‘Horrible Bosses’

Movie Trailer Review

By our guest blogger, Joe Oliveto

For fans of televised comedy, a cast consisting of Jason Bateman, Jason Sudeikis, and Charlie Day is pretty hard to beat. Having brought in the laughs on “Arrested Development,” “Saturday Night Live,” and “It’s Always Sunny in Philadelphia,” respectively, these three have carved their own comedic niches and earned our praise. A film starring all three of them is guaranteed to draw a crowd.

But it gets even better, because for the first time in a while, we’ve got ourselves a movie trailer that actually has us laughing the whole way through. It is deceptively difficult to capture the comedic strength of a film in a two minute long promo—even the original trailers for “The Hangover” weren’t nearly as spectacular as the film itself was—but from the brief glimpse we have here of “Horrible Bosses,” we are in for one terrifically entertaining film.

First of all, while we’ve enjoyed the recent wave of Apatow comedies, which have managed to insert some relatively heartwarming drama in between all the raunchy humor, we’ve also got a craving for some dark humor, and it looks like “Horrible Bosses” will deliver. This doesn’t look like it aspires to be a movie about coming to terms with your station in life and liberating yourself from corporate drudgery, ala “Office Space.” Nope, this is simply a film about abused employees who are planning on murdering their bosses.

C’mon, just the premise itself is funny.

On top of that, the supporting cast looks great. Colin Farrell has shed his bad boy image to play what appears to be a middle-class executive with extreme delusions of grandeur—he’ll be the unsung hero of this picture. Kevin Spacey is there, and he’s always dependable. Jennifer Aniston might not stand out, but on the plus side, it looks as though there is a scene in which Wendell Pierce from TV’s “The Wire” will be appearing once again as a police officer.

We’re convinced. Can we see this one right now?

‘Horrible Bosses’

Movie Trailer Review

By our guest blogger, Joe Oliveto

For fans of televised comedy, a cast consisting of Jason Bateman, Jason Sudeikis, and Charlie Day is pretty hard to beat. Having brought in the laughs on “Arrested Development,” “Saturday Night Live,” and “It’s Always Sunny in Philadelphia,” respectively, these three have carved their own comedic niches and earned our praise. A film starring all three of them is guaranteed to draw a crowd.

But it gets even better, because for the first time in a while, we’ve got ourselves a movie trailer that actually has us laughing the whole way through. It is deceptively difficult to capture the comedic strength of a film in a two minute long promo—even the original trailers for “The Hangover” weren’t nearly as spectacular as the film itself was—but from the brief glimpse we have here of “Horrible Bosses,” we are in for one terrifically entertaining film.

First of all, while we’ve enjoyed the recent wave of Apatow comedies, which have managed to insert some relatively heartwarming drama in between all the raunchy humor, we’ve also got a craving for some dark humor, and it looks like “Horrible Bosses” will deliver. This doesn’t look like it aspires to be a movie about coming to terms with your station in life and liberating yourself from corporate drudgery, ala “Office Space.” Nope, this is simply a film about abused employees who are planning on murdering their bosses.

C’mon, just the premise itself is funny.

On top of that, the supporting cast looks great. Colin Farrell has shed his bad boy image to play what appears to be a middle-class executive with extreme delusions of grandeur—he’ll be the unsung hero of this picture. Kevin Spacey is there, and he’s always dependable. Jennifer Aniston might not stand out, but on the plus side, it looks as though there is a scene in which Wendell Pierce from TV’s “The Wire” will be appearing once again as a police officer.

We’re convinced. Can we see this one right now?

‘Final Destination 5’

Teaser Movie Trailer Review

By our guest blogger, Joe Oliveto

Aren’t we done with this franchise yet? While the first “Final Destination” film offered some originality amidst the slasher revival, by now, the formula has worn itself out. Aside from some more unique death scenes, we can’t imagine that the next addition to this franchise will have anything all that exciting to offer.

Then again, if you are interested in the death scenes, then maybe this film will be for you. The teaser begins with a reasonably troubling scenario—no one likes being subject to an uncomfortable medical procedure, and the thought of something going severely wrong in that situation is a fear which plenty of people actually have. If the movie contains more moments like that one, it might be worth it for some viewers.

Still, the first film, while by no means a subtle and nuanced picture, at least evoked a melancholy atmosphere that allowed the picture to linger in the viewer’s mind. Death was something real in that film, and not merely a gimmick. Unfortunately, as this franchise has trudged on, that’s all that it has become, and it doesn’t look as though “Final Destination 5” will change that.

‘Final Destination 5’

Teaser Movie Trailer Review

By our guest blogger, Joe Oliveto

Aren’t we done with this franchise yet? While the first “Final Destination” film offered some originality amidst the slasher revival, by now, the formula has worn itself out. Aside from some more unique death scenes, we can’t imagine that the next addition to this franchise will have anything all that exciting to offer.

Then again, if you are interested in the death scenes, then maybe this film will be for you. The teaser begins with a reasonably troubling scenario—no one likes being subject to an uncomfortable medical procedure, and the thought of something going severely wrong in that situation is a fear which plenty of people actually have. If the movie contains more moments like that one, it might be worth it for some viewers.

Still, the first film, while by no means a subtle and nuanced picture, at least evoked a melancholy atmosphere that allowed the picture to linger in the viewer’s mind. Death was something real in that film, and not merely a gimmick. Unfortunately, as this franchise has trudged on, that’s all that it has become, and it doesn’t look as though “Final Destination 5” will change that.

American Idol Season 10, Episode 34: Top 4

Television Review

By our guest blogger, Catherine Fuentes

As Ryan Seacrest dutifully reminded us at the start of the episode, tonight is the most important of the season: tonight four contestants sing two songs, and the three that emerge victorious get to do their big, fancy hometown visits.

The first song theme was “Songs That Inspire You,” and I felt that this was all kinds of cheesy, and with the exception of Lauren Alaina’s song, everything seemed so poorly chosen. The second batch of songs were from the Leiber and Stoller songbook, and were brilliantly mentored by Lady Gaga. I’m shocked to admit that she is miles away the best mentor that American Idol has ever seen. She brought out some fantastic performances, but seemed to really relate well with the contestants.

My favorite of the night was Lauren Alaina, who I feel not only chose the only appropriate song in the first round, but also gave the best all around performance of the first round. She sang Martina McBride’s “Anyway” and dedicated it to the people whose lives have been affected by the destruction after the tornadoes in the South. Her voice was at its biggest, she hit the bold notes the judges have wanted her to hit, and it was a long overdue performance of excellence from Lauren. She needed this badly.

Her second performance of Elvis’ “Trouble,” wasn’t as strong as her first, but she came out with a sense of confidence that we haven’t yet seen in her. Jennifer said that she was on the “attack,” and I completely agree. The gospel section wasn’t incredible, but she didn’t back down the way she would have in weeks past.

James gets the default second slot in my mind, because he is the most consistent contestant on the show. He always gets on stage and delivers a fun, high-energy performance. His first performance of Journey’s “Don’t Stop Believing” was a little too cliché for me (must everyone always cover this song?) and was a little too screamy and yelly for my tastes, but his second performance of “Love Potion No. 9” was standard James fare: he rocked the stage, inserted dramatic pauses, and sang really well. It wasn’t anything bold or new for James, but it was entertaining.

In true Haley fashion, her performances get the “best and worst” split. Her first performance of Michael Jackson’s “Earth Song” was easily the night’s worst, and quite honestly, one of her worst performances in recent weeks. Sounding like she was screaming for half the song wasn’t bad enough, but the song wasn’t much of a “hit” for her, as the judges reminded her.

What potentially did Haley in was her back and forth bickering with Randy over his very harsh criticism. I don’t like when contestants get a little too full of themselves and fight back, because it never portrays them in a good light. I totally understand that emotions are at such an intense high at this point, and she is trying to fight for survival and prove to the audience that she did a good job, but arguing is never a good move on this show.

Shockingly, Haley somehow conquered her tears, and put her anger to good use, as she belted out “I Who Have Nothing,” in potentially the night’s best performance. It was as if she wasn’t completely demoralized by the judges just twenty minutes earlier, because after this performance, they were giving her a well-deserved standing ovation. Lady Gaga wanted her to bring the drama, and she did, along with some of her best vocals to date.

I know that many bloggers and American Idol pundits believe that Scotty will win the title, but I really feel that he was the worst tonight, and that he should go home. Why should Scotty get praised for “knowing who he is as an artist?” while Pia and Jacob were sent home for being too one-dimensional, even though they certainly knew the artists they each wanted to be? His first song, which he said he sang because he’s proud to be an American, Alan Jackson's post-9/11 song, "Where Were You When the World Stopped Turning?" was timely, but it wasn’t great. First of all, I found the lyrics to be ignorant, but this isn’t about attacking the original song, it’s about me not thinking it was appropriate for Scotty to be singing. I will always be wary of using 9/11 as a means to appear more patriotic, but it did not sit well with me to have someone who could not have been older than seven on 9/11 sing such a mature song about how those events impacted him on a deep level. I may be entirely alone in this, and I am okay with that, but I found Scotty’s performance to be offensive. On a musical note, his singing wasn’t that great, and his performance was just as phony as it normally is.

His second song, the Coasters’ “Young Blood,” was slightly better, if only because it showed that Scotty has somewhat of a sense of humor. I couldn’t really hear the vocals too well, presumably because of his annoying way of holding the mic, but it was an energetic performance for him, which I feel he really needed. I hate that the judges think he’s such a lock, because I really don’t see it. I see nothing remotely interesting or genuine about Scotty McCreery.

I think Haley is in danger of going home, if only for her fighting back to Randy, but I really wish it would be Scotty.

American Idol Season 10, Episode 34: Top 4

Television Review

By our guest blogger, Catherine Fuentes

As Ryan Seacrest dutifully reminded us at the start of the episode, tonight is the most important of the season: tonight four contestants sing two songs, and the three that emerge victorious get to do their big, fancy hometown visits.

The first song theme was “Songs That Inspire You,” and I felt that this was all kinds of cheesy, and with the exception of Lauren Alaina’s song, everything seemed so poorly chosen. The second batch of songs were from the Leiber and Stoller songbook, and were brilliantly mentored by Lady Gaga. I’m shocked to admit that she is miles away the best mentor that American Idol has ever seen. She brought out some fantastic performances, but seemed to really relate well with the contestants.

My favorite of the night was Lauren Alaina, who I feel not only chose the only appropriate song in the first round, but also gave the best all around performance of the first round. She sang Martina McBride’s “Anyway” and dedicated it to the people whose lives have been affected by the destruction after the tornadoes in the South. Her voice was at its biggest, she hit the bold notes the judges have wanted her to hit, and it was a long overdue performance of excellence from Lauren. She needed this badly.

Her second performance of Elvis’ “Trouble,” wasn’t as strong as her first, but she came out with a sense of confidence that we haven’t yet seen in her. Jennifer said that she was on the “attack,” and I completely agree. The gospel section wasn’t incredible, but she didn’t back down the way she would have in weeks past.

James gets the default second slot in my mind, because he is the most consistent contestant on the show. He always gets on stage and delivers a fun, high-energy performance. His first performance of Journey’s “Don’t Stop Believing” was a little too cliché for me (must everyone always cover this song?) and was a little too screamy and yelly for my tastes, but his second performance of “Love Potion No. 9” was standard James fare: he rocked the stage, inserted dramatic pauses, and sang really well. It wasn’t anything bold or new for James, but it was entertaining.

In true Haley fashion, her performances get the “best and worst” split. Her first performance of Michael Jackson’s “Earth Song” was easily the night’s worst, and quite honestly, one of her worst performances in recent weeks. Sounding like she was screaming for half the song wasn’t bad enough, but the song wasn’t much of a “hit” for her, as the judges reminded her.

What potentially did Haley in was her back and forth bickering with Randy over his very harsh criticism. I don’t like when contestants get a little too full of themselves and fight back, because it never portrays them in a good light. I totally understand that emotions are at such an intense high at this point, and she is trying to fight for survival and prove to the audience that she did a good job, but arguing is never a good move on this show.

Shockingly, Haley somehow conquered her tears, and put her anger to good use, as she belted out “I Who Have Nothing,” in potentially the night’s best performance. It was as if she wasn’t completely demoralized by the judges just twenty minutes earlier, because after this performance, they were giving her a well-deserved standing ovation. Lady Gaga wanted her to bring the drama, and she did, along with some of her best vocals to date.

I know that many bloggers and American Idol pundits believe that Scotty will win the title, but I really feel that he was the worst tonight, and that he should go home. Why should Scotty get praised for “knowing who he is as an artist?” while Pia and Jacob were sent home for being too one-dimensional, even though they certainly knew the artists they each wanted to be? His first song, which he said he sang because he’s proud to be an American, Alan Jackson's post-9/11 song, "Where Were You When the World Stopped Turning?" was timely, but it wasn’t great. First of all, I found the lyrics to be ignorant, but this isn’t about attacking the original song, it’s about me not thinking it was appropriate for Scotty to be singing. I will always be wary of using 9/11 as a means to appear more patriotic, but it did not sit well with me to have someone who could not have been older than seven on 9/11 sing such a mature song about how those events impacted him on a deep level. I may be entirely alone in this, and I am okay with that, but I found Scotty’s performance to be offensive. On a musical note, his singing wasn’t that great, and his performance was just as phony as it normally is.

