” in the same league as “Black Death” would be discourteous to the latter.

Osmund (Eddie Redmayne), a monk living in sin with a woman, Averill (Kimberly Nixon), is torn between his faith and his love for Averill – whom he has instructed to flee from the plague-stricken village. Osmund prays for some kind of direction. It comes in the form of Ullric (Sean Bean), a soldier of God who needs a guide to lead him to a village without the pestilence. Osmund jumps at the opportunity, which would allow him to reunite with Averill under the guise of serving his God.

Ullric's crew is a hardened bunch, each one caked in a layers of sweat, grime and scars. Yet they're all devout Christians. They're also formulaic allies that are fitting for the first leg of Osmund's journey – which fits comfortably into Joseph Campbell's “Hero's Journey.”

Their destination, it turns out, is not quite as Ullric had advertised. Ullric and his men have been told of a village without God, run by a demon (Carice van Houten) who can raise the dead. It's in the third act, when our soldiers arrive in the village, that “Black Death” finds itself, showing the extremes that many will go to to preserve their faith, whatever it may be. It can be as shocking as it is thought-provoking.

But the best trick that “Black Death” has up its sleeve is the ability to straddle supernatural and psychological themes, delicately treading on both as to not reveal its hand until absolutely necessary. Is it a horror movie or simply a movie with plenty of horrors?

It toys with its viewers (and characters), defies its genre and builds suspense in a way that is reminiscent of Robin Hardy's “The Wicker Man.”

From the script by Dario Poloni, director Christopher Smith proves that he is destined for great things – as well as a much deeper fan base. The way “Black Death” unfolds is nothing short of masterful, and much of the credit goes to Smith.

Grade: B+

"Black Death" is now available on Video on Demand, and hits theaters March 11, 2011. Below is the trailer, what are your thoughts?

“Black Death"

Movie Review

Written by Dario Poloni, directed by Christopher Smith, 97 minutes, rated R.

By our guest blogger, Joel Crabtree

“Black Death,” the new film from British director Christopher Smith, lives up to its foreboding title, painting a far more grim and complex picture of plagues and religion in the middle ages than its 2011 predecessor “Season of the Witch.” Despite the surface correlations, to put “Season of the Witch” in the same league as “Black Death” would be discourteous to the latter.

Osmund (Eddie Redmayne), a monk living in sin with a woman, Averill (Kimberly Nixon), is torn between his faith and his love for Averill – whom he has instructed to flee from the plague-stricken village. Osmund prays for some kind of direction. It comes in the form of Ullric (Sean Bean), a soldier of God who needs a guide to lead him to a village without the pestilence. Osmund jumps at the opportunity, which would allow him to reunite with Averill under the guise of serving his God.

Ullric's crew is a hardened bunch, each one caked in a layers of sweat, grime and scars. Yet they're all devout Christians. They're also formulaic allies that are fitting for the first leg of Osmund's journey – which fits comfortably into Joseph Campbell's “Hero's Journey.”

Their destination, it turns out, is not quite as Ullric had advertised. Ullric and his men have been told of a village without God, run by a demon (Carice van Houten) who can raise the dead. It's in the third act, when our soldiers arrive in the village, that “Black Death” finds itself, showing the extremes that many will go to to preserve their faith, whatever it may be. It can be as shocking as it is thought-provoking.

But the best trick that “Black Death” has up its sleeve is the ability to straddle supernatural and psychological themes, delicately treading on both as to not reveal its hand until absolutely necessary. Is it a horror movie or simply a movie with plenty of horrors?

It toys with its viewers (and characters), defies its genre and builds suspense in a way that is reminiscent of Robin Hardy's “The Wicker Man.”

From the script by Dario Poloni, director Christopher Smith proves that he is destined for great things – as well as a much deeper fan base. The way “Black Death” unfolds is nothing short of masterful, and much of the credit goes to Smith.

Grade: B+

"Black Death" is now available on Video on Demand, and hits theaters March 11, 2011. Below is the trailer, what are your thoughts?

“The Girl Who Kicked the Hornet’s Nest”

DVD, Blu-Ray Movie Review

Directed by Daniel Alfredson, Written by Ulf Ryberg and Stieg Larsson (novel), 147 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

The final entry in Stieg Larsson’s Millennium Trilogy is startlingly anticlimactic. With not much story left, “The Girl Who Kicked the Hornet’s Nest” plods along slowly, likely because it only succeeds in recapping the other movies. Actress Noomi Rapace is game for a final turn as the girl with the dragon tattoo -- she just doesn't have much to do.

