The Young Victoria

WORTH-IT: (Jean-Marc Vallee) From the perspective of someone who swoons over a good period peice, The Young Victoria is a story very worth seeing. Although incomparable to Elizabeth: The Golden Age, and lacking the instensity of Pride & Prejudice, it nonetheless impresses. Beginning with a chronological log of Victoria, circa age 5. She is a young girl, destined for royalty but hidden from soceity out of parental selfishness for the crown, and fear for safety amongst countless other selfish names. Faced with countless hurdles to claim her place, Victoria must learn the trade before entrusting others to guide her--a feat easily assumed, but much less ensued. Emily Blunt plays the vibrant, determined young princess (and queen) adept in Victoria's essence of youthful enthusiasm and rock solid pride. Not often do we get to see Blunt take her characters to a place like she does here. Its a pleasant journey and entertaining to watch. Director Vallee sets the stage for a subtle, yet undeniable chemistry between Blunt and Rupert Friend. Friend plays the young Prince Albert, sent to win Victoria's heart for the reputation of his territory, but inevitably finds his own heart swept away. His gentle and timid spirit proved turnkey to the film's attractiveness. Friend and Blunt crept into a romance packed with emotion, passion and sophistication so seamlessly, that by the end, you have only just realized your own heartstrings were along for the ride. The film, only dusting on the political side of Victoria's stressed first years, is at bottom-line, a romance. Its a story of dedication and loyalty highlighted with the strength of love and trust. Don't expect a heavy helping of history, other than the subtitled summations and breathtaking cinematography, but don't mistake take for encouragement to disregard the film. No, here Blunt surely proves herself as a layered actress, making The Young Victoria most definitely worth it, and an audience, if I don't speak for myself, anxious for more.

Up in the Air

WORTH-IT: (Jason Reitman) Do you ever get so deep into a routine that you forget what life is like outside of it? Ryan Bingham (George Clooney) is a top account executive at company who fires other company's employees for a living. Specializing in severance packages and "the after," he lives between airplane seats and hotel beds, laying off hundreds a week and never looking back. He's got the packing down, all the good member cards and his closest friends are employees of American Air. He's got it all, getting the best upgrades wherever he goes, steak dinners a la his company, and no baggage to come home to. In a sense, he is free... living life in the clouds, up in the air. When a Cornell honor student joins his team with new ideas threatening to keep him grounded, he is forced to see what his life has become while he's had in head in the clouds. The story is that of his re-evaluation, and while I won't spoil any of the journey for you, potential viewers, I can say that watching his rediscovery is fascinating. Clooney captures the innocence, ignorance and arrogance that Bingham has rolled into his character. He wears emotion on his face, in his body language and drenches his voice with a punch of those same feelings, making whatever story portrayed on-screen one not to ignore. The story here is funny. It's witty and sharp, laughing right back at you when you immediately wonder if the same joke is on you. Its dark and disheartening, but in a self-revelation sort of way. Its heavy on family, but dabbles in immorality... matching Bingham's inward conflict to that of life, in general. Its deep and thought-provoking. Overall, quick and painless entertainment, leaving you with slight discontentment, but inevitable encouragement to take the high road. Clooney does the job, and with newcomer Anna Kendrick as Cornell's brightest to shake up routine, and veteran (and growing personal favorite) Vera Farmiga as the mature, travel-high new companion, its a treat on-screen, for your eyes and your heart... and yes, in the end, your spirit. Up in the Air proves that at the lowest of lows we have what it takes to move on, we have what it takes to choose a different path, or recognize our current path for what it may actually offer. Surely Clooney will get the nod here, so do yourself a favor and see this flick.