His second song, the Coasters’ “Young Blood,” was slightly better, if only because it showed that Scotty has somewhat of a sense of humor. I couldn’t really hear the vocals too well, presumably because of his annoying way of holding the mic, but it was an energetic performance for him, which I feel he really needed. I hate that the judges think he’s such a lock, because I really don’t see it. I see nothing remotely interesting or genuine about Scotty McCreery.

I think Haley is in danger of going home, if only for her fighting back to Randy, but I really wish it would be Scotty.

Glee Season 2, Episode 20: Prom

Television Review

By our guest blogger, Catherine Fuentes

There’s nothing more cliché than a television show episode about a prom, yet somehow, Glee found a way to make their prom totally fresh. Maybe it’s because I was able to avoid spoilers of the newly minted prom king and queen, foolishly tweeted by an on-set extra, but I found the episode to be a solidly good one.

I laughed at the sharp writing, I felt proud of Brittany where she stood up for herself and her beliefs and articulated them incredibly – and shockingly – well to Artie when he asked her to prom and apologized for calling her stupid for the umpteenth time. I was thankful that Mr. Schuester had minimal on-screen time, and Sue Sylvester had more on-screen time than usual, this time with a dental interrogation kit, and an inappropriate yet hilarious joke about John McCain.

I even felt a surge of emotion over the relationship between Kurt and Blaine, a relationship I consider to be the best and purest relationship currently on television. (For anyone curious, my other favorite television relationship is Coach Eric and Tami Taylor on Friday Night Lights.) I think that everyone should hope that one day they find a partner who loves and supports him or her as much as Blaine loves and supports Kurt.

However, I found the prom episode’s weakest point to be the music, unfortunately. Though to be fair, given the episode’s premise, I wasn’t expecting the best musical performances of the season. I expected this episode to be one where plot and drama took a priority to music, even though a prom is all about dancing (although, to a high school student, it’s really all about the accompanying melodrama).

In an on-stage practice, Rachel decided to sing Adele’s ubiquitous #1 hit, “Rolling in the Deep.” I’ve said it before: I love Adele, and I love this song, but I am so ridiculously sick of everyone thinking that they should cover it now. I wish there could be a moratorium on the song, so that I don’t become so painfully sick of a song I loved the very first time I heard it. That being said, Rachel and Jesse didn’t bring a particularly new or interesting spin to the song.

I happened to absolutely love Artie’s prom proposal of “Isn’t She Lovely” to Brittany, who stood up for herself and said no. In all fairness, with such a beautifully sung and performed song, it must’ve been rather hard. To me, this song proved that Artie has the vocal chops to take on some serious meaty solos, and that the Glee club guys are so musically talented that they can create a rhythm section with found household items common to a kitchen or home economics classroom.

Perhaps my favorite song of the night was very shockingly, the rendition of Rebecca Black’s surprise hit, “Friday.” I knew this song would be covered in the episode, but being true to avoiding spoilers, I had no idea who would cover it. So when Puck, Trouty Lips and Artie took the stage with electric guitars and started to rock out to some song, I just figured that it’s some pop punk hit that I’m unfamiliar with… until it got to the chorus. By that point, I was already loving the performance too much to care that I love something that Rebecca Black created. These things are somewhat painful to admit.

I fast-forwarded through Rachel’s ballad of “Jar of Hearts,” pausing only to see the dialogue between the other characters. In all fairness, once you see one Rachel Berry ballad, you’ve seen them all, and I’ve seen enough to know that I don’t like them. From what I ascertained through my fast-forwarding, there were some endearing moments between Finn and Rachel (stolen glances during romantic ballads is a little trite for my tastes, but then again, this is high school), but the moment worth pausing for was Sam telling Mercedes that she looks beautiful and asking her to dance. That was one of the best moments of the episode.

While I was glad to see Blaine sing lead, I really missed him with the backing of the Warblers, and didn’t care too much for his version of the Black Kids’ “I'm Not Gonna Teach Your Boyfriend How to Dance With You.” The song was appropriate for the episode: fun and totally dance-able, but it wasn’t anything interesting or musically special.

For much the same reason, the version of ABBA’s “Dancing Queen” wasn’t that great either. I was far too invested in the plot that had just unfolded before it: Kurt was crowned Prom Queen to Karofsky’s Prom King, which brought Santana to tears and Quinn to a tearful nervous breakdown wherein she slapped Rachel across the face. However, being the strong guy that he is, and having the unwavering support of Blaine, Kurt decided to accept his title. That was great, but having “Dancing Queen” as the song playing when two guys (one in the closet and one out of the closet) were supposed to take their first dance seemed a bit much for me.

Glee Season 2, Episode 20: Prom

Television Review

By our guest blogger, Catherine Fuentes

There’s nothing more cliché than a television show episode about a prom, yet somehow, Glee found a way to make their prom totally fresh. Maybe it’s because I was able to avoid spoilers of the newly minted prom king and queen, foolishly tweeted by an on-set extra, but I found the episode to be a solidly good one.

I laughed at the sharp writing, I felt proud of Brittany where she stood up for herself and her beliefs and articulated them incredibly – and shockingly – well to Artie when he asked her to prom and apologized for calling her stupid for the umpteenth time. I was thankful that Mr. Schuester had minimal on-screen time, and Sue Sylvester had more on-screen time than usual, this time with a dental interrogation kit, and an inappropriate yet hilarious joke about John McCain.

I even felt a surge of emotion over the relationship between Kurt and Blaine, a relationship I consider to be the best and purest relationship currently on television. (For anyone curious, my other favorite television relationship is Coach Eric and Tami Taylor on Friday Night Lights.) I think that everyone should hope that one day they find a partner who loves and supports him or her as much as Blaine loves and supports Kurt.

However, I found the prom episode’s weakest point to be the music, unfortunately. Though to be fair, given the episode’s premise, I wasn’t expecting the best musical performances of the season. I expected this episode to be one where plot and drama took a priority to music, even though a prom is all about dancing (although, to a high school student, it’s really all about the accompanying melodrama).

In an on-stage practice, Rachel decided to sing Adele’s ubiquitous #1 hit, “Rolling in the Deep.” I’ve said it before: I love Adele, and I love this song, but I am so ridiculously sick of everyone thinking that they should cover it now. I wish there could be a moratorium on the song, so that I don’t become so painfully sick of a song I loved the very first time I heard it. That being said, Rachel and Jesse didn’t bring a particularly new or interesting spin to the song.

I happened to absolutely love Artie’s prom proposal of “Isn’t She Lovely” to Brittany, who stood up for herself and said no. In all fairness, with such a beautifully sung and performed song, it must’ve been rather hard. To me, this song proved that Artie has the vocal chops to take on some serious meaty solos, and that the Glee club guys are so musically talented that they can create a rhythm section with found household items common to a kitchen or home economics classroom.

Perhaps my favorite song of the night was very shockingly, the rendition of Rebecca Black’s surprise hit, “Friday.” I knew this song would be covered in the episode, but being true to avoiding spoilers, I had no idea who would cover it. So when Puck, Trouty Lips and Artie took the stage with electric guitars and started to rock out to some song, I just figured that it’s some pop punk hit that I’m unfamiliar with… until it got to the chorus. By that point, I was already loving the performance too much to care that I love something that Rebecca Black created. These things are somewhat painful to admit.

I fast-forwarded through Rachel’s ballad of “Jar of Hearts,” pausing only to see the dialogue between the other characters. In all fairness, once you see one Rachel Berry ballad, you’ve seen them all, and I’ve seen enough to know that I don’t like them. From what I ascertained through my fast-forwarding, there were some endearing moments between Finn and Rachel (stolen glances during romantic ballads is a little trite for my tastes, but then again, this is high school), but the moment worth pausing for was Sam telling Mercedes that she looks beautiful and asking her to dance. That was one of the best moments of the episode.

While I was glad to see Blaine sing lead, I really missed him with the backing of the Warblers, and didn’t care too much for his version of the Black Kids’ “I'm Not Gonna Teach Your Boyfriend How to Dance With You.” The song was appropriate for the episode: fun and totally dance-able, but it wasn’t anything interesting or musically special.

For much the same reason, the version of ABBA’s “Dancing Queen” wasn’t that great either. I was far too invested in the plot that had just unfolded before it: Kurt was crowned Prom Queen to Karofsky’s Prom King, which brought Santana to tears and Quinn to a tearful nervous breakdown wherein she slapped Rachel across the face. However, being the strong guy that he is, and having the unwavering support of Blaine, Kurt decided to accept his title. That was great, but having “Dancing Queen” as the song playing when two guys (one in the closet and one out of the closet) were supposed to take their first dance seemed a bit much for me.

“Something Borrowed”

Movie Review

Directed by Luke Greenfield, Written by Jennie Snyder and Emily Giffin, 103 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Something Borrowed” is a screwball comedy in which nobody gets anything done. Lacking much story or character development, the film relies on a singular idea—deciding whether to hurt a friend for the sake of true happiness.  It's a premise that runs out of steam halfway through. The film repeats its point over and over, but because the characters remain so static and the two lovers find romance in the first scene, it never hits the emotional or comedic beats it expects, removing any chance for anything other than a predictable finale.

Just as the characters in “Something Borrowed” refuse to come to terms with the people they want to be, the film itself cannot construct the story or ending it wants. Rachel (Ginnifer Goodwin), our selfless main character, sleeps with her longtime crush and childhood best friend’s fiancée, Dex (Colin Egglesfield), and must tell her friend or let go of the one she loves. Yet, unlike a film where the romance between Rachel and Dex is the main crux, “Something Borrowed” strips us of that in the first scene. We know they’re in love, now we wait and see if they will tell a clueless Kate Hudson the truth.

How exciting.

Darcy steals Rachel’s story by being a hapless, attention seeking, party girl who has great friends though does not deserve them. As such, to the audience, Rachel’s decision becomes an easy one: Be with Dex, because Darcy is terrible. Director Luke Greenfield and Hudson (who has some sort of chemical addiction to these types of films) do such a fantastic job of creating an unworthy friend, that the very idea of choosing anything else is a no brainer.

This doesn’t stop anyone from stretching things out an extra 20-minutes. The film drags and drags, until, finally, Ethan (John Krasinski), Rachel’s other childhood friend, yells at her to make a decision. Clearly, he’s expressing the concerns and frustrations of the audience, whom at this point will be so bored by the film’s redundant story that any change, good or bad, will be welcomed. Though, neither Rachel nor Dex, who has some ridiculous obligation to his parents to marry this Darcy, make it easy.

Things get off to a quick start, with Dex and Rachel getting together in the first scene, and with only this one decision to make, the film doesn’t offer enough variety to make it worth of the $11. The very nature of the screwball comedy rests that something unexpected happens to its characters. “Something Borrowed” removes the promise of this before the main title hits the screen.

Grade: C

“Something Borrowed”

Movie Review

Directed by Luke Greenfield, Written by Jennie Snyder and Emily Giffin, 103 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Something Borrowed” is a screwball comedy in which nobody gets anything done. Lacking much story or character development, the film relies on a singular idea—deciding whether to hurt a friend for the sake of true happiness.  It's a premise that runs out of steam halfway through. The film repeats its point over and over, but because the characters remain so static and the two lovers find romance in the first scene, it never hits the emotional or comedic beats it expects, removing any chance for anything other than a predictable finale.

Just as the characters in “Something Borrowed” refuse to come to terms with the people they want to be, the film itself cannot construct the story or ending it wants. Rachel (Ginnifer Goodwin), our selfless main character, sleeps with her longtime crush and childhood best friend’s fiancée, Dex (Colin Egglesfield), and must tell her friend or let go of the one she loves. Yet, unlike a film where the romance between Rachel and Dex is the main crux, “Something Borrowed” strips us of that in the first scene. We know they’re in love, now we wait and see if they will tell a clueless Kate Hudson the truth.

How exciting.

Darcy steals Rachel’s story by being a hapless, attention seeking, party girl who has great friends though does not deserve them. As such, to the audience, Rachel’s decision becomes an easy one: Be with Dex, because Darcy is terrible. Director Luke Greenfield and Hudson (who has some sort of chemical addiction to these types of films) do such a fantastic job of creating an unworthy friend, that the very idea of choosing anything else is a no brainer.

This doesn’t stop anyone from stretching things out an extra 20-minutes. The film drags and drags, until, finally, Ethan (John Krasinski), Rachel’s other childhood friend, yells at her to make a decision. Clearly, he’s expressing the concerns and frustrations of the audience, whom at this point will be so bored by the film’s redundant story that any change, good or bad, will be welcomed. Though, neither Rachel nor Dex, who has some ridiculous obligation to his parents to marry this Darcy, make it easy.