“The Girl Who Kicked the Hornet’s Nest” picks up immediately after the previous installment, “The Girl Who Played with Fire.” After her father shoots her, Lisbeth (Noomi Rapace) awakes in intensive care with a bullet in her head. However, while Lisbeth is alive, she is far from safe -- the malevolent Dr. Teleborian (Anders Ahlbom) and his minions continue to hunt her.

As Lisbeth awaits trial for the murder of her father, investigative reporter Mikael Blomkvist (Michael Nyqvist) attempts to prove the young girl’s innocence by writing and guarding the manuscript to her biography, which details her struggle.

Not much happens in “Hornet’s Nest,” which makes its grueling length unbearable. At two-and-a-half hours, the film is far too long. We’re not learning anything new--and the characters aren’t either. Lisbeth remains locked in a hospital for much of the film, while Mikael writes her defense. She sits, he writes and both join the audience in waiting for something to happen. The few moments of suspense feel padded and the action is too dull to care about.

It becomes clear that the journey ended in the last film, because there are so few places left to explore in this film. Scenes introducing new threats dissolve without notice, spoiling what little suspense there was in the first place. All of these slow, meaningless scenes lead to a boring courtroom preceding, where things play out anticlimactically and predictably.

For such an active title, everything about “The Girl Who Kicked the Hornet’s Nest” is passive. Alfredson relies on an ominous tone, but there is no threat at this point. Nyqvist and Rapace sit and wait for a development that just isn't coming. The film is all falling action -- a two-and-a-half-hour conclusion to another movie.

“The Girl Who Kicked the Hornet’s Nest” is an unfortunate postscript to the Millennium Trilogy. Best to stop after the second film and hope that everything worked out for the best.

Grade: D+

View the trailer below. What are your thoughts?

“The Girl Who Kicked the Hornet’s Nest”

DVD, Blu-Ray Movie Review

Directed by Daniel Alfredson, Written by Ulf Ryberg and Stieg Larsson (novel), 147 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

The final entry in Stieg Larsson’s Millennium Trilogy is startlingly anticlimactic. With not much story left, “The Girl Who Kicked the Hornet’s Nest” plods along slowly, likely because it only succeeds in recapping the other movies. Actress Noomi Rapace is game for a final turn as the girl with the dragon tattoo -- she just doesn't have much to do.

“The Girl Who Kicked the Hornet’s Nest” picks up immediately after the previous installment, “The Girl Who Played with Fire.” After her father shoots her, Lisbeth (Noomi Rapace) awakes in intensive care with a bullet in her head. However, while Lisbeth is alive, she is far from safe -- the malevolent Dr. Teleborian (Anders Ahlbom) and his minions continue to hunt her.

As Lisbeth awaits trial for the murder of her father, investigative reporter Mikael Blomkvist (Michael Nyqvist) attempts to prove the young girl’s innocence by writing and guarding the manuscript to her biography, which details her struggle.

Not much happens in “Hornet’s Nest,” which makes its grueling length unbearable. At two-and-a-half hours, the film is far too long. We’re not learning anything new--and the characters aren’t either. Lisbeth remains locked in a hospital for much of the film, while Mikael writes her defense. She sits, he writes and both join the audience in waiting for something to happen. The few moments of suspense feel padded and the action is too dull to care about.

It becomes clear that the journey ended in the last film, because there are so few places left to explore in this film. Scenes introducing new threats dissolve without notice, spoiling what little suspense there was in the first place. All of these slow, meaningless scenes lead to a boring courtroom preceding, where things play out anticlimactically and predictably.

For such an active title, everything about “The Girl Who Kicked the Hornet’s Nest” is passive. Alfredson relies on an ominous tone, but there is no threat at this point. Nyqvist and Rapace sit and wait for a development that just isn't coming. The film is all falling action -- a two-and-a-half-hour conclusion to another movie.

“The Girl Who Kicked the Hornet’s Nest” is an unfortunate postscript to the Millennium Trilogy. Best to stop after the second film and hope that everything worked out for the best.

Grade: D+

View the trailer below. What are your thoughts?