Avatar

PHENOMENAL: (James Cameron) Everyone should see this film. Everyone. Aside from the fact that it is an epic tree-hugging love story comparable to Ferngully on steroids (thanks for that Reed), this film is a landmark in American cinema. In 1939, The Wizard of Oz was the first movie to hit theatres in color. Well, if you'd been around then (or maybe you were) to say you saw it, wouldn't you choose to have had that hand in history? So, for that monumental reason, everyone should see this film. With that out of the way, potential audiences, rest easy... This movie is phenomenal. And not just by Film Reviews by Jenni standards... Avatar is bonafide adjective worthy of my favorite vocabulary word. Writer/Director/(Genius) James Cameron introduces us to a futuristic U.S. colony hovering over a newly discovered planet of energy-rich flora and fauna that would improve life on Earth. The problem is that the inhabitants are hostile and the U.S. military are impatient. A small group of scientists aboard the Earth ship are out to befriend the people of this new planet, despite the orders of the military. By creating avatars of themselves, they can approach the people on the new planet (giant, blue-skinned, agile creatures), learning and interacting firsthand. Longstory short, the military arm of Earth's colony doesn't care about relationships or this planet's eco-system, out only for the natural resources and preparing for war if it doesn't happen soon. Are you seeing Ferngully? From here, its 3 hours of beautiful colors, textures, sounds and emotions all working together for the utmost cinematic experience thanks to the masterful hands of Cameron's crew. The fact that this film is in 3D makes your forget the movie theatre chair, never once acknowledging that its in 3D... (No roller coaster rides or flying objects). You're pretty much just inside the screen. So much so, that once the film is over, you almost believe in the blue people, or if not that severe, its like waking up from dream and shaking yourself back into what you know should be reality. The film is clever. Its emotional and fast-paced. No storyline is sacrificed for special effects and the acting shines, despite animation. I can't say enough about Avatar. Its the most mesmerizing piece of creativity I've seen on a movie screen, ever. Don't miss out.

Inglorious Basterds

PHENOMENAL: (Quentin Tarantino) Absolutely fabulous! Inglorious Basterds is the biggest pleasant surprise of the year, in film. It's the story of a macho men group from America and Europe wrecking havoc on members of The Third Reich throughout Germany. Led by Lt. Aldo Raine, a unique performance from Brad Pitt, they scalp heads troop by troop, earning a most wanted reputation throughout the Nazi nation. But, its also the story of Shosanna Dreyfus, a young Jew who narrowly escaped a massacre and is now secretly living in Paris and plotting revenge against the powers that killed her family. The film is as close to perfect entertainment as it comes. Humor delights almost every line, leaving a permanent smirk on your face, whether audible laughter accompanies not, which is often does. An emotional storyline surfaces amidst the silliness and action, the dramatic plot and the suspense keep you glued to your seat and dying for continuance. The movie is long, but long due to an intricate and fascinating web of stories, climaxing at once for one literal and figurative boom. Pitt plays counter to Diane Kruger and Christoph Waltz, two brilliant minds playing incredible characters--neither of whose absence would allow this film its splendor--plus, a short scene from Mike Myers for one unforgettable ride on the Tarantino movie train. For the faint-hearted, know that this is a Tarantino flick. There is blood and gore, galore. It spares no element of a true Tarantino-style entertainment, so expect that going in. If you can climb that personal mountain, you too will be enthralled with the on-screen eye candy. I still can't decide where to rank it in my Tarantino chart. It's up there. Its phenomenal. See it!

A Serious Man

Almost: (Coen Brothers) What was promoted as "the best American movie of the year" proved, to me, nothing but a glimpse into the exploited sadness of a young Jewish family in the Midwest. The story is basically a middle aged college professor who begins to see his life unravel. His wife wants a divorce, his brother sleeps on their couch (indefinitely), a student bribes him and then threatens to sue for defamation, and someone is writing letter to the tenure board to prevent his promotion. He's got a lot going on, and there seems to be no one out there sympathizing with him. It's supposed to be funny - and most certainly it is from time to time. The utter nonsense of it all finds a chuckle and the ultimate frustration actor Michael Stuhlbarg is able to portray on his face conjures memories of animation and needs little else to pull response. Unfortunately, for me, the ridiculous storyline never crossed the line between ridiculous and "so ridiculous that it's hysterical." Instead, I found myself frustrated at such a wimpy character. Often measly personalities are endearing, because their potential is somehow revealed. Unfortunately, Stuhlbarg's Larry Gopnick is a lost cause. He literally has no balls, and as it seems, no interest in learning to grow them. People walk all over him, and if this no light at the end of the doormat tunnel is the best way the Coens can make fun of Jewish America, then I have seen enough. As a last effort to save opinions on this film, I'll admit full out that one with a little more knowledge of the Jewish faith will probably laugh much heartier - as I sat in the theatre, I no doubt found myself laughing at th "wrong" times and was apt to notice the head nods and singalongs dotted throughout the audience. These same viewers were the ones not ready to exit their seat at the end - so yes, I must have missed something. And, after giving up the chance to see Audrey Tautou as Coco Chanel, I was expecting something a little more Fargo or O Brother.