Things get off to a quick start, with Dex and Rachel getting together in the first scene, and with only this one decision to make, the film doesn’t offer enough variety to make it worth of the $11. The very nature of the screwball comedy rests that something unexpected happens to its characters. “Something Borrowed” removes the promise of this before the main title hits the screen.

Grade: C

Sucker Punch

The Wait is Over: Summer Preview: Part 1

Feature Story

By our guest blogger, Matt Schimkowitz

With the dry spell of the Spring movie season now thankfully over, it’s time to get excited for the wham-bam spectacle of the summer months and all its wonderful car chases, talking animals, and explosions.  Here's what's creating a buzz:

“Sucker Punch” – Zach Snyder once again kicks off the season, and it looks like he has enough fanboy wish fulfillment in “Sucker Punch” to keep action fans quivering for weeks. The plot: A couple of scantily clad female warriors battle their way across a robot and zombie filled dream-world to escape their own asylum-imprisoned reality. Frank Miller must be kicking himself for not thinking of this one first.

“Super” – Do we need another post-modern superhero movie? Director James Gunn seems to think so. “The Office” star Rainn Wilson stars as the ill-equipped hero who turns to crime fighting after his wife leaves him. Gunn proved his genre-lampooning worth with the hilarious, and disgusting, horror-comedy “Slither.” But it remains to be seen if people actually want to see these self-referential superhero movies. The lackluster returns of “Watchmen” and “Kick-Ass” point to no.

“Your Highness” – There are few things more intriguing in Hollywood right now than the star power of Danny McBride, who’s caused a well-deserved stir with HBO’s “Eastbound and Down,” and the living art project James Franco, and “Your Highness” is the proof. The film follows these two playing a couple of knights searching for a lost princess. Natalie Portman, Zooey Daeschenel also star in this epic comedy from “Pineapple Express” director David Gordon Green. Who knows who approved this one, but let’s thank Merlin they did.

“Thor” – Thor is one of the most mythic and dramatic of Marvel’s hero’s gallery, so who better to direct his feature film debut than the Shakespearian madman Kenneth Branagh. The director hopes to bring that kind of over-the-top dramatics to the son of Odin, and given that Thor’s a pretty over-the-top character, Branagh’s sense of indulgence already seems to fit like a glove. At the very least, Branagh’s directing makes “Thor” one of the more intriguing superhero pictures this year.

“Bride’s Maids” – There are two big reasons to be excited for “Bride’s Maids.” 1) This is the first collaboration between writer/director Paul Feig (“The Office” and “Arrested Development”) and super producer Judd Apatow since the beloved cult classic “Freaks and Geeks.” 2) The hilarious Kristin Wiig finally gets to be the star of her own show. It’s about time for both.

“Pirates of the Caribbean: On Stranger Tides” – After the disappointing response to the second two “Pirates” sequels, Jerry Bruckheimer and Disney went for the cash grab, dragging Johnny Depp back into puffy shirts and boots. “Stranger Tides” features the iconic Jack Sparrow on a quest for the Fountain of Youth; though, it doesn’t look too different from his search for Davy Jones’ locker. Still, with Penelope Cruz coming aboard, as well as “Chicago” director Rob Marshall, the franchise should have a couple surprises left in store.

“The Hangover: Part Two” – Comedy sequels are tricky territory -- just ask “Caddyshack.” But there’s something about Bradley Cooper, Ed Helms, and Zach Galifianakis putting their night back together in Bangkok that seems destined for hilarity. Director Todd Phillips returns as well, and hopefully, can keep the laughs going over this second film.

“Kung-Fu Panda 2” – There are few things DreamWorks likes more than beating a dead horse, or I guess, in this case, Panda. Here’s the first of what will probably 10,000 sequels in the franchise. Jack Black returns to fight a new villain. Thrilling.

“X-Men: First Class” -- This ones been in development for awhile, but apparently all it took was “Kick-Ass” director and “X-Men” expatriate, Matthew Vaughn. He may have quit filming “X-Men 3,” once upon a time, but he’s back to finish the job, by bringing the story of Magneto and Professor X’s broken friendship to the screen. Don’t let the laughably Photoshopped posters fool you, the yellow spandex is back and the trailer promises everything “X3” lacked: story and character.

“Super 8” – As if anyone had more reasons to be excited about “Star Trek” director J.J. Abrams mysterious “Super 8,” the trailer is rife with early-Spielberg fun. Not much is known about this one, but it follows a gang of kids trying finish a movie, while some sort of mutant terrorizes their small town. It kind of looks like “E.T.” had E.T. been played by Godzilla. More than that, it looks fantastic.

“Green Lantern” – Ryan Reynolds fights intergalactic crime in brightest day and blackest night in the live-action first “Green Lantern” movie ever. Lantern has always been one D.C.’s most popular heroes, but because of a convoluted mythology and kooky character designs, he’s always been left out of box office. He gets his chance this summer as Reynolds dons the ring and gives the Green Lantern the shot he deserves.

“Bad Teacher” – Cameron Diaz tries to get her “There’s Something about Mary” groove back in “Bad Teacher.” She plays an incompetent teacher raising money for breast implants to impress the school’s new model educator, Justin Timberlake. Jason Siegel also pops up to give the film a comedic nudge in the right direction.

“Cars 2” – Are there any Pixar franchises less exciting than “Cars”? No, of course not. “Cars 2” doesn’t promise much. From its lifeless trailer to the casting of Larry the Cable Guy, there are few reasons to see “Cars 2.” But keep in mind, a bad movie produced by Pixar is about 10 times better than a good movie produced by a different studio.

Check back with us in a few weeks for the rest of this summer’s most anticipated movies.

Sucker Punch

The Wait is Over: Summer Preview: Part 1

Feature Story

By our guest blogger, Matt Schimkowitz

With the dry spell of the Spring movie season now thankfully over, it’s time to get excited for the wham-bam spectacle of the summer months and all its wonderful car chases, talking animals, and explosions.  Here's what's creating a buzz:

“Sucker Punch” – Zach Snyder once again kicks off the season, and it looks like he has enough fanboy wish fulfillment in “Sucker Punch” to keep action fans quivering for weeks. The plot: A couple of scantily clad female warriors battle their way across a robot and zombie filled dream-world to escape their own asylum-imprisoned reality. Frank Miller must be kicking himself for not thinking of this one first.

“Super” – Do we need another post-modern superhero movie? Director James Gunn seems to think so. “The Office” star Rainn Wilson stars as the ill-equipped hero who turns to crime fighting after his wife leaves him. Gunn proved his genre-lampooning worth with the hilarious, and disgusting, horror-comedy “Slither.” But it remains to be seen if people actually want to see these self-referential superhero movies. The lackluster returns of “Watchmen” and “Kick-Ass” point to no.

“Your Highness” – There are few things more intriguing in Hollywood right now than the star power of Danny McBride, who’s caused a well-deserved stir with HBO’s “Eastbound and Down,” and the living art project James Franco, and “Your Highness” is the proof. The film follows these two playing a couple of knights searching for a lost princess. Natalie Portman, Zooey Daeschenel also star in this epic comedy from “Pineapple Express” director David Gordon Green. Who knows who approved this one, but let’s thank Merlin they did.

“Thor” – Thor is one of the most mythic and dramatic of Marvel’s hero’s gallery, so who better to direct his feature film debut than the Shakespearian madman Kenneth Branagh. The director hopes to bring that kind of over-the-top dramatics to the son of Odin, and given that Thor’s a pretty over-the-top character, Branagh’s sense of indulgence already seems to fit like a glove. At the very least, Branagh’s directing makes “Thor” one of the more intriguing superhero pictures this year.

“Bride’s Maids” – There are two big reasons to be excited for “Bride’s Maids.” 1) This is the first collaboration between writer/director Paul Feig (“The Office” and “Arrested Development”) and super producer Judd Apatow since the beloved cult classic “Freaks and Geeks.” 2) The hilarious Kristin Wiig finally gets to be the star of her own show. It’s about time for both.

“Pirates of the Caribbean: On Stranger Tides” – After the disappointing response to the second two “Pirates” sequels, Jerry Bruckheimer and Disney went for the cash grab, dragging Johnny Depp back into puffy shirts and boots. “Stranger Tides” features the iconic Jack Sparrow on a quest for the Fountain of Youth; though, it doesn’t look too different from his search for Davy Jones’ locker. Still, with Penelope Cruz coming aboard, as well as “Chicago” director Rob Marshall, the franchise should have a couple surprises left in store.

“The Hangover: Part Two” – Comedy sequels are tricky territory -- just ask “Caddyshack.” But there’s something about Bradley Cooper, Ed Helms, and Zach Galifianakis putting their night back together in Bangkok that seems destined for hilarity. Director Todd Phillips returns as well, and hopefully, can keep the laughs going over this second film.

“Kung-Fu Panda 2” – There are few things DreamWorks likes more than beating a dead horse, or I guess, in this case, Panda. Here’s the first of what will probably 10,000 sequels in the franchise. Jack Black returns to fight a new villain. Thrilling.

“X-Men: First Class” -- This ones been in development for awhile, but apparently all it took was “Kick-Ass” director and “X-Men” expatriate, Matthew Vaughn. He may have quit filming “X-Men 3,” once upon a time, but he’s back to finish the job, by bringing the story of Magneto and Professor X’s broken friendship to the screen. Don’t let the laughably Photoshopped posters fool you, the yellow spandex is back and the trailer promises everything “X3” lacked: story and character.

“Super 8” – As if anyone had more reasons to be excited about “Star Trek” director J.J. Abrams mysterious “Super 8,” the trailer is rife with early-Spielberg fun. Not much is known about this one, but it follows a gang of kids trying finish a movie, while some sort of mutant terrorizes their small town. It kind of looks like “E.T.” had E.T. been played by Godzilla. More than that, it looks fantastic.

“Green Lantern” – Ryan Reynolds fights intergalactic crime in brightest day and blackest night in the live-action first “Green Lantern” movie ever. Lantern has always been one D.C.’s most popular heroes, but because of a convoluted mythology and kooky character designs, he’s always been left out of box office. He gets his chance this summer as Reynolds dons the ring and gives the Green Lantern the shot he deserves.

“Bad Teacher” – Cameron Diaz tries to get her “There’s Something about Mary” groove back in “Bad Teacher.” She plays an incompetent teacher raising money for breast implants to impress the school’s new model educator, Justin Timberlake. Jason Siegel also pops up to give the film a comedic nudge in the right direction.

“Cars 2” – Are there any Pixar franchises less exciting than “Cars”? No, of course not. “Cars 2” doesn’t promise much. From its lifeless trailer to the casting of Larry the Cable Guy, there are few reasons to see “Cars 2.” But keep in mind, a bad movie produced by Pixar is about 10 times better than a good movie produced by a different studio.

Check back with us in a few weeks for the rest of this summer’s most anticipated movies.

“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+

"Virus" is #5

One Blogger's Opinion: Five of the Worst Comic Book Movies of All Time

Commentary

By our guest blogger, Joel Crabtree

Comic book fans are spoiled these days, with movies that have high production budgets and get treated with respect from critics, as well as studios, producers and directors.

People such as Jon Favreau and Christopher Nolan put some serious TLC into the comic book movies they’ve put out, and directors Matthew Vaughn (“X-Men: First Class”), Kenneth Branagh (“Thor”), Martin Campbell (“Green Lantern”) and maybe, just maybe even Joe Johnston (“Captain America: The First Avenger”) look to follow in their footsteps.

As “Thor” kicks off a summer overflowing with comic book movies, here are five of the worst comic book movies that I’ve ever seen. And before you even ask, no, “Batman and Robin” didn’t make the cut. It’s far too amusing. Whether it’s intentional or not is another debate altogether.

5. “Virus” (1999)

Based on Dark Horse comic series, John Bruno’s “Virus” took a swing at becoming a blockbuster and whiffed. Hard. The January release date should have been a good indication of that.

Bruno, whose background is in visual effects, worked extensively with James Cameron before hamming it up with Billy Baldwin, Jamie Lee Curtis and Donald Sutherland. So you would expect a lot more coming from Bruno than another “Alien” or “The Thing” knock-off.

Alas, we expected more, and got less. A lot less. “Virus” turned out to be a mess, both from critical and financial standpoint, and Bruno’s career never left the ground as a filmmaker.


4. “Spawn” (1997)

This is a movie that does not hold up on repeat viewings. Trust me, I’ve sat through it more times than I’d like to admit.

In 1997, it didn’t seem too bad. The special effects were all right considering its $38 million budget, John Leguizamo did the best with the material that he was handed, and I was only slightly disappointed when I left the theater.

Boy, was I being generous. Looking back at the decisions of director Mark A.Z. Dippe (what could the A.Z. possibly stand for anyway?), “Spawn” is an embarrassment, especially considering the incredible fan-base that Todd McFarlane had gained from the title character who pretty much defined a generation of comics. Another prime example of why guys who specialize in special effect should stay away from directing. What a shame.