“The Mechanic”

Movie Review

Directed by Simon West, Written by Richard Wenk, Lewis John Carlino, 92 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Loud, explosive and fun, “The Mechanic” shamelessly flaunts its actioneering. Scenes exceed the limits of belief for the sake of entertainment, without reverting to all-out comedy. In this remake of the 1972 Charles Bronson film, director Simon West gives Jason Statham and company a decent enough story to work with, fleshing out the characters a bit more than you’re standard action movie.

One of the world’s foremost hitmen, Arthur Bishop (Jason Statham), gets a job to take out his friend and mentor Harry McKenna (Donald Sutherland). Reluctantly, he accepts, fearing a worse fate if his employers hired someone else to take care of the McKenna situation. Bishop lives with the guilt of Harry’s murder, but it only gets worse when he meets Harry’s son, Steve (Ben Foster), at the funeral. Distraught, Steve demands that Arthur teach him the tricks of the trade.

Still reeling with guilt, Arthur agrees.

Steve’s methods are quite different from Arthur’s, however. On the job, Arthur is a well-oiled machine. He meticulously designs his hits, going through a host of variables and scenarios, preparing for every possible outcome. Steve, on the other hand, does not. He flies by the seat of his pants, adopting a gritty style, which entirely opposes Arthur’s training.

Despite their obvious differences, Arthur and Steve make a great team. Statham’s cold stares and quiet attacks create Bond-like thrills while Steve’s brash, bombastic style brings the action. Foster explodes in hand-to-hand combat that’s both violent and entertaining. Together, the pair pleases all. Fans of crafty spy films and rough and tumble action will get their money’s worth.

Above it all, the juxtapositions of characters, as well as their connection to Harry, gives them motivation. As they go after the big fish behind Harry’s take down, their personal link to the job draws you in closer. West locks us into the plot, because their characterizations make sense, even if they are a tad cliché. The added suspense of Steve finding out Arthur’s the man who pulled the trigger is the icing on the cake.

Statham and Foster work great together. Their diverging styles and a decent story makes for some great action scenes and an entertaining movie. Considering how boring and predictable this type of film can be, it’s amazing how unpredictable “The Mechanic” actually is. “The Mechanic” is definitely worth your time. Check your brain at the door and enjoy.

Grade: B

“The Mechanic”

Movie Review

Directed by Simon West, Written by Richard Wenk, Lewis John Carlino, 92 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Loud, explosive and fun, “The Mechanic” shamelessly flaunts its actioneering. Scenes exceed the limits of belief for the sake of entertainment, without reverting to all-out comedy. In this remake of the 1972 Charles Bronson film, director Simon West gives Jason Statham and company a decent enough story to work with, fleshing out the characters a bit more than you’re standard action movie.

One of the world’s foremost hitmen, Arthur Bishop (Jason Statham), gets a job to take out his friend and mentor Harry McKenna (Donald Sutherland). Reluctantly, he accepts, fearing a worse fate if his employers hired someone else to take care of the McKenna situation. Bishop lives with the guilt of Harry’s murder, but it only gets worse when he meets Harry’s son, Steve (Ben Foster), at the funeral. Distraught, Steve demands that Arthur teach him the tricks of the trade.

Still reeling with guilt, Arthur agrees.

Steve’s methods are quite different from Arthur’s, however. On the job, Arthur is a well-oiled machine. He meticulously designs his hits, going through a host of variables and scenarios, preparing for every possible outcome. Steve, on the other hand, does not. He flies by the seat of his pants, adopting a gritty style, which entirely opposes Arthur’s training.

Despite their obvious differences, Arthur and Steve make a great team. Statham’s cold stares and quiet attacks create Bond-like thrills while Steve’s brash, bombastic style brings the action. Foster explodes in hand-to-hand combat that’s both violent and entertaining. Together, the pair pleases all. Fans of crafty spy films and rough and tumble action will get their money’s worth.

Above it all, the juxtapositions of characters, as well as their connection to Harry, gives them motivation. As they go after the big fish behind Harry’s take down, their personal link to the job draws you in closer. West locks us into the plot, because their characterizations make sense, even if they are a tad cliché. The added suspense of Steve finding out Arthur’s the man who pulled the trigger is the icing on the cake.

Statham and Foster work great together. Their diverging styles and a decent story makes for some great action scenes and an entertaining movie. Considering how boring and predictable this type of film can be, it’s amazing how unpredictable “The Mechanic” actually is. “The Mechanic” is definitely worth your time. Check your brain at the door and enjoy.