The Changeling

MUST-SEE: (Clint Eastwood) Readers forgive me, I saw this film months ago and let it slip under the rug of priorities last fall. But that slip should not be taken as a sign that this film was anything short of brilliance. Clint Eastwood directs a story by J. Michael Straczynski that illustrates a mother's love for her son and a corrupt government's self-dug grave. Angelina Jolie plays Christine Collins, a single, working mother who loses her son and given a replacement to glorify the LAPD's apt problem solving skills. What the greater public doesn't realize is that she is also given a scolding to adopt the new child as her previous, because he is obviously not the same boy. As the audience, you are left thinking, WHAT?! Outlandish. Tragic. Impossible. But, the reality hits hard that our government acted this way, and our women were treated this way. Cocky, boisterous personalities are revealed for their insecurities and short-comings. Foolishness is shed in a new light. Even though it's been almost a year since I have seen this flick, I remember being touched by this exact sense: that something so horrid could have been passed (or attempted to pass) as normalcy. This truly frightening story that was one woman's reality. It's every parent's nightmare, but it's also a universal threat of what we (as a people) almost were, but thanks to one outspoken pastor (played by John Malkovich), we aren't. Eastwood flawlessly illustrates the worst of human nature and the best of our country's morale, and holds your heart in the palm of his hand while doing so. Don't miss this one. Jolie is a gem--well-deserved of her nod. Malkovich is powerful. And the story is true. (Enter, chills).

Gran Torino

WORTH-IT: (Clint Eastwood) It's hard to truly review a movie you saw while on a night-flight to Europe, because let's be honest, what wouldn't keep your interest when there is literally nothing else to do but watch the lucky ones sleep. But I think, think, that this movie would have been satisfying either way. First off, Clint Eastwood continually delivers fascinating plot and character development with his films and Gran Torino soundly acquiesces. We're faced with a new widower, Walt, living in a part of town recently overcome with Asian immigrants and violent gangs. A tough guy (duh, it's CE himself), he won't move away, won't make friends, and won't stop blaming the world for his unhappiness. Unfortunately, the world is out to prove its worth. The Lor family lives next door, a big family with several generations under one roof. Inevitably bonded by the intolerance of the gangs' violence, Walt and the Lors cross paths more than once, and more than Walt would like or welcomes. To us, the viewer, its clearly an act of gratitude and kinship on the Lors part, but to Walt, it's annoying, unnecessary and an infringement on his privacy and routine. But, ROUtines are made to be broken, and over the course of a two hour film, we see Walt's familiarity all switched up, a friendship between race ensue and an overall sense of morale and family succeed violence and hatred. At times it's painful to listen to Eastwood's raspy monotone (just talk normally, dude!), but I can't deny it shapes the movie's motif well. This plot summary is one of suspense and endearment, deliberate comedy and soft emotion. I can't spoil the resolution by going farther, but I can say that it's one for the books. Crossing lines in appropriate ways, this story reveals racism and prejudices in ways universally understandable. And, it does so with characters we've almost met before, seen before, and maybe empathize with. I wouldn't say this is a potential favorite movie, but simply a phenomenal story, well-told and accurately sensitized. If anything, it's a smack in the face for the extension of bad behavior. Expect violence, cursing and hate (hello it's about gangs and racism) but get through it and you'll witness a truly evocative telling of America's best and worst reputations.