Mr. Dippe, of course, moved back into something that was more his pace, directing Disney Channel original movies like “Halloweentown High” and “Pixel Perfect.”


3. “Steel” (1997)

When I first read the introduction of Steel, John Henry Irons, I wondered who would play him in a movie. Ving Rhames, coming hot off of “Pulp Fiction,” perhaps? That would nice.

Sadly, Warner Bros. had a different “actor” in mind -- NBA All-Star Shaquille O’Neal. Now that he’s an on-again, off-again Boston Celtic, I have to take it easy on him. But not too easy. Some people just weren’t meant to act. To put it kindly, Shaq is one of the leaders in that category. The choice by Warner Bros. was inexcusable, and has made the DC character a running joke.

“Steel” will always be one of the worst comic book movies of all time, but it goes deeper than that. It might just be one of the worst movies released theatrically of all time.


2. “Nick Fury: Agent of S.H.I.E.L.D.” (1998)

Before he was eating hamburgers on the floor in viral videos, David Hasselhoff had already sunk low enough by starring in a made-for-TV adaptation of “Nick Fury: Agent of S.H.I.E.L.D.” Sadly, it was a high point in Hasselhoff’s career at the time.

Needless to say, Samuel L. Jackson he is not. And it shows. Other than the poor idea of a made-for-TV action movie (yeah, that will be awesome with a shoe-string budget), the untalented actors and boring television director Rod Hardy make for a pretty painful experience.

But what’s worse is that “Nick Fury” was written by David S. Goyer. The same David S. Goyer who helped write “Batman Begins” and “The Dark Knight.” The business is cruel, especially for writers. Some days you’re on top, and some days you’re a bottom-feeder. “Nick Fury” clearly wasn’t one of Goyer’s proudest moments.


1. “Generation X” (1996)

What was Fox thinking? This was made just a couple of years before the aforementioned “Nick Fury,” and is one of the worst memories from my childhood.

When I was younger, I was obsessed with X-Men. I was also a huge fan of movies. This, unfortunately, was as close to an X-Men movie as I would get until 2000, when 20th Century Fox finally got their heads out of the sand.

“Generation X” is a cheap, dated, made-for-TV comic book movie that ACTUALLY made it to air. It follows Emma Frost and Shawn Cassidy (The White Queen and Banshee) lead a group of young mutants at Professor Xavier’s School for Gifted Students in fighting Matthew Frewer’s evil scientist Russell Trask.

The only good thing that came from “Generation X” is that it didn’t tread on any of the characters people really love, like Wolverine or Cyclops. In doing that, it really saved face, unlike Roger Corman’s “Fantastic Four” or that 1997 “Justice League” pilot. Now that’s embarrassing.

Let’s hope that studios remain smart (ha … ha) with this new generation of comic book movies, and not fall back into this black-hole. We really don’t need to revisit it.

"Virus" is #5

One Blogger's Opinion: Five of the Worst Comic Book Movies of All Time

Commentary

By our guest blogger, Joel Crabtree

Comic book fans are spoiled these days, with movies that have high production budgets and get treated with respect from critics, as well as studios, producers and directors.

People such as Jon Favreau and Christopher Nolan put some serious TLC into the comic book movies they’ve put out, and directors Matthew Vaughn (“X-Men: First Class”), Kenneth Branagh (“Thor”), Martin Campbell (“Green Lantern”) and maybe, just maybe even Joe Johnston (“Captain America: The First Avenger”) look to follow in their footsteps.

As “Thor” kicks off a summer overflowing with comic book movies, here are five of the worst comic book movies that I’ve ever seen. And before you even ask, no, “Batman and Robin” didn’t make the cut. It’s far too amusing. Whether it’s intentional or not is another debate altogether.

5. “Virus” (1999)

Based on Dark Horse comic series, John Bruno’s “Virus” took a swing at becoming a blockbuster and whiffed. Hard. The January release date should have been a good indication of that.

Bruno, whose background is in visual effects, worked extensively with James Cameron before hamming it up with Billy Baldwin, Jamie Lee Curtis and Donald Sutherland. So you would expect a lot more coming from Bruno than another “Alien” or “The Thing” knock-off.

Alas, we expected more, and got less. A lot less. “Virus” turned out to be a mess, both from critical and financial standpoint, and Bruno’s career never left the ground as a filmmaker.


4. “Spawn” (1997)

This is a movie that does not hold up on repeat viewings. Trust me, I’ve sat through it more times than I’d like to admit.

In 1997, it didn’t seem too bad. The special effects were all right considering its $38 million budget, John Leguizamo did the best with the material that he was handed, and I was only slightly disappointed when I left the theater.

Boy, was I being generous. Looking back at the decisions of director Mark A.Z. Dippe (what could the A.Z. possibly stand for anyway?), “Spawn” is an embarrassment, especially considering the incredible fan-base that Todd McFarlane had gained from the title character who pretty much defined a generation of comics. Another prime example of why guys who specialize in special effect should stay away from directing. What a shame.

Mr. Dippe, of course, moved back into something that was more his pace, directing Disney Channel original movies like “Halloweentown High” and “Pixel Perfect.”


3. “Steel” (1997)

When I first read the introduction of Steel, John Henry Irons, I wondered who would play him in a movie. Ving Rhames, coming hot off of “Pulp Fiction,” perhaps? That would nice.

Sadly, Warner Bros. had a different “actor” in mind -- NBA All-Star Shaquille O’Neal. Now that he’s an on-again, off-again Boston Celtic, I have to take it easy on him. But not too easy. Some people just weren’t meant to act. To put it kindly, Shaq is one of the leaders in that category. The choice by Warner Bros. was inexcusable, and has made the DC character a running joke.

“Steel” will always be one of the worst comic book movies of all time, but it goes deeper than that. It might just be one of the worst movies released theatrically of all time.


2. “Nick Fury: Agent of S.H.I.E.L.D.” (1998)

Before he was eating hamburgers on the floor in viral videos, David Hasselhoff had already sunk low enough by starring in a made-for-TV adaptation of “Nick Fury: Agent of S.H.I.E.L.D.” Sadly, it was a high point in Hasselhoff’s career at the time.

Needless to say, Samuel L. Jackson he is not. And it shows. Other than the poor idea of a made-for-TV action movie (yeah, that will be awesome with a shoe-string budget), the untalented actors and boring television director Rod Hardy make for a pretty painful experience.

But what’s worse is that “Nick Fury” was written by David S. Goyer. The same David S. Goyer who helped write “Batman Begins” and “The Dark Knight.” The business is cruel, especially for writers. Some days you’re on top, and some days you’re a bottom-feeder. “Nick Fury” clearly wasn’t one of Goyer’s proudest moments.


1. “Generation X” (1996)

What was Fox thinking? This was made just a couple of years before the aforementioned “Nick Fury,” and is one of the worst memories from my childhood.

When I was younger, I was obsessed with X-Men. I was also a huge fan of movies. This, unfortunately, was as close to an X-Men movie as I would get until 2000, when 20th Century Fox finally got their heads out of the sand.

“Generation X” is a cheap, dated, made-for-TV comic book movie that ACTUALLY made it to air. It follows Emma Frost and Shawn Cassidy (The White Queen and Banshee) lead a group of young mutants at Professor Xavier’s School for Gifted Students in fighting Matthew Frewer’s evil scientist Russell Trask.

The only good thing that came from “Generation X” is that it didn’t tread on any of the characters people really love, like Wolverine or Cyclops. In doing that, it really saved face, unlike Roger Corman’s “Fantastic Four” or that 1997 “Justice League” pilot. Now that’s embarrassing.

Let’s hope that studios remain smart (ha … ha) with this new generation of comic book movies, and not fall back into this black-hole. We really don’t need to revisit it.

Major Actors in Talks to Join Spielberg’s “Lincoln”

Movie News

By our guest blogger, Joe Oliveto

After years in development hell, it looks as though Steven Spielberg’s Abraham Lincoln biopic is finally getting off the ground, with Daniel Day-Lewis and Sally Field taking on the two major roles. According to Deadline, casting is now continuing, with stars like Tommy Lee Jones and Joseph Gordon-Levitt being sought out for the film.

Tommy Lee Jones will play the part of Thaddeus Stevens, a congressman from Pennsylvania who was strongly opposed to slavery. Joseph Gordon-Levitt will be cast as the President’s oldest son, Robert Todd Lincoln.

Other notable names in the running for roles are Hal Holbrook and James Spader. As the film will center around Lincoln’s often difficult relationships with his cabinet members during the Civil War, we can expect that these actors will be filling those parts.

While he certainly hasn’t been directing the kinds of films that we got in his glory days, Spielberg is still a highly skilled filmmaker who knows how to tell a story that provides us with an equal balance of entertainment, emotion, and thematic depth. He’s often had a strong interest in history, and while this is a particular point in history that he has never tackled before, we expect that he’ll craft a memorable film. With a cast like this, we can’t imagine this film being anything but great.

Major Actors in Talks to Join Spielberg’s “Lincoln”

Movie News

By our guest blogger, Joe Oliveto

After years in development hell, it looks as though Steven Spielberg’s Abraham Lincoln biopic is finally getting off the ground, with Daniel Day-Lewis and Sally Field taking on the two major roles. According to Deadline, casting is now continuing, with stars like Tommy Lee Jones and Joseph Gordon-Levitt being sought out for the film.

Tommy Lee Jones will play the part of Thaddeus Stevens, a congressman from Pennsylvania who was strongly opposed to slavery. Joseph Gordon-Levitt will be cast as the President’s oldest son, Robert Todd Lincoln.

Other notable names in the running for roles are Hal Holbrook and James Spader. As the film will center around Lincoln’s often difficult relationships with his cabinet members during the Civil War, we can expect that these actors will be filling those parts.

While he certainly hasn’t been directing the kinds of films that we got in his glory days, Spielberg is still a highly skilled filmmaker who knows how to tell a story that provides us with an equal balance of entertainment, emotion, and thematic depth. He’s often had a strong interest in history, and while this is a particular point in history that he has never tackled before, we expect that he’ll craft a memorable film. With a cast like this, we can’t imagine this film being anything but great.

“Jackass Dildo Bazooka”

Movie Trailer Review

By our guest blogger, Joe Oliveto

Well, that title just about says it all, huh? We may no longer be shocked by how far the “Jackass” guys will go to get an audience laughing, but sometimes we have to hand it to them: they are one creative squad of maniacs.

This brief Internet trailer doesn’t show us all that much, but at the same time, it shows us all we need to know. A man is bent over at the waist. Another man is aiming a weapon called the “dildo bazooka” at him.

Well, we can see where this is going. Whether or not we’d like to see where it is going is another question entirely

Ok, so the “Jackass” movies don’t offer up any witty wordplay or insightful commentaries into the absurdity of modern life, but they do give us hours worth of “oh wow I cannot believe they actually did that” comedy, and while some “humor enthusiasts” may reject such childish behavior, we have to admit, at times it can be pretty entertaining.

The difficulty in saying anything worthwhile about the “Jackass” films is the fact that they are what they are. You can call them good, you can call them bad, but there’s really no way to make an honest critical evaluation. Either you like seeing human beings destroy themselves and their dignity for the sakes of laughs, or you don’t.

Which side are you on?

View the trailer below. Thoughts?

“Jackass Dildo Bazooka”

Movie Trailer Review

By our guest blogger, Joe Oliveto

Well, that title just about says it all, huh? We may no longer be shocked by how far the “Jackass” guys will go to get an audience laughing, but sometimes we have to hand it to them: they are one creative squad of maniacs.

This brief Internet trailer doesn’t show us all that much, but at the same time, it shows us all we need to know. A man is bent over at the waist. Another man is aiming a weapon called the “dildo bazooka” at him.

Well, we can see where this is going. Whether or not we’d like to see where it is going is another question entirely

Ok, so the “Jackass” movies don’t offer up any witty wordplay or insightful commentaries into the absurdity of modern life, but they do give us hours worth of “oh wow I cannot believe they actually did that” comedy, and while some “humor enthusiasts” may reject such childish behavior, we have to admit, at times it can be pretty entertaining.

The difficulty in saying anything worthwhile about the “Jackass” films is the fact that they are what they are. You can call them good, you can call them bad, but there’s really no way to make an honest critical evaluation. Either you like seeing human beings destroy themselves and their dignity for the sakes of laughs, or you don’t.

Which side are you on?

View the trailer below. Thoughts?

“Colombiana”

Movie Trailer Review

By our guest blogger, Joe Oliveto

After appearing in “Star Trek” and “Avatar,” it’s safe to say that Zoe Saldana has established herself was a badass action star who can seduce the good guys and beat up the bad guys in equal measure. A film like “Colombiana” looks like something designed specifically with her in mind, and for all we knot, it was.

From the writers of “Taken,” “Colombiana” tells the story of a young woman who grows up to be a vengeance-fueled assassin after witnessing the murder of her parents. Of course, as the trailer suggests, this emotional backstory exists primarily so we can watch Saldana fight her way through dozens of enemies, but we don’t ask too much from our action movies these days. We’d like them to feature engaging characters, but so long as they keep us excited, we’ll be satisfied.