Grade: B

"The Green Hornet"

Movie Review

Directed by Michel Gondry, Written by Evan Goldberg and Seth Rogen, 119-minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

After a nightmarish production, "The Green Hornet" finally comes to theaters, and given its many troubles, the film isn't half bad. Director Michel Gondry's unlikely team-up with Seth Rogen tries its hardest to give audiences a good time by mixing Rogen's off-the-cuff style with Gondry's inventive eye. However, the film's strengths become a weakness, as the comedy gets in the way of the plot, slowing each scene before it has a chance to get started.

The Green Hornet is actually rich playboy, Britt Reid, who, after the death of his father, apathetically takes up the family business as the editor of the Los Angeles Sentinel newspaper.

But all that's about to change.

After accidentally stopping a robbery, Reid, along with his father's mechanic and coffee maker, Kato (Jay Chau in the role that made Bruce Lee a star), become crime fighters posing as wrongdoers. In Reid's control, the Sentinel prints story after story on the Green Hornet to put LA's criminal underworld on high alert. That is until the underworld puts the pressure back on Reid.

Part of the problem with "The Green Hornet" is the character himself. There's no real motivation for Britt Reid to take on such a challenge, and Rogen's slacker persona doesn't help things. The actor doesn't have that superhero charisma to convincingly imbue a sense of duty in the character, so the film relies on his humor.

Rogen brings the jokes, but often, the film spends too much time showing him and Chau goofing around. These scenes tend to run far too long without going anywhere. Rather than snapping to action, Kato and Reid take their time, joking or fighting with each other. The team is frequently funny, but they rarely progress the plot.

Gondry spends so much time with Rogen and Chau that we never get to know the peripheral characters, particularly the criminally underused Christoph Waltz. As a villain, Chudnofsky (Waltz) is a one trick pony, with his only characteristic being a frequently verbalized fear of not being taken seriously. His image troubles are funny at first, but by the end of the film, they render the character unrealistic and boring.

"Green Hornet" is both funny and exciting, but Gondry has a hard time mixing the two. Generally, the cast takes their time setting up the next scene, but never seems to get to it, slowing things down immensely. There are many funny and action-packed moments, but at nearly two hours, “The Green Hornet” overstays its welcome.

Grade: B-

"The Green Hornet"

Movie Review

Directed by Michel Gondry, Written by Evan Goldberg and Seth Rogen, 119-minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

After a nightmarish production, "The Green Hornet" finally comes to theaters, and given its many troubles, the film isn't half bad. Director Michel Gondry's unlikely team-up with Seth Rogen tries its hardest to give audiences a good time by mixing Rogen's off-the-cuff style with Gondry's inventive eye. However, the film's strengths become a weakness, as the comedy gets in the way of the plot, slowing each scene before it has a chance to get started.

The Green Hornet is actually rich playboy, Britt Reid, who, after the death of his father, apathetically takes up the family business as the editor of the Los Angeles Sentinel newspaper.

But all that's about to change.

After accidentally stopping a robbery, Reid, along with his father's mechanic and coffee maker, Kato (Jay Chau in the role that made Bruce Lee a star), become crime fighters posing as wrongdoers. In Reid's control, the Sentinel prints story after story on the Green Hornet to put LA's criminal underworld on high alert. That is until the underworld puts the pressure back on Reid.

Part of the problem with "The Green Hornet" is the character himself. There's no real motivation for Britt Reid to take on such a challenge, and Rogen's slacker persona doesn't help things. The actor doesn't have that superhero charisma to convincingly imbue a sense of duty in the character, so the film relies on his humor.

Rogen brings the jokes, but often, the film spends too much time showing him and Chau goofing around. These scenes tend to run far too long without going anywhere. Rather than snapping to action, Kato and Reid take their time, joking or fighting with each other. The team is frequently funny, but they rarely progress the plot.

Gondry spends so much time with Rogen and Chau that we never get to know the peripheral characters, particularly the criminally underused Christoph Waltz. As a villain, Chudnofsky (Waltz) is a one trick pony, with his only characteristic being a frequently verbalized fear of not being taken seriously. His image troubles are funny at first, but by the end of the film, they render the character unrealistic and boring.

"Green Hornet" is both funny and exciting, but Gondry has a hard time mixing the two. Generally, the cast takes their time setting up the next scene, but never seems to get to it, slowing things down immensely. There are many funny and action-packed moments, but at nearly two hours, “The Green Hornet” overstays its welcome.

Grade: B-