Burn After Reading

MUST-SEE: (Coen Brothers) Burn After Reading is a hilarious illustration of the truth behind never really knowing the truth. A stellar cast, who put it all on the line to play some of the saddest losers known to modern script, eliminates the need for a drama amidst a slew of steep film (meaning, this film came out during Oscar time). It's almost as if the big names of this film did it simply to recess from the expected; it's a quick homage to why they love the screen, for themselves, not their reputation. The Coen Brothers (arses they may be) bring to accord a mess of people, starting with middle-aged gym employees and crossing all the way over society to emotionally disturbed CIA employees, common adulterers and financial swindlers. At Hardbodies Gym, Francis McDormand's Linda just wants a boyfriend, and a little plastic surgery along the way. Her best friend Chad, Brad Pitt, questionably has no brain at all so we'll say he is there for comic relief and moral support. Richard Jenkins is the manager, secretly in love with McD, but highly unaccepting of her adolescent antics and constantl havign to choose between winning her heart or running his gym. Back across town, Clooney is sleeping with Swinton who is secretly securing finances of her soon to be ex-husband, Malcovich. Insert multiple sex toys and zero compassion for a knock down love-polygon that leaves human default as ultimate humor and absolutely no room for pity. You're seeing these actors as you never have before; they aren't afraid to play fools, and lucky for us, they play most things extremely well, so this is something truly unique. As much as it kills me to pat the Coens on the back, I loved this film. It was upbeat, absolutely funny and placed some of my favorite people into a new (more diverse) light. Don't expect to be wrought with any sort of emotion upon seeing the film. There is ultimately no point to this plot, except to add a little color to a bland world of nobodies, deciding to be somebodies, or at least thinking they deserve to be. Even a teaser role from J.K. Simmons makes this film one of rare disappointment and increased ridiculousness. All in all, a fantastic success.

Frozen River

MUST-SEE: (Courtney Hunt) Now here is a film of true originality. Indians shipping aliens over the Canadian border with the help of a single mom looking for easy money to buy her boys a double-wide for Christmas. (??) Well, the bottom-line is that this movie is fantastic. So rarely is a truly raw light shed on American families that this story is almost painful to watch, harder to accept and leaves a deep tread on the heart for the struggles many people don't even have a clue about. (Me, one of them). Melissa Leo plays a single-mom, whose husband ran off with her money, three days before Christmas. She can't catch a break at work, and toys for her youngest are the last chance she has to avoid disappointment from her oldest. He (Charlie McDermott) questions her backbone, but out of empathy takes matters into his own hands, giving Leo's character stress and regret for a son having to grow up too fast. As "fate" (we'll call it) would have it, Lila Littlewolf (Misty Upham) steals her car. So, at her wits end, a (although illegal) subtle way to earn money arrives. Although at first, her morals stand strong, Hunt reveals that even the strongest person has their breaking point. She makes the money and can't avoid the simplicity thereafter. From your chair, you watch the inevitable downfall take place, holding your breath she makes it across the icy border, finding yourself completely on her side of the law, in 100% sympathy. It is an intense ride into the other side of right and wrong, taking motivation as justification instead of black and white legality. Leo rocks. I didn't even feel like I was watching a film--it was like real people showing you what their real life is all about. And then she was nominated for an Oscar. Enough said.

The Wrestler

ALMOST: (Darren Aronofsky) In a word--disappoint. In more words--I hate that this movie gave Mickey Rourke the platform to come back into film as none other than himself, glorified. The Wrestler is the story of Randy "The Ram" Robinson, a wrestler who reigned in his day, but has since lost it all , living in a trailer park, fighting for peanuts and working the deli at the local grocer. No one knows him anymore, and he can't find his niche outside of the ropes. When a heart attack threatens his comeback indefinitely, he finds himself on a downward spiral, through which he grasps at a last minute relationship with his daughter and desperately strikes up romance with a loyal stripper. The story is well-told, a perfect mirror to the dazed and confused existence Ram is forced to live out. The story is disconnected, hopeless and a perverted glimpse into the world of wrestling. The story (bravo, Robert D. Siegel) is certainly not wherein the problem lies with this film--it is with Rourke. Sure, he was good in Sin City, but who really had to act in Sin City. Casted perfectly to play up his brusque personality, the film needed nothing but brawn and an ugly face. In Wrestler, he plays the same character--out to mend the things in his ragged world, but getting the shit kicked out of him along the way. Rourke holds onto this role as his comeback, but in my opinion (and certainly just an opinion) he hasn't come anywhere. He plays out his sad, real-life story in the form of a wrestler. Bottom line, to make Aronofsky's work shine as it should, someone credible should have been picked. Evan Rachel Wood plays her five minutes in the spotlight well, but I do wish we had seen more from her. (Blast that parallel of disconnect). Marisa Tomei literally puts herself out there here, showing us she still has a rockin' bod at age 45 (ding ding, another great casting). The Wrestler was a well-told story, directed flawlessly, and packed with pristine, unique shots. Unfortunately, Rourke does nothing but drag it down (along with its audience), making it a grotesque illustration, rather than illustrating the grotesque.