From the looks of it, “Colombiana” will do just fine as an action film. However, we would like to see Zoe Saldana show up in a movie that asks her to deliver a more subtle performance. She appears to be a genuinely skilled actress, and it’s time she showed the world that she doesn’t need to play the sexy-killer type to impress an audience.

Will “Colombiana” be a classic? No, we doubt it. But it looks like it will be a fun night at the movies, and sometimes that’s good enough.

View the trailer below.  Thoughts?

“Colombiana”

Movie Trailer Review

By our guest blogger, Joe Oliveto

After appearing in “Star Trek” and “Avatar,” it’s safe to say that Zoe Saldana has established herself was a badass action star who can seduce the good guys and beat up the bad guys in equal measure. A film like “Colombiana” looks like something designed specifically with her in mind, and for all we knot, it was.

From the writers of “Taken,” “Colombiana” tells the story of a young woman who grows up to be a vengeance-fueled assassin after witnessing the murder of her parents. Of course, as the trailer suggests, this emotional backstory exists primarily so we can watch Saldana fight her way through dozens of enemies, but we don’t ask too much from our action movies these days. We’d like them to feature engaging characters, but so long as they keep us excited, we’ll be satisfied.

From the looks of it, “Colombiana” will do just fine as an action film. However, we would like to see Zoe Saldana show up in a movie that asks her to deliver a more subtle performance. She appears to be a genuinely skilled actress, and it’s time she showed the world that she doesn’t need to play the sexy-killer type to impress an audience.

Will “Colombiana” be a classic? No, we doubt it. But it looks like it will be a fun night at the movies, and sometimes that’s good enough.

View the trailer below.  Thoughts?

WB Moves Into Conflict of Interest Territory with Rotten Tomatoes Acquisition

Movie News

By our guest blogger, Nick Hanover

Warner Brothers recently acquired Flixster in a move to streamline its attempts to allow users to experience WB product on any and every platform. Which is a perfectly smart business move that will potentially help consumers as much as it will help the WB. The only problem is that Flixster itself also owns Rotten Tomatoes.

As perhaps the largest review aggregate, Rotten Tomatoes is a pretty important tool for moviegoers, compiling as it does all the major reviews of a film (as well as the not so major) and turning that into an easy to digest critical consensus. Deadline's article on the acquisition barely mentioned Rotten Tomatoes let alone the possible ramifications of the aggregate being owned by a major movie studio. The AV Club reported the news in a decidedly funny fashion but nonetheless raised some real issues.

Specifically, will WB use the deal to keep bad reviews of their films minimized? Will they use Rotten Tomatoes as a gigantic advertisement for their product? WB has of course assured the media that they will allow Rotten Tomatoes to be wholly independent but given the historical precedence of the government blocking studios from doing things like owning theater chains it would seem that people don't have a lot of trust in studios to play fair.

WB Moves Into Conflict of Interest Territory with Rotten Tomatoes Acquisition

Movie News

By our guest blogger, Nick Hanover

Warner Brothers recently acquired Flixster in a move to streamline its attempts to allow users to experience WB product on any and every platform. Which is a perfectly smart business move that will potentially help consumers as much as it will help the WB. The only problem is that Flixster itself also owns Rotten Tomatoes.

As perhaps the largest review aggregate, Rotten Tomatoes is a pretty important tool for moviegoers, compiling as it does all the major reviews of a film (as well as the not so major) and turning that into an easy to digest critical consensus. Deadline's article on the acquisition barely mentioned Rotten Tomatoes let alone the possible ramifications of the aggregate being owned by a major movie studio. The AV Club reported the news in a decidedly funny fashion but nonetheless raised some real issues.

Specifically, will WB use the deal to keep bad reviews of their films minimized? Will they use Rotten Tomatoes as a gigantic advertisement for their product? WB has of course assured the media that they will allow Rotten Tomatoes to be wholly independent but given the historical precedence of the government blocking studios from doing things like owning theater chains it would seem that people don't have a lot of trust in studios to play fair.

American Idol Season 10, Episode 33: And Then There Were Four

Television News

By our guest blogger, Catherine Fuentes

I’m not at all shocked by tonight’s outcome of American Idol. In fact, I’ve been calling for Jacob’s elimination for quite some time, and given the fact that he performed the worst on both songs on Wednesday night, now was as good a time as any for Jacob’s elimination.

I’ve always thought Jacob has a beautiful voice, and I still believe that, but I don’t feel he’s performed consistently well on a show that should demand that. I haven’t been a big fan of his song choices recently, or the way he’s performed them. And while I’ve found myself growing more attached to some contestants, like Haley, who I never would’ve guessed to be a strong contender for the title, I’ve also found myself growing less attached to Jacob. I respect his positivity throughout the entire season and especially tonight, and do agree with him that he can and will make a record reminiscent of Luther Vandross, and hopefully, when he is focusing entirely on songs that he wants to be singing, the amazing Jacob that blew me away in January will return.

What I’m not a fan of is the way Ryan Seacrest brings the contestants to the point of nervous breakdown leading up to their judgment. I think it was inappropriate to ask Scotty to choose which duo – Lauren and Jacob or Haley and James – were in the bottom. And seeing Lauren Alaina overcome with sheer terror and sobbing for half the episode was incredibly difficult for me to watch. I’m sorry, Ryan Seacrest, but I derive absolutely zero pleasure from watching a seventeen-year-old girl bawl her eyes out for half an hour.

Lauren’s fear was incredibly present tonight, and I think Jimmy is right when he offers her some criticism that an inability to conquer her fears and finally believe in herself will cost her a chance of winning a title that she actually can win. I’ve always believed that Lauren Alaina has the best voice of the competition, hands down, but while other contestants – again, Haley immediately comes to mind – develop and grow, we see moments of brilliance from Lauren, and more moments of apprehension and nerves. I’m not very surprised by this. It’s an emotionally overwhelming and draining show, and she is the youngest person up there at this point. I just really hope that this week’s stint in the Bottom Two is the motivation Lauren needs to come out of her shell and blow everyone away like I know she can. Unfortunately, I can see it also having the opposite effect.

Tonight’s drawn out results show also marked Jennifer Lopez’s big performance of her song “On the Floor.” It was everything I imagined it to be--over the top, flashy, filled with great dancing and distracting backup dancers. Jennifer’s reemergence into the musical world makes me wish for two things for her: for her to stick to judging American Idol, and for her to get back to making guilty pleasure romantic comedies (because I will never not love a Jennifer Lopez movie).

American Idol Season 10, Episode 33: And Then There Were Four

Television News

By our guest blogger, Catherine Fuentes

I’m not at all shocked by tonight’s outcome of American Idol. In fact, I’ve been calling for Jacob’s elimination for quite some time, and given the fact that he performed the worst on both songs on Wednesday night, now was as good a time as any for Jacob’s elimination.

I’ve always thought Jacob has a beautiful voice, and I still believe that, but I don’t feel he’s performed consistently well on a show that should demand that. I haven’t been a big fan of his song choices recently, or the way he’s performed them. And while I’ve found myself growing more attached to some contestants, like Haley, who I never would’ve guessed to be a strong contender for the title, I’ve also found myself growing less attached to Jacob. I respect his positivity throughout the entire season and especially tonight, and do agree with him that he can and will make a record reminiscent of Luther Vandross, and hopefully, when he is focusing entirely on songs that he wants to be singing, the amazing Jacob that blew me away in January will return.

What I’m not a fan of is the way Ryan Seacrest brings the contestants to the point of nervous breakdown leading up to their judgment. I think it was inappropriate to ask Scotty to choose which duo – Lauren and Jacob or Haley and James – were in the bottom. And seeing Lauren Alaina overcome with sheer terror and sobbing for half the episode was incredibly difficult for me to watch. I’m sorry, Ryan Seacrest, but I derive absolutely zero pleasure from watching a seventeen-year-old girl bawl her eyes out for half an hour.

Lauren’s fear was incredibly present tonight, and I think Jimmy is right when he offers her some criticism that an inability to conquer her fears and finally believe in herself will cost her a chance of winning a title that she actually can win. I’ve always believed that Lauren Alaina has the best voice of the competition, hands down, but while other contestants – again, Haley immediately comes to mind – develop and grow, we see moments of brilliance from Lauren, and more moments of apprehension and nerves. I’m not very surprised by this. It’s an emotionally overwhelming and draining show, and she is the youngest person up there at this point. I just really hope that this week’s stint in the Bottom Two is the motivation Lauren needs to come out of her shell and blow everyone away like I know she can. Unfortunately, I can see it also having the opposite effect.

Tonight’s drawn out results show also marked Jennifer Lopez’s big performance of her song “On the Floor.” It was everything I imagined it to be--over the top, flashy, filled with great dancing and distracting backup dancers. Jennifer’s reemergence into the musical world makes me wish for two things for her: for her to stick to judging American Idol, and for her to get back to making guilty pleasure romantic comedies (because I will never not love a Jennifer Lopez movie).

"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

Le Cercle Rouge

DVD, Blu-Ray Movie Review

Directed by Jean-Pierre Melville, Written by Jean-Pierre Melville, 140 minutes, Unrated.

By our guest blogger, Matthew Schimkowitz

Few styles in cinema have that instant cool factor quite like film noir. It's shadowy lights, crackling dialogue and incriminating perspective are all too frequently revived, revised and recycled, without much variation. While lesser filmmakers use the conventions for stylistic purposes, it takes a true genius to make those attributes their own.

Jean-Pierre Melville does just that. "Le Cercle Rouge" isn't a traditional film noir; its bad guys aren't relatable; Melville distances us from the crime, rather than implicating us in it; and the dialogue is sparse and direct. To this effect, Melville does the exact opposite of what noir is supposed to do. But by slowing things down, the auteur creates a surprisingly quiet caper that is as taut as any classic noir and doesn't skimp on any of the cool.

A smooth, tight-lipped ex-con, Corey (Alain Delon), and an boorish fugitive, Vogel (Gian Maria Volonté), plan an intricate jewel heist, while averting the trail of an overtly determined police officer (Bourvil).

Melville lets the camera do the talking and stretches his simple plot over two and half tense hours. Utilizing every space, each shot carefully creates a relationship between the characters and their surroundings. Whether he's lingering on a wide shot or an alarm system, Melville’s static moments build tension. The cast matches the director's patience, relying mostly on a series of hard stares to get their point across. “Rouge” is painfully slow at times, but leaves the viewer in complete suspense.

All these squints and sighs build towards the fantastic and intricate third act heist. Melville and his cast are so precise in their actions that even the most out of step movement can send jolts through the frame. It’s a nail-biting conclusion that rewards our patience.

"Le Cercle Rouge" is a very different experience. Melville uses his spaces and actors to focus on the tightly wound caper and constructs his noir in a new and subversive way. By distancing us from the characters, he uses tension to pull us in. No longer are we, the audience, implicated in the crime on screen, we are mere observers. But as the film argues, we are far from innocent.

Grade: A-

Le Cercle Rouge

DVD, Blu-Ray Movie Review

Directed by Jean-Pierre Melville, Written by Jean-Pierre Melville, 140 minutes, Unrated.

By our guest blogger, Matthew Schimkowitz

Few styles in cinema have that instant cool factor quite like film noir. It's shadowy lights, crackling dialogue and incriminating perspective are all too frequently revived, revised and recycled, without much variation. While lesser filmmakers use the conventions for stylistic purposes, it takes a true genius to make those attributes their own.

Jean-Pierre Melville does just that. "Le Cercle Rouge" isn't a traditional film noir; its bad guys aren't relatable; Melville distances us from the crime, rather than implicating us in it; and the dialogue is sparse and direct. To this effect, Melville does the exact opposite of what noir is supposed to do. But by slowing things down, the auteur creates a surprisingly quiet caper that is as taut as any classic noir and doesn't skimp on any of the cool.

A smooth, tight-lipped ex-con, Corey (Alain Delon), and an boorish fugitive, Vogel (Gian Maria Volonté), plan an intricate jewel heist, while averting the trail of an overtly determined police officer (Bourvil).

Melville lets the camera do the talking and stretches his simple plot over two and half tense hours. Utilizing every space, each shot carefully creates a relationship between the characters and their surroundings. Whether he's lingering on a wide shot or an alarm system, Melville’s static moments build tension. The cast matches the director's patience, relying mostly on a series of hard stares to get their point across. “Rouge” is painfully slow at times, but leaves the viewer in complete suspense.

All these squints and sighs build towards the fantastic and intricate third act heist. Melville and his cast are so precise in their actions that even the most out of step movement can send jolts through the frame. It’s a nail-biting conclusion that rewards our patience.

"Le Cercle Rouge" is a very different experience. Melville uses his spaces and actors to focus on the tightly wound caper and constructs his noir in a new and subversive way. By distancing us from the characters, he uses tension to pull us in. No longer are we, the audience, implicated in the crime on screen, we are mere observers. But as the film argues, we are far from innocent.

Grade: A-

"White Material"

DVD, Blu-Ray Move Review

Directed by Claire Denis, Written by Claire Denis, Marie N’Diaye, and Lucie Borieteau, 106 minutes, Unrated.

By our guest blogger, Matthew Schimkowitz

Claire Denis' "White Material" is not for the faint of heart. This film contains no joy, no redemption and no peace. It's an hour and forty-five minutes of horror, dissent and fear. Denis challenges her audience with a manic film that stops moving only to give them a chance to exhale.

Maria Vial (Isabelle Huppert), the owner of Vial Coffee Plantation, strives to keep her farm and business alive during an insurrection by local rebels. Trapped in her own interests, she ignores the ruthless rebels and corrupt public figures, as well as her restless son (Nicolas Duvauchelle). As these factors compound, Maria's life spirals out of control, putting what little she has in jeopardy.

While "White Material" has a dramatic build, the film begins in a state of total chaos and continues to grow from there. By opening in such disarray, the film is somewhat able to prepare us for the real horror to come. Yet, the film continues to push with an array of child rebels and intense violence captured by a visceral lens.

The tone that Denis sets is one of unrest. Her camera pans and swoops around the dust covered town, resolving on extreme close-ups of the sweaty, concerned faces of the cast. Appropriately, no one in the film ever looks relaxed. Maria's life falls apart before our eyes, while we wait to see if she can continue her plantation amidst the impending bloodshed.

Denis never shies from the film's violent side, putting the guns in the hands of a child's army devoid of rules, laws, or ethics. In the eyes of the rebels and government militia, there is no pity or remorse. They are characterized as monsters, and on screen, they appear as such. Likewise, Maria's desire to stay seems as crazed as the mercenaries thirst for blood. Neither gets much explanation, but Denis never promises answers--she merely shows life.

"White Material" is an extremely disorienting film that leaves the viewer in shambles. It starts at a horrific peak and climbs even further, daring the viewer to keep watching. At times, when Denis slows things down, the film's uncomfortable silences almost scream for action. This split in the action leaves little room for motivation or structure, but with a film this lawless and characters this amoral, it's only fitting that their actions not make complete sense.

Grade: B+

"White Material"

DVD, Blu-Ray Move Review

Directed by Claire Denis, Written by Claire Denis, Marie N’Diaye, and Lucie Borieteau, 106 minutes, Unrated.

By our guest blogger, Matthew Schimkowitz

Claire Denis' "White Material" is not for the faint of heart. This film contains no joy, no redemption and no peace. It's an hour and forty-five minutes of horror, dissent and fear. Denis challenges her audience with a manic film that stops moving only to give them a chance to exhale.

Maria Vial (Isabelle Huppert), the owner of Vial Coffee Plantation, strives to keep her farm and business alive during an insurrection by local rebels. Trapped in her own interests, she ignores the ruthless rebels and corrupt public figures, as well as her restless son (Nicolas Duvauchelle). As these factors compound, Maria's life spirals out of control, putting what little she has in jeopardy.

While "White Material" has a dramatic build, the film begins in a state of total chaos and continues to grow from there. By opening in such disarray, the film is somewhat able to prepare us for the real horror to come. Yet, the film continues to push with an array of child rebels and intense violence captured by a visceral lens.

The tone that Denis sets is one of unrest. Her camera pans and swoops around the dust covered town, resolving on extreme close-ups of the sweaty, concerned faces of the cast. Appropriately, no one in the film ever looks relaxed. Maria's life falls apart before our eyes, while we wait to see if she can continue her plantation amidst the impending bloodshed.

Denis never shies from the film's violent side, putting the guns in the hands of a child's army devoid of rules, laws, or ethics. In the eyes of the rebels and government militia, there is no pity or remorse. They are characterized as monsters, and on screen, they appear as such. Likewise, Maria's desire to stay seems as crazed as the mercenaries thirst for blood. Neither gets much explanation, but Denis never promises answers--she merely shows life.

"White Material" is an extremely disorienting film that leaves the viewer in shambles. It starts at a horrific peak and climbs even further, daring the viewer to keep watching. At times, when Denis slows things down, the film's uncomfortable silences almost scream for action. This split in the action leaves little room for motivation or structure, but with a film this lawless and characters this amoral, it's only fitting that their actions not make complete sense.

Grade: B+

American Idol Season 10, Episode 32: The Girls are In It To Win It

Television Review

By our guest blogger, Catherine Fuentes

On Now & Then night of American Idol, wherein the Top 5 chose a contemporary song to sing and one from the past, I found myself missing Simon for the first time this season.

It took going to a rock concert recently for me to realize how utterly cheesy James Durbin’s stage antics are, and how Simon would never let him scream, “I want to hear you scream!” to get the audience involved in the first thirty seconds of performing. Don’t get me wrong, I like James, and I like how he commands the stage, but on Wednesday it just seemed cheesy. His first performance, a rendition of 30 Seconds to Mars’ “Closer to the Edge,” was incredibly off pitch, and failed to compare to the original.

His second song, Harry Nilsson’s “Without You,” was slightly better, if only because it was more personal and emotional, and I like seeing James connect to the music on such a personal and subdued level. Vocally, on the other hand, I don’t think it was his best.

I don’t dislike James. I actually like him, and have always felt that he could win the season and it wouldn’t be a head-scratching victory, but neither of his performances on Wednesday night seemed winner-worthy, even if the judges think he has the title on lock.

Another place where I disagreed with the judges was on Haley Reinhart’s first performance. I know it’s gutsy to sing a song that no one knows, but it’s just as gutsy – if not more – to sing one that everyone knows incredibly well. Here’s my thought on the matter: If you get handed an unreleased, unrecorded Lady Gaga, and have the blessing from Lady Gaga herself to sing the song, you do it. Why not? That’s a huge vote of confidence from a record exec and the world’s biggest pop star, and isn’t that what this show is all about?

Haley sang the Gaga song well, but her shining moment was in her show closing rendition of The Animals’ “House of the Rising Sun,” which was one of the best moments of the season on American Idol. I have chills just thinking of how truly fantastic she was, and how perfect the song seemed for her.

I’m not surprised in the slightest that Jacob Lusk chose to sing both sides of a duet. That just seems like the type of contestant he’s always been. I don’t think singing Jordin Sparks and Chris Brown’s “No Air” was a good choice. Jacob, whose voice is normally quite fantastic, sounded terrible on it. His dancing, in which he imitated a grinding male stripper (the same thing that did Stefano Langone in earlier this season), wasn’t much better. His second performance of “Love Hurts,” was similarly messy and not up to Jacob’s normal talent. The judges, who’ve seemed incapable of giving a poor yet deserved critique all season, didn’t seem to improve their track record, choosing to find little things, like a super high note, to highlight.

Lauren Alaina is finally heating up, and finding the power that the judges knew all along that she has in her voice. She first sang Carrie Underwood’s “Flat on the Floor,” and I thought it was fantastic. She was lively, she was energetic, she powerfully hit all the right notes. It’s the perfect direction for her musically. Of course, I also always want more from Lauren, because I think she’s capable of it, but I was pleased.

Her second performance was a beautiful version of the Righteous Brothers’ “Unchained Melody,” and I loved it. She chose a song that everyone knows well and sang it really well. It probably won’t be what she’s remembered for this season, but it was good.

Scotty McCreery gave typical Scotty McCreery performances, first with Montgomery Gentry’s “Gone.” I liked it more than I like Scotty’s normal performances, since it seemed different, despite being country. It was another song that reminded me that Scotty is actually a talented guy. His second performance was not shockingly, Elvis’ “Always On My Mind,” and it was again, typical Scotty. He plays it safe every week, but it also works for him. However, the true shocking bit of Scotty this week was discovering that he actually has a Puerto Rican grandmother, and that he wasn’t just pulling J Lo’s leg when he said he was a quarter Puerto Rican back in the auditions.

My Bottom Three: Jacob, Scotty, James. Finally! Do I think it’ll wind up this way? Not necessarily, but last night I realized that the girls are “in it to win it,” to borrow Randy’s overused phrase.

American Idol Season 10, Episode 32: The Girls are In It To Win It

Television Review

By our guest blogger, Catherine Fuentes

On Now & Then night of American Idol, wherein the Top 5 chose a contemporary song to sing and one from the past, I found myself missing Simon for the first time this season.

It took going to a rock concert recently for me to realize how utterly cheesy James Durbin’s stage antics are, and how Simon would never let him scream, “I want to hear you scream!” to get the audience involved in the first thirty seconds of performing. Don’t get me wrong, I like James, and I like how he commands the stage, but on Wednesday it just seemed cheesy. His first performance, a rendition of 30 Seconds to Mars’ “Closer to the Edge,” was incredibly off pitch, and failed to compare to the original.

His second song, Harry Nilsson’s “Without You,” was slightly better, if only because it was more personal and emotional, and I like seeing James connect to the music on such a personal and subdued level. Vocally, on the other hand, I don’t think it was his best.

I don’t dislike James. I actually like him, and have always felt that he could win the season and it wouldn’t be a head-scratching victory, but neither of his performances on Wednesday night seemed winner-worthy, even if the judges think he has the title on lock.

Another place where I disagreed with the judges was on Haley Reinhart’s first performance. I know it’s gutsy to sing a song that no one knows, but it’s just as gutsy – if not more – to sing one that everyone knows incredibly well. Here’s my thought on the matter: If you get handed an unreleased, unrecorded Lady Gaga, and have the blessing from Lady Gaga herself to sing the song, you do it. Why not? That’s a huge vote of confidence from a record exec and the world’s biggest pop star, and isn’t that what this show is all about?

Haley sang the Gaga song well, but her shining moment was in her show closing rendition of The Animals’ “House of the Rising Sun,” which was one of the best moments of the season on American Idol. I have chills just thinking of how truly fantastic she was, and how perfect the song seemed for her.

I’m not surprised in the slightest that Jacob Lusk chose to sing both sides of a duet. That just seems like the type of contestant he’s always been. I don’t think singing Jordin Sparks and Chris Brown’s “No Air” was a good choice. Jacob, whose voice is normally quite fantastic, sounded terrible on it. His dancing, in which he imitated a grinding male stripper (the same thing that did Stefano Langone in earlier this season), wasn’t much better. His second performance of “Love Hurts,” was similarly messy and not up to Jacob’s normal talent. The judges, who’ve seemed incapable of giving a poor yet deserved critique all season, didn’t seem to improve their track record, choosing to find little things, like a super high note, to highlight.

Lauren Alaina is finally heating up, and finding the power that the judges knew all along that she has in her voice. She first sang Carrie Underwood’s “Flat on the Floor,” and I thought it was fantastic. She was lively, she was energetic, she powerfully hit all the right notes. It’s the perfect direction for her musically. Of course, I also always want more from Lauren, because I think she’s capable of it, but I was pleased.

Her second performance was a beautiful version of the Righteous Brothers’ “Unchained Melody,” and I loved it. She chose a song that everyone knows well and sang it really well. It probably won’t be what she’s remembered for this season, but it was good.

Scotty McCreery gave typical Scotty McCreery performances, first with Montgomery Gentry’s “Gone.” I liked it more than I like Scotty’s normal performances, since it seemed different, despite being country. It was another song that reminded me that Scotty is actually a talented guy. His second performance was not shockingly, Elvis’ “Always On My Mind,” and it was again, typical Scotty. He plays it safe every week, but it also works for him. However, the true shocking bit of Scotty this week was discovering that he actually has a Puerto Rican grandmother, and that he wasn’t just pulling J Lo’s leg when he said he was a quarter Puerto Rican back in the auditions.

My Bottom Three: Jacob, Scotty, James. Finally! Do I think it’ll wind up this way? Not necessarily, but last night I realized that the girls are “in it to win it,” to borrow Randy’s overused phrase.

Glee Season 2, Episode 19

Television Review

By our guest blogger, Catherine Fuentes

Normally I’m not a fan of Glee episodes that are entirely devoted to one artist (although, if memory serves, I feel I did enjoy this season’s Britney Spears episode). By that logic, I should have hated an episode centered around not only one artist, but around one album.

When that artist is Fleetwood Mac, and that album is “Rumours,” I really can’t find anything to complain about.

A musical highlight of the season thus far was when Santana, Brittany and Gwyneth tackled “Landslide,” which to me was ‘Glee’ at its most tender and poignant, so I was excited to see how the cast handled a legendary album of justly deserved classics. In short: I was very impressed.

Plot wise, I liked this episode of ‘Glee.’ I liked the return of Kristin Chenoweth’s drunk and hilarious April, I liked seeing Sue donning her costumes from every walk of pop culture to scheme at the local coffee shop, and I liked how Brittany started a video blog, Fondue for Two, with her obese cat. The humor was there this episode, and for me, even with a musically top-notch episode, if the writing isn’t sharp, the episode as a whole falls flat.

As hilariously perfect as April is, the best part of her ‘Glee’ appearances are not her one-liners, but the fact that we get to hear Kristen Chenoweth sing. Although I couldn’t imagine an alternative, April and Mr. Schue’s duet of “Dreams,” was, of course, amazing.