Sunshine Cleaning

WORTH-IT: (Christine Jeffs) Amy Adams and Emily Blunt star in a pathetically sad story about helplessly sad people trying to make it in a cruel cruel world. As a cleaning lady, Adams' Rose is unhappy, unfulfilled and ultimately convinced it is the only way to climb the social and professional ladder (Yet, into what world exactly, we are left unconvinced as this community is overridden with high school has-beens and primadona Betties). Unfortunately, as life has its way with the unfortunate, Rose finds herself in need of something bigger, something delivering a larger buck which apparently is none other than crime-scene clean up. (Big jump, I guess?) She recruits her screw-up sister, pawns off her kid (who was kicked our fo school) on grandpa, and hits up the bloody mess left in various spots of town. It's gross, but its funny, and because its desperate, its heartening. Plus, listening to Rose convinve herself in front of her old cheerleading buddies that she actually enjoys it is all the more reason to fall in love with this group of hillbillies. All in all, this film makes sad people a little more entertaining, one, by perking up the eccentric factor, and two, giving us characters played by lovable quirks themselves. Blunt is at her best, playing troubled sister Norah, tormented for the last 20+ years at never knowing her mother. She is vibrant in a quiet character and carries emotion all over her body, so much so that just seeing her face makes up endless words (that thankfully, this script doesn't compensate for). Alan Arkin pops up again (this time alive for his character's scenes) as the weirdo grandpa. A remix to Little Miss Sunshine, Cleaning delves once again into familial motif, and this time spares no unfriendly details. From the guts the sisters disinfect to the tragedy behind this family's lonely uprising, we discover a group of people who aren't happy with who they are become post-adolescence, or post-grown-up for that matter. It's a constant struggle between emotion, self confidence and self worth, all while trying to survive and raise a family. It'll wear you out; but in a "guilty pleasure" sort of way, you can't take your eyes off of them, and your heart leaks sympathy. All in all, a refresher for the sadness in the world and the eclectic peace that some find within it.

Tinker Bell

WORTH-IT: (Bradley Raymond) For anyone that enjoys Disney classics (and this director has done 4 of them), you might as well keep the fairytale alive and see all of the sequels . Most are a fine justification to the original and actually exactly what the doctor ordered for a story that you just can't let go of. For me, that is Peter Pan (and it was also Aladdin). Tinker Bell is the story of Tink--how she came to be and what her fairyness really means. For instance, did you know she was born out of a dew drop? And that once she was born she was intrinsically meant to be one particular kind of fairy (including five played by Angelica Houston, Raven Symone, Lucy Liu, America Ferrera and-wah!-Jesse McCartney). I won't ruin J.M. Barrie's continuation for all of you about to put it on your queue, but she is good at tinkering! Watch her add her special talent to a world of fairy magic, all who claim responsibility for our changing of seasons. Clearly this film won't satisfy the lot. But if you enjoy Tinkerbell and have always wondered more about our silent glittery friend alongside Peter Pan, then catch this one. It's magical and warm and honestly, it's hard to say anything bad about a perfectly made for 5-8 year olds cartoon :) Enjoy!