As happens with all high school romances, Brittany and Artie’s came to an end, as he realized that Brittany might be reciprocating Santana’s love. Of course, the only appropriate tool to cure heartbreak on ‘Glee’ is by singing, so he sang a lively version of “Never Going Back Again.” I felt it showed Artie’s depth, and that he really is a vital character: in comedic moments, and musically as well.

My favorite song of the night was Santana’s secret love song to Brittany, “Songbird.” I love to see Santana being vulnerable, and this was such a perfect continuation of her brilliance during “Landslide” earlier in the season. Clearly, Fleetwood Mac helps bring forth a gentle – and really, really talented – side to Santana.

Finn and Quinn sang “I Don’t Want to Know,” in a highly awkward choir-room performance. They were perhaps appropriately angry, but it just seemed so forced and painful to watch when you factor in quizzical reaction shots from Mr. Schue and the rest of the glee club. Musically, I wish we got to hear Quinn sing a bit more, since she has the better voice out of the two, and I feel the quality of her voice should lend itself well to Fleetwood Mac’s music.

Rachel sang an amped up version of “Go Your Own Way,” putting a female spin on a song performed by a male, which is my very favorite thing about good covers. I didn’t really care for the premise of the performance – Rachel using her song as an excuse to flirt with Finn in front of Quinn, who forbade the two from singing duets, saying their relationship is worth more than the glee club winning nationals – but she sounded fantastic.

The episode ender was a fun, cute version of “Don’t Stop.” In the night’s heavy and depressing moment, we learned that Sam and his young siblings are living in a cheap motel room with their parents, who can’t find work. It was nice seeing his character get developed – and explanation given to all the motel room rendezvous that were fostering all the rumors in the episode – but I really hate when Glee gets so heavy. Sam got to sing a solo, and the entire cast danced and played with his younger siblings, making everyone feel a little better about something.

Glee Season 2, Episode 19

Television Review

By our guest blogger, Catherine Fuentes

Normally I’m not a fan of Glee episodes that are entirely devoted to one artist (although, if memory serves, I feel I did enjoy this season’s Britney Spears episode). By that logic, I should have hated an episode centered around not only one artist, but around one album.

When that artist is Fleetwood Mac, and that album is “Rumours,” I really can’t find anything to complain about.

A musical highlight of the season thus far was when Santana, Brittany and Gwyneth tackled “Landslide,” which to me was ‘Glee’ at its most tender and poignant, so I was excited to see how the cast handled a legendary album of justly deserved classics. In short: I was very impressed.

Plot wise, I liked this episode of ‘Glee.’ I liked the return of Kristin Chenoweth’s drunk and hilarious April, I liked seeing Sue donning her costumes from every walk of pop culture to scheme at the local coffee shop, and I liked how Brittany started a video blog, Fondue for Two, with her obese cat. The humor was there this episode, and for me, even with a musically top-notch episode, if the writing isn’t sharp, the episode as a whole falls flat.

As hilariously perfect as April is, the best part of her ‘Glee’ appearances are not her one-liners, but the fact that we get to hear Kristen Chenoweth sing. Although I couldn’t imagine an alternative, April and Mr. Schue’s duet of “Dreams,” was, of course, amazing.

As happens with all high school romances, Brittany and Artie’s came to an end, as he realized that Brittany might be reciprocating Santana’s love. Of course, the only appropriate tool to cure heartbreak on ‘Glee’ is by singing, so he sang a lively version of “Never Going Back Again.” I felt it showed Artie’s depth, and that he really is a vital character: in comedic moments, and musically as well.

My favorite song of the night was Santana’s secret love song to Brittany, “Songbird.” I love to see Santana being vulnerable, and this was such a perfect continuation of her brilliance during “Landslide” earlier in the season. Clearly, Fleetwood Mac helps bring forth a gentle – and really, really talented – side to Santana.

Finn and Quinn sang “I Don’t Want to Know,” in a highly awkward choir-room performance. They were perhaps appropriately angry, but it just seemed so forced and painful to watch when you factor in quizzical reaction shots from Mr. Schue and the rest of the glee club. Musically, I wish we got to hear Quinn sing a bit more, since she has the better voice out of the two, and I feel the quality of her voice should lend itself well to Fleetwood Mac’s music.

Rachel sang an amped up version of “Go Your Own Way,” putting a female spin on a song performed by a male, which is my very favorite thing about good covers. I didn’t really care for the premise of the performance – Rachel using her song as an excuse to flirt with Finn in front of Quinn, who forbade the two from singing duets, saying their relationship is worth more than the glee club winning nationals – but she sounded fantastic.

The episode ender was a fun, cute version of “Don’t Stop.” In the night’s heavy and depressing moment, we learned that Sam and his young siblings are living in a cheap motel room with their parents, who can’t find work. It was nice seeing his character get developed – and explanation given to all the motel room rendezvous that were fostering all the rumors in the episode – but I really hate when Glee gets so heavy. Sam got to sing a solo, and the entire cast danced and played with his younger siblings, making everyone feel a little better about something.

Our latest contest is in support for my new paranormal thriller "Bullied."  If you show your support for it, you could win an iPad2 64GB with Wi-Fi + 3G!  It's the best on the market and an $829 value! 

To win, just do one (or all) of the following.  Each time you do so counts as one entry.   

It is available on Kindle US, Kindle UK and Nook for .99 cents.  iBooks and other platforms will follow.

•  Purchase the book on Kindle US, Kindle UK or NOOK.  The book is .99 cents.  While no purchase is necessary for this contest, you'll receive 250 additional entries for your trouble.  Just email me the book's last sentence to christophersmithbooks@gmail.com  DO NOT mention it in the comments section of this post.
  
  
• Have a blog?  Blog about this giveaway and send us the link to christophersmithbooks@gmail.com 
  
  
• SHARE this giveaway on your FACEBOOK page.  Each time you "share," it equals one entry--you can share as often as you like (just use the above button to do so).  Hint: We really LIKE the sharing aspect.  Let us know you did so in the comments section.
  
  
• Tweet this Contest.  Just Tweet this message to your followers for an entry:  "The Paranormal Thriller "Bullied" by Christopher Smith became a best-seller in just 2 Days!  Find it on #Kindle, #Nook, #iBooks!"  Just let us know you did so in the comments section of this post.  We'll check that you did--and you'll be entered.  Each time you Tweet the message, it equals one entry--you can do so as often as you like.
  
  
• Submit to DIGG and/or STUMBLEUPON by clicking the buttons in the upper right of this page.  Let us know you did so in the comments section.

That's it!

Make sure you comment on this post that you are a member; we'll check and, if you are, you're good to go.  The contest will end May 31, 2011.  A winner will be chosen that evening.

Good luck!

Christopher

Our latest contest is in support for my new paranormal thriller "Bullied."  If you show your support for it, you could win an iPad2 64GB with Wi-Fi + 3G!  It's the best on the market and an $829 value! 

To win, just do one (or all) of the following.  Each time you do so counts as one entry.   

It is available on Kindle US, Kindle UK and Nook for .99 cents.  iBooks and other platforms will follow.

•  Purchase the book on Kindle US, Kindle UK or NOOK.  The book is .99 cents.  While no purchase is necessary for this contest, you'll receive 250 additional entries for your trouble.  Just email me the book's last sentence to christophersmithbooks@gmail.com  DO NOT mention it in the comments section of this post.
  
  
• Have a blog?  Blog about this giveaway and send us the link to christophersmithbooks@gmail.com 
  
  
• SHARE this giveaway on your FACEBOOK page.  Each time you "share," it equals one entry--you can share as often as you like (just use the above button to do so).  Hint: We really LIKE the sharing aspect.  Let us know you did so in the comments section.
  
  
• Tweet this Contest.  Just Tweet this message to your followers for an entry:  "The Paranormal Thriller "Bullied" by Christopher Smith became a best-seller in just 2 Days!  Find it on #Kindle, #Nook, #iBooks!"  Just let us know you did so in the comments section of this post.  We'll check that you did--and you'll be entered.  Each time you Tweet the message, it equals one entry--you can do so as often as you like.
  
  
• Submit to DIGG and/or STUMBLEUPON by clicking the buttons in the upper right of this page.  Let us know you did so in the comments section.

That's it!

Make sure you comment on this post that you are a member; we'll check and, if you are, you're good to go.  The contest will end May 31, 2011.  A winner will be chosen that evening.

Good luck!

Christopher

‘Harry Potter and the Deathly Hallows Part 2’

Movie Trailer Review

By our guest blogger, Joe Oliveto

Well, we all knew this day would come. With the novels wrapped up, fans of the “Harry Potter” franchise could do little more than write fan-fiction and look forward to a final few films before being forced to say goodbye to their beloved characters forever. “Harry Potter and the Deathly Hallows Part 2” calls itself “the epic conclusion” to this series, and by the looks of the trailer, it will live up to that boast.

The progression of the “Harry Potter” films, like the books, has always mirrored the maturation of the characters involved. While the first few movies were playful and fun, the more recent entries into the series have taken on a considerably darker tone. The final installment looks to be the grimmest yet, with just enough scares, violence, and adolescent death to give some concerned parents pause.

Then again, if you’re putting one of the most beloved stories of recent years to rest, you certainly want to go out with a bang. Fortunately, it appears as though the filmmakers are at least aiming for a healthy mixture of action and depth, much like that other famous fantasy finale, “The Return of the King.”

The reason why so many people, young and old, have embraced the “Harry Potter” novels isn’t simply because the stories are thrilling; it is because J.K. Rowling populated her books with characters we care about, characters who are struggling with themselves. “Harry Potter and the Death Hallows Part 2” does not look like the kind of bland studio fantasy movie that exists purely as an excuse to show off some vaguely exciting special effects. No, it looks like the type of movie that will generate a strong emotional response in viewers.

Of course, considering it is the last film in series, a strong emotional response ought to be expected. Anticipate a lot of tears at the theater for this one.

The trailer is below. Thoughts?

‘Harry Potter and the Deathly Hallows Part 2’

Movie Trailer Review

By our guest blogger, Joe Oliveto

Well, we all knew this day would come. With the novels wrapped up, fans of the “Harry Potter” franchise could do little more than write fan-fiction and look forward to a final few films before being forced to say goodbye to their beloved characters forever. “Harry Potter and the Deathly Hallows Part 2” calls itself “the epic conclusion” to this series, and by the looks of the trailer, it will live up to that boast.

The progression of the “Harry Potter” films, like the books, has always mirrored the maturation of the characters involved. While the first few movies were playful and fun, the more recent entries into the series have taken on a considerably darker tone. The final installment looks to be the grimmest yet, with just enough scares, violence, and adolescent death to give some concerned parents pause.

Then again, if you’re putting one of the most beloved stories of recent years to rest, you certainly want to go out with a bang. Fortunately, it appears as though the filmmakers are at least aiming for a healthy mixture of action and depth, much like that other famous fantasy finale, “The Return of the King.”

The reason why so many people, young and old, have embraced the “Harry Potter” novels isn’t simply because the stories are thrilling; it is because J.K. Rowling populated her books with characters we care about, characters who are struggling with themselves. “Harry Potter and the Death Hallows Part 2” does not look like the kind of bland studio fantasy movie that exists purely as an excuse to show off some vaguely exciting special effects. No, it looks like the type of movie that will generate a strong emotional response in viewers.

Of course, considering it is the last film in series, a strong emotional response ought to be expected. Anticipate a lot of tears at the theater for this one.

The trailer is below. Thoughts?

‘X-Men: First Class’

Movie Trailer Review

By our guest blogger, Joe Oliveto

As disappointed fans are well aware, the early bits of promotional material for “X-Men: First Class” that were released to the public garnered an at best lukewarm reaction. The first trailer didn’t elicit the “OH MY GOSH OH MY GOSH!” fanboy attitude that it was presumably aiming for, and those notoriously unprofessional looking character images that circulated the Web a few months ago remain difficult to forget.

However, while this latest trailer doesn’t stray too significantly from the structure of the first one, it gives us a more detailed glimpse of what we can expect from the movie, and, though we hesitate to get our hopes too high, it looks like it might actually be very, very good.

As a summer blockbuster, we know that this film will be expected to deliver its fair share of action-movie thrills, but the reason why “X2” earned the admiration of fans while “X-Men: The Last Stand” left us underwhelmed was because the former balanced the action with genuine character-driven storytelling. “X-Men: First Class” appears to be striving towards a similar balance, and it may just achieve such a feat.

We all know that this story will tell us how Charles Xavier became Professor X and how Erik Lensherr became Magneto, but for the first time, we have a trailer that truly displays Xavier’s desperation and Lensherr’s confusion. While the earlier trailer appeared to depict two characters simply going through the motions—after all, it’s no secret which direction they are heading in—this one gives us a greater sense of the internal struggle that will destroy a friendship. Xavier appears to know exactly how much pain Lensherr has endured, and he acts like a sympathetic friend offering help.

Lensherr, on the other hand, wants to do the right thing, but having seen the worst that humanity has to offer, he is unable to forget the past.