Rachel Getting Married

ALMOST: (Jonathan Demme) When Anne Hathaway was nominated for an Oscar, I choked on the words and gave it my damnedest to think of how an ugly duckling turned Princess of Genovia turned NY magazine bitch turned rodeo slut could have managed a role that let her develop something enough to call her own and deservedly claim that nom. Yes, she has conquered quite a long list of varying personalities, some extremely memorable; yet none have left a lasting impression of character. She is beautiful and she is talented, and I truly believe she is on her way, but alas I still haven't come to forgiveness terms with the Academy for this. A flagrant script not quite ready for the screen, it seems, leaves Hathaway struggling to find an identity. Kim is a recovering addict, mentally disturbed and coping with the fact that she is an outcast amongst her family. And what brings everyone back together like a good old fashioned cant-find-an-ethnic-tradition-to-go-with wedding(in this case, her sister, Rachel)? This film is heavily based in dialogue, but a real-time rehearsal dinner re-enactment is not why we see movies. Neither is an hour-long ceremony completely filled with dancing and speeches. We would grasp the same point in 5 minutes. Nothing correlates. Story lines are left hanging. Characters are in and out. One might compare the chaos with the aftermath of recovery, but in this situation we are left disconnected, disengaged and utterly unmoved by the emotion that clearly eats away at this dear Kim. I 100% believe Hathaway has potential after seeing her delve into a real person for once. She has fury, she has attitude and she is unique. Yet, this script left her poorly prepared to let it all hang out via her potential. Even in the most intense of scenes I remained untouched and instead burdened by the continually increasing tally of unfinished scenes each new story brought me. Unfortunately, I wasn't able to ever comes to terms with the warble that is Rachel Getting Married. I would call it Festival-quality, but also wouldn't question its forgettable-ness. The end credits were a relief and although I look forward to Hathaway's next plot I keep remembering Bride Wars came after Rachel... so is there any hope?

Milk

MUST-SEE: (Gus Van Sant) I label this film out of habit. It is a must-see movie. But know this movie is not for everyone and not everyone will agree with that classification. Even as historical and enlightening, Milk illustrates a side of life still not accepted by all, and by others still hated upon. That said, if men lovin' on other men offends you, skip this one--skip out on a colorful part of history and skip one of the year's most well-made, most fun movies of the year. Starring Sean Penn as California politician and gay rights activist, Harvey Milk, Milk is the story of one man's fight for rights in the San Francisco Castro District (and ultimately the state). As a newcomer to the West Coast, Milk is impossible to ignore and even harder to hate. Even for Josh Brolin's City Supervisor Dan White, a strict conservative, who is smitten with Milk's extraordinary personality and political attitude. Bare-boned, this film is a documentary of the series of events leading up the assassination of Milk and the city's mayor, George Moscone. But full-on, Milk is a historical montage, an incredible mesh of actual clips and fictional re-enactments. It tells a true story in a unique, personal way--a way never before associated with politics. It helps an audience sympathize with a universal desire for happiness. It breaks down the formalities of law and makes life's lessons meaningful and ultimately, inspiring. Penn plays a powerful Harvey Milk, embodying the man from appearance to accent to body language. But props to an overall accurate casting job. Each character is remarkably comparable to the real-life campaign members, and they got lucky to land such similarities with actors like James Franco and Emile Hirsch, rising to the task in ways that make us continue to seek more out of them. An all-star cast with a fabulous story and creative film-making makes Milk impossible to pass up. To say it's heart-warming seems morbid, but the love within that 128 minutes does nothing short of play your heartstrings. Settle your offenses for two hours and relive a history from a fresh vantage point. Bravo Van Sant and film editors. This is a truly unique story forever branded in reputation.

Slumdog Millionaire

PHENOMENAL: (Danny Boyle) Slumdog Millionaire is a movie for the masses illustrating a vibrancy of culture existing among the darkest of standards, proving that human life is foremost lived. Director Danny Boyle (Trainspotting) brings to the screen the story of Jamal Malik, an orphaned Mumbai boy growing up on the streets. He candidly reveals a country and its people immune to devastation and caught up in extortion. He hides nothing from the harsh reality, simply because there is nowhere to hide in India. There is no freedom, only constant fear, and only the powerful ones survive. With the Jamal character (Dev Patel), we are given passage into the heart that exists underneath the grime, and the innocence beneath the corruption. Meshing energetic music with warm sights and street sounds creates a backdrop for Malik's quintessential journey through time, through the ups and downs of street life, one moment jumping in feces to get an autograph of his favorite movie star and the next watching his mother violently murdered in the street. Slumdog shows us what it looks like to have that innocence stolen and your life threatened over and over. This motif is carried out farther with Malik's participation on game show, the Indian version of Who Wants To Be a Millionaire? He relives moments in time from wherein his brain holds the answers to each question. The amazing power of this story comes as, through all of it, living in trash, swimming in poop, and dodging gunfire to play in your backyard, there are real lives being lived there. These people experience the same things we do; love, family, friendship, pick-up games, skipping class, reading the 3 Musketeers... all normal things. Real things that don't wait on clean hands or fresh water. They live in the here and now, executing a totally different kind of innocence than we're used to, and Boyle does a stand-out job of proving it's both devastating and beautiful to watch. I am 100%behind this film for this year's Best Picture. Don't miss seeing it.