On top of that, it looks like we’ll have an exciting climax transplanting some iconic characters into an equally iconic event in world history. It worked for “Watchmen”; maybe it can work for “X-Men.”

It’s still unclear whether this will be a classic or a flop, but for the first time, it looks as though it has a chance of being a pleasant surprise. Color us excited.


The trailer is below. Thoughts?

‘X-Men: First Class’

Movie Trailer Review

By our guest blogger, Joe Oliveto

As disappointed fans are well aware, the early bits of promotional material for “X-Men: First Class” that were released to the public garnered an at best lukewarm reaction. The first trailer didn’t elicit the “OH MY GOSH OH MY GOSH!” fanboy attitude that it was presumably aiming for, and those notoriously unprofessional looking character images that circulated the Web a few months ago remain difficult to forget.

However, while this latest trailer doesn’t stray too significantly from the structure of the first one, it gives us a more detailed glimpse of what we can expect from the movie, and, though we hesitate to get our hopes too high, it looks like it might actually be very, very good.

As a summer blockbuster, we know that this film will be expected to deliver its fair share of action-movie thrills, but the reason why “X2” earned the admiration of fans while “X-Men: The Last Stand” left us underwhelmed was because the former balanced the action with genuine character-driven storytelling. “X-Men: First Class” appears to be striving towards a similar balance, and it may just achieve such a feat.

We all know that this story will tell us how Charles Xavier became Professor X and how Erik Lensherr became Magneto, but for the first time, we have a trailer that truly displays Xavier’s desperation and Lensherr’s confusion. While the earlier trailer appeared to depict two characters simply going through the motions—after all, it’s no secret which direction they are heading in—this one gives us a greater sense of the internal struggle that will destroy a friendship. Xavier appears to know exactly how much pain Lensherr has endured, and he acts like a sympathetic friend offering help.

Lensherr, on the other hand, wants to do the right thing, but having seen the worst that humanity has to offer, he is unable to forget the past.

On top of that, it looks like we’ll have an exciting climax transplanting some iconic characters into an equally iconic event in world history. It worked for “Watchmen”; maybe it can work for “X-Men.”

It’s still unclear whether this will be a classic or a flop, but for the first time, it looks as though it has a chance of being a pleasant surprise. Color us excited.


The trailer is below. Thoughts?

NBC Kills "Paul Reiser"

Television News

By our guest blogger, Nick Hanover

Proving good things come to those who wait, Deadline has confirmed that NBC has canceled "The Paul Reiser Show" after just two episodes. Of those two, the premier was actually the worst in-season premier NBC has ever had. Let me just make that clear again: "The Paul Reiser Show" was NBC's worst rated premier of all-time. And the numbers on the second episode actually managed to drop a full 18%, which is fairly normal except normally a show drops from a relatively high place to somewhere a little more average rather than, you know, dropping from the bottom to the center of the Earth.

So, what factors into the absolutely abysmal performance of "Paul Reiser?" Well, as Deadline's Nikki Finke points out so subtly "even the ads for "The Paul Reiser Show" were annoying," and Finke is one of the few humans who would admit to liking Reiser. In case you missed them (not sure how you accomplished that since they may as well have been legally forced on all of us), the ads mostly just featured Reiser whining to the camera and self-deprecatingly calling all of us out for probably not giving a shit about his show. One even had Reiser pouting about how everyone probably won't even watch his show even though it's coming after the episode of "The Office" where Will Ferrell first appears. Reiser then proceeded to claim all anyone would remember about the ad was that Will Ferrell would be on "The Office."

It's tempting to blame those spots squarely on NBC, which has worked extremely hard to make itself the worst rated network on TV. But Paul Reiser's recent appearance on Jay Leno pretty much proved he's a whiny, entitled jackass all on his own. Score one for humanity.

NBC Kills "Paul Reiser"

Television News

By our guest blogger, Nick Hanover

Proving good things come to those who wait, Deadline has confirmed that NBC has canceled "The Paul Reiser Show" after just two episodes. Of those two, the premier was actually the worst in-season premier NBC has ever had. Let me just make that clear again: "The Paul Reiser Show" was NBC's worst rated premier of all-time. And the numbers on the second episode actually managed to drop a full 18%, which is fairly normal except normally a show drops from a relatively high place to somewhere a little more average rather than, you know, dropping from the bottom to the center of the Earth.

So, what factors into the absolutely abysmal performance of "Paul Reiser?" Well, as Deadline's Nikki Finke points out so subtly "even the ads for "The Paul Reiser Show" were annoying," and Finke is one of the few humans who would admit to liking Reiser. In case you missed them (not sure how you accomplished that since they may as well have been legally forced on all of us), the ads mostly just featured Reiser whining to the camera and self-deprecatingly calling all of us out for probably not giving a shit about his show. One even had Reiser pouting about how everyone probably won't even watch his show even though it's coming after the episode of "The Office" where Will Ferrell first appears. Reiser then proceeded to claim all anyone would remember about the ad was that Will Ferrell would be on "The Office."

It's tempting to blame those spots squarely on NBC, which has worked extremely hard to make itself the worst rated network on TV. But Paul Reiser's recent appearance on Jay Leno pretty much proved he's a whiny, entitled jackass all on his own. Score one for humanity.

Ian Holm Will Return for ‘The Hobbit’

Movie News

By our guest blogger, Joe Oliveto

We all thought it would never happen, but production has miraculously begun on “The Hobbit,” with none other than Peter Jackson himself returning as director. Fanboys across the world are rejoicing, counting down the days until they can return to Middle Earth with old friends.

And when we say “old friends,” we mean it. True, “The Hobbit” certainly won’t feature all the same players from the original trilogy, but icons like Ian McKellen and Andy Serkis are back for another round of sorcery and swordplay, and rumors have been circulating that folks like Orlando Bloom and Elijah Wood could be making an appearance as well.

The film runs the risk of being bogged down by the weight of nostalgia, but in this case, we can’t complain.

One actor who we didn’t expect to be back, however, was Ian Holm, who portrayed Bilbo Baggins in “Fellowship” and “King.” Too old to play the young version of his character, Holm has had to step aside and let Martin Freeman take on the duty. While such a casting decision will of course disrupt some of the continuity of the films, overall, it’s the smart thing to do.

However, according to Ain’t It Cool News, Holm isn’t completely out of the picture. Peter Jackson has confirmed that the actor will return as the elder Bilbo in “The Hobbit,” although given the fact that the story centers on young Bilbo, we can’t be sure how large his role will be.

Still, this means that we can add another name to the roster of returning players. Surely this will please fans of the franchise who are dying to see their favorite characters on screen one more time. Now if only they could find a way to work Viggo Mortensen back in there…

Ian Holm Will Return for ‘The Hobbit’

Movie News

By our guest blogger, Joe Oliveto

We all thought it would never happen, but production has miraculously begun on “The Hobbit,” with none other than Peter Jackson himself returning as director. Fanboys across the world are rejoicing, counting down the days until they can return to Middle Earth with old friends.

And when we say “old friends,” we mean it. True, “The Hobbit” certainly won’t feature all the same players from the original trilogy, but icons like Ian McKellen and Andy Serkis are back for another round of sorcery and swordplay, and rumors have been circulating that folks like Orlando Bloom and Elijah Wood could be making an appearance as well.

The film runs the risk of being bogged down by the weight of nostalgia, but in this case, we can’t complain.

One actor who we didn’t expect to be back, however, was Ian Holm, who portrayed Bilbo Baggins in “Fellowship” and “King.” Too old to play the young version of his character, Holm has had to step aside and let Martin Freeman take on the duty. While such a casting decision will of course disrupt some of the continuity of the films, overall, it’s the smart thing to do.

However, according to Ain’t It Cool News, Holm isn’t completely out of the picture. Peter Jackson has confirmed that the actor will return as the elder Bilbo in “The Hobbit,” although given the fact that the story centers on young Bilbo, we can’t be sure how large his role will be.

Still, this means that we can add another name to the roster of returning players. Surely this will please fans of the franchise who are dying to see their favorite characters on screen one more time. Now if only they could find a way to work Viggo Mortensen back in there…

Steve Coogan Looking to Bring Alan Partridge to the Big Screen

Movie News

By our guest blogger, Nick Hanover

Though American audiences now know him best from such films as Hamlet 2 and Tropic Thunder, Steve Coogan will likely always be remembered as Alan Partridge. The comedian and actor began his career playing the hapless radio and tv host character on the radio program "On the Hour" alongside future In the Loop director Armando Iannucci. Coogan then returned as Partridge for the BBC series "Knowing Me, Knowing You with Alan Partridge" and later "I'm Alan Partridge." And now Coogan is looking to bring Alan Partridge back with a new movie, according to indieWIRE.

Aiding Coogan in this project is Iannucci and Borat co-writer Peter Baynham, who are working on a script at the moment. Plot details at the moment are unknown other than the fact that it will find Partridge returning to his hometown of Norwich, but with such a talented group of comedic writers helping out, the odds of the film being a worthy successor to the existing series are great.

Coogan also a new film out called The Trip, which is directed by Michael Winterbottom (who also directed Coogan in the masterful 24 Hour Party People) and is currently screening at the Tribeca Film Festival in New York. The Trip is described as a "meta-comedy," which either means it's like a Charlie Kaufman story or it just goes nowhere.

Steve Coogan Looking to Bring Alan Partridge to the Big Screen

Movie News

By our guest blogger, Nick Hanover

Though American audiences now know him best from such films as Hamlet 2 and Tropic Thunder, Steve Coogan will likely always be remembered as Alan Partridge. The comedian and actor began his career playing the hapless radio and tv host character on the radio program "On the Hour" alongside future In the Loop director Armando Iannucci. Coogan then returned as Partridge for the BBC series "Knowing Me, Knowing You with Alan Partridge" and later "I'm Alan Partridge." And now Coogan is looking to bring Alan Partridge back with a new movie, according to indieWIRE.

Aiding Coogan in this project is Iannucci and Borat co-writer Peter Baynham, who are working on a script at the moment. Plot details at the moment are unknown other than the fact that it will find Partridge returning to his hometown of Norwich, but with such a talented group of comedic writers helping out, the odds of the film being a worthy successor to the existing series are great.

Coogan also a new film out called The Trip, which is directed by Michael Winterbottom (who also directed Coogan in the masterful 24 Hour Party People) and is currently screening at the Tribeca Film Festival in New York. The Trip is described as a "meta-comedy," which either means it's like a Charlie Kaufman story or it just goes nowhere.

SNL to Close Out Season with Ed Helms, Paul Simon, Lady Gaga and More

Television News

By our guest blogger, Nick Hanover

NBC has unveiled the final roster for SNL's last few episodes of the season and it's an equal mix of returning vets and newbies. The most recent additions are Ed Helms and Paul Simon, who will be together for the May 14th episode. Helms will be making his SNL debut to promote the upcoming The Hangover II while Simon will enjoy his 8th appearance to promote his latest album, So Beautiful or So What.

The week before the Helms/Simon episode will feature Tina Fey returning as host with British songstress Ellie Goulding appearing as musical guest for the first time and the week after has the flashy combo of Justin Timberlake and Lady Gaga. It's clear that SNL is hoping to finish the season strong after beginning 2011 with one of its highest rated episodes, the pairing of Jim Carrey and the Black Keys. Timberlake and Fey are obvious pulls for the show, with Timberlake of course a prominent part of what has become one of the most successful sketches for the recent SNL generation, "Dick in a Box." Fey, likewise, rocketed to prominence thanks to her Sarah Palin imitation.

Helms himself may not be as big of an attraction but his role in The Hangover Part II is likely to help lure in viewers. There's always the possibility that Helms' Hangover co-star Zach Galifianakis will make an appearance as he hosted the show earlier in the season.

SNL to Close Out Season with Ed Helms, Paul Simon, Lady Gaga and More

Television News

By our guest blogger, Nick Hanover

NBC has unveiled the final roster for SNL's last few episodes of the season and it's an equal mix of returning vets and newbies. The most recent additions are Ed Helms and Paul Simon, who will be together for the May 14th episode. Helms will be making his SNL debut to promote the upcoming The Hangover II while Simon will enjoy his 8th appearance to promote his latest album, So Beautiful or So What.

The week before the Helms/Simon episode will feature Tina Fey returning as host with British songstress Ellie Goulding appearing as musical guest for the first time and the week after has the flashy combo of Justin Timberlake and Lady Gaga. It's clear that SNL is hoping to finish the season strong after beginning 2011 with one of its highest rated episodes, the pairing of Jim Carrey and the Black Keys. Timberlake and Fey are obvious pulls for the show, with Timberlake of course a prominent part of what has become one of the most successful sketches for the recent SNL generation, "Dick in a Box." Fey, likewise, rocketed to prominence thanks to her Sarah Palin imitation.

Helms himself may not be as big of an attraction but his role in The Hangover Part II is likely to help lure in viewers. There's always the possibility that Helms' Hangover co-star Zach Galifianakis will make an appearance as he hosted the show earlier in the season.