WALL-E

WORTH-IT: (Andrew Stanton) Hard not to expect great things from the man who brought us Finding Nemo and A Bug's Life, and he does nothing but meet those expectations with more impossibly adorable, environmentally aware animated creatures. WALL-E is the story of a trash compacting robot, left on earth long after life has ceased to exist on the planet. For over 700 years, he has gone about his business alone, uninterrupted until the arrival of a suspicious new fangled robot named Eve, a robot sent from the "new" Earth to test the old planet's ability to support life. With the cutest animatronic voices, you find yourself rooting for this pair from the beginning, ignorant to the lack of "real" people and anxious to see more. Their journey takes us to the new Earth where they fight for the return of human life to a forgotten planet. It's a gentle way to encourage green living, and mildly reputing people for not taking responsibility for playing their part to protect the planet. With extreme solutions illustrating the potential detriment our lack of concern may lead to, this story inspires garden planting, enjoying the outdoors and of course, picking up your trash. A catchy song helps drive the point home, Down to Earth, by asking "do you feel tricked by the future you picked?" It calls out the human negligence and in turn celebrates the earth for what it is and can aspire to be. A truly heartwarming fable, WALL-E deserves nothing less than its Oscar nod. Perfect for everyone in your family, or all of your friends. Enjoy!

The Curious Case of Benjamin Button

WORTH-IT: (David Fincher) I tend to hold F. Scott Fitzgerald in a certain high esteem. He has an apt to write flagrantly and classically, all the while maintaining an aire of unique beauty, untouched by any other story and impossible to undermine. For that reason, I immediately was curious (no pun intended) of the potential this film held. How would it be possible to carry over such deep emotion and soul, something I find irreplaceable in book to film adaptations? But, curiosity is a funny thing, and my expectations of this film quickly escalated. Luckily, Fincher knew to choose timeless faces like Cate Blanchett, Taraji P. Henson and Brad Pitt; he knew a muted color palette would successfully carry out a feeling of nostalgia mixed with new experience; and at last, he found a way to make a short story into one of the longest movies, yet lacking one moment of monotonous lag. Fitzgerald's gentle voice and unique style completely reveal themselves through Fincher's Curious Case. Fascinating make-up and a soft artful impression leave an avid reader satisfied that much is left to the mind of the viewer, ruining no personal creativity and encouraging liberal sentiment. The story is a true definition of originality. A beautiful love story and one of genuine self-discovery, Curious Case is one not to miss. Prepare yourself for a long movie and revel in the fact that it is a treat to see the story. You'll laugh and you might cry, but overall you'll feel the warmth from the inside that shrugs off a cheesy threat, and wins over your heart.

Revolutionary Road

MUST-SEE: (Sam Mendes) Before seeing this film, you really should fall in love with the book first. Written by Richard Yates, Revolutionary Road is truly an overlooked classic. The story is of April and Frank Wheeler, a young married couple fighting a monotonous threat of sweet suburban life, struggling to hold their relationship (and family) together despite their inner defeat. It's their dreams that suffer in this story, and their constant cry is that the "hopeless emptiness" of the American Dream are draining them of the potential they once had. The only way out, the only way to save their creativity and live happily and satisfied, is to move to Paris and allow themselves to be the interesting, "special," people they really are. Well executed on screen, tiny seams start to rip in this theory and plan. Is it that the couple are now comfortable in the monotony? Afraid of anything but the monotony and that a new exciting life would reveal they are in fact not special or interesting? And at last, are they so brainwashed, stuck in this life for so long, that they actually believe in the potential of this "sweet" and simple life? All of the above fire through Frank Wheeler's mind, brilliantly payed by an also overlooked Leonardo DiCaprio, sending him into contstant question of where he fits best in life. Is he better off here, knowing he is superior? Or is he superior once he leaves, proving his worth by choosing better? He is phenomenal as the tormented Frank Wheeler, able to simultaneously portray innocence and ignorance, enact fury and fear, and roll everything into one lovable, forgivable family man. Leo's ability to play someone so lost, but so confident in each moment, makes his performance one to sting your tearducts, knock the air from your lungs and hope, above all else, that happiness will somehow find this man. April Wheeler is played equally well by a mesmerizing Kate Winslet. Also overlooked by our friends at the Academy, Winslet has the uncanny ability to fire up an audience no matter the moral. As she empties April's eyes of emotion, drains her face of any light whatsoever, she draws fantastic reaction to something deeper, her spirit. April immediately takes hold of your soul, becomes a real person with genuine validity. Together Kate and Leo create a wrenching illustration of some of the saddest creatures ever spoken of. No two others could have served the late Richard Yates so well. His words and his motif jump off the page and onto the screen, leaving nothing out of order, nothing desired, and everything mundane and muted in vibrant implication, as it should be. Truly heartbreaking, Revolutionary Road is worth the gasp it gives your heart. Riveting performances and subtle tragedy make this one not to be overlooked in your own regard.

Frost Nixon

MUST-SEE: (Ron Howard) From the opinions of someone completely ignorant to anything about Richard Nixon and Watergate that wasn't revealed through 1999's Dick, I have to say this movie is incredible. It's a summed up version of the White House scandal, revealed in the questions and answers that took place between David frost and President Nixon in the summer of 1977. Played majestically by Frank Langella, Nixon is believably human, a fragile aging man fighting to keep his political repuatation alive post-impeachment as well as maintain his "presidential" stature. Michael Sheen is TV host and pop star David Frost, adequately matched to a real-life Frost, performing it as naturally as if he were him. As Frost bites off (possibly) more than he can chew with his own reputation's biggest subject yet, Nixon prepares to railroad an inexperienced investigative journalist. The result is an ultimate battle of wits, where the only weapons are experience and confidence backed by a ruthless ability to bullshit. Langella reverberates a calm and defiant demeanor, clamoring Frost's hopes as the interviews skew from an intended direction. Only as Nixon finds comfort and begins to relax does Frost's determination (and threat to go bankrupt) light a fire underneath his team, ultimately cornering Nixon, tiring him out and at last, squeezing a confession for 400 million viewers to see. The film beautifully portrays the emotional ride our nation was on that summer, explaining plenty (for the ignorant few) but leaving the evidence of "character" to your own definition. The loose filming gave it 70s realism, the acting brought it validation. Langella sits high on a list of nominees for this role. Thanks to Ron Howard for delivering a believable, relatable, historical piece to a modern-day society of political curiosity.

Doubt

MUST-SEE: (John Patrick Shanley) On the surface, Doubt is the story of the warm-hearted Father Flynn (Phillip Seymour Hoffman), accused of child abuse at St. Nicholas Catholic School. The deeper story is that of Sister Aloysius, played remarkably by Meryl Streep, who accuses Flynn without proof, without reason, and only with her certainty that he has done wrong. She has her doubts that Flynn is struggling from his first sermon in the film, announcing often people doubt their faith, but without it we wouldn't respect its strength. Aside from his questionable sermon, he openly practices taboos like long fingernails, lots of drinking and allowing himself pleasures of sugar and tobacco which all give Aloysius a sense of urgency to get rid of him. She all but waits for an excuse to take Flynn down. Therein lies motif number 3, as she is limited by the church's authority. Meshing that into the doubt eating its way through the church guarantees a woven play of dark reality. Aloysius says, "In taking a step towards addressing wrong doing, you are taking a step away from God, but in his service." This quote embodies the film's attempt to constantly force the viewer (and the other characters) to question who is right, what are we certain of, and ultimately, what good does it do to know? Amy Adams does a tremendous job as the innocent Sister James, who is the first to suspect Flynn but unconvinced whether or not his taboo acts actually equal wrong doing. She is quickly caught in the middle of her faith's requirements and her heart's belief, in the end not able to sleep at night again. The finger points back and forth, leaving not one scene slow or tedious. Emotions run on high, and if you're left with tears in your eyes or a breath caught in your chest it is the deep deep pathos within this script and the ability our stars have to capture it so immensely. Truly this deserves Academy recognition.