Beginners

MUST-SEE: (Mike Mills) There is no better advice than to see a film with no prior expectations. Just that mindset led me into Beginners with a simple and curious intelligence and in turn, wrapped me up in a snuggly blanket of emotion, love and tenderness so complex that it simultaneously left me hurting and happy. The story is that of a budding relationship between father and son, only occurring much later in both of their lives and not until the father has come out of the closet. His ability to love and speak about love, and therefore teach love, erupts from within deeply altering his son’s life as he’d tried to live it. That familial love story mirrors many variations on the emotion throughout the film, touching any viewer with a genuinely good story. Ewan McGregor and Christopher Plummer have instant chemistry, easily believable as a quirky pair just getting to know each other, despite an already existent and unconditional love. Writer/Director Mike Mills writes this one to cheer and inspire and leave you feeling enlightened in love—no matter your politics, it’s a guaranteed treat.

Trivia! Did you know Mike Mills is married to one of my filmmaking idols, Miss Miranda July?!

Look for the review in Insite Atlanta's June issue!

Morning Glory

MUST-SEE: (Roger Michell) If there was ever any doubt that Rachel McAdams was America’s new sweetheart, Morning Glory bids it farewell forever. She plays Becky Fuller, an energetic, hopeful and undeniably adorable new executive producer, taking the reigns of a dying morning show to desperately try and breathe life back into its dysfunctional, yet lovable, TV family. She struggles to balance the stress of work with the threat of losing her reputation, at the same time doing her best to fall in love (with “smokin’” Patrick Wilson, no less). And not only does she run the show, she does it alongside movie powerhouses Diane Keaton and Harrison Ford.

Keaton plays morning show favorite Colleen Peck (Diane Keaton) and her new (disgruntled) co-host, is Harrison Ford playing Mike Pomeroy. Keaton’s Peck does anything she can to stay on top (including practicing a diva attitude) while Ford’s Pomeroy is less than enthusiastic about his new gig and not abashed to show it. Egos collide for a comical moshpit of monosyllabic news bits and cheesy community coverage, everyone fighting the battle of news versus entertainment.

It’s any executive producer’s nightmare—left third in command behind egotistical anchors, but somehow Fuller steers the chaos into something worth saving. McAdams is funny and real, irresistible as the lead and powerful enough to carry this film up and over its conflict, leaving its story melting in our hearts forever. You’ll leave wanting to follow your own dreams, and kick up your heels doing it. Romantic comedy pro Roger Michell pulls out all the stops for this roller coaster ride of cuteness that just escapes a chic flick label and instead takes its place in a long line of soon-to-be classics we’ll be watching again and again.

Erin Brockovich

MUST-SEE: (Steven Soderbergh) Well, this is an oldie - yes... but if you know me at all, you know I have a long list of stuff I should have seen years ago. In my defense, this movie came out when I was too young to see Rated R movies, this one apparently too provocative (i.e. the way EB dresses).

But, alas, many years later... It came on television one rainy afternoon (and, let's be real - this one is always on television), and I settled in for what turned out to be a riveting and unforgettable story. That story is of the real-life Erin Brockovich - a single mom working for a local lawyer to pay off her legal fees from an accident case. Wearing mini skirts and low-cut tops, Brockovich struts through the corporate world, raising highbrows higher than her heels, but somehow making a reputation for herself that stretched beyond those hemlines. Given a menial task by her boss, she uncovers a multi-million dollar case against P&G. Apparently, their plants leaked fatal chemicals into the city's water system, exposing hundreds of families to life threatening diseases that would be carried through generations.

A true David versus Goliath fight, Brockovich claims a right-hand seat to steer the case for the benefit of the people, inspiring her own colleagues to fight for humanity. Its a story of love and loss and keeping your head up... as well as sacrifice and compromise. Brockovich puts it all on the line (family, love, reputation, her job) to reach a hand out to the people of this unfortunate town, proving that you can mix love and business.

I know most of the world has seen this flick, but for the minority out there - I encourage you to put it on your list. It's inspiring and fascinating, both a tremendous performance from Julia Roberts and a well-adapted screenplay. I wish movies were still this unique!

New Moon

WORTH-IT for Twilighters: (Chris Weitz) Well, it's the second installment of the infamous Twilight saga, this time with a new director, a beefed up cast and overseas cinematography all working to try and overshadow that the truth of the matter - nothing is really going on. I mean, stuff happens, yes. The Cullens say goodbye to Forks, Jacob turns into a werewolf, and Bella leads him on romantically while living adventurously to get Edward back. Its teen angst at its peak... unfortunately all the little things going on lead nowhere (and just wait, there are till 2 more movies until the ending!). It's the curse of a saga. You're doomed with the rising action only. There's no climax, so in essence, no excitement or closure. Be reassured though, our young teens are learning to act, and with the director change, a missing spark was definitely found. It was a huge improvement over the excessive awkwardness encompassing Twilight #1, feeling more like a movie, and less like an audible illustration. Special effects were nicely done and Dakota Fanning was a good surprise. All in all, I enjoyed this one much more than Twilight, but can't recommend it to anyone who wasn't a fan of the novel. It holds no clout as a stand-alone movie and watching these actors learn to do their jobs is not something to waste your time doing when the movie offers no enjoyment on its own. So, bottom-line: Twilight fans - this is a much improved second installment... you should see it, and I am willing to bet you'll be much more satisfied with this one...

Crazy Heart

WORTH-IT: (Scott Cooper) I keep talking about movies that have really surprised me. I'd made a bad habit of forming opinions too early based on predictable trailers and was limiting my cinematic exposure in doing so. But, with all the flicks thus far that I keep saying that about, I've really got to kick that. Crazy Heart was one I was anything but excited to see. The preview made it look like The Wrestler (which I loathed) and it was all about country music (another thing I hate). Throwing Jeff Bridges into the mix did even more of nothing for me... Sorry guys, he's just way before my time. So, with all my low expectations, sure enough, the reviews came in, and it was the movie to see. Critics claimed Bridges was "unbelievable" and Maggie Gyllenhaal had a sure-fire nom come Oscar time. The more I heard, the more curious I became, and actually will admit that when I did make it to the theater, I really was feeling pretty apt anticipation.

Well, it fulfilled the media-ensued expectations. Bridges was incredible, making a sad, hopeless man into an endearing protagonist. Despite that I have never seen him in a movie (I know, I know, I have work to do) he immediately won me over an had my vote for his Oscar nom. Maggie G. (my #1 girl) tagged along perfectly, bringing an otherwise minor role to life as a bright-eyed yet weathered, young reporter. An unlikely match on-screen, the duo make this relationship believable and genuine--one you root for knowing full-well what's actually good for them.

Even the music was pretty noteworthy. Despite a questionable choice in casting Colin Farrell as the up and coming music star (I mean, really. Colin Farrell will never pass as a country music star. Never. It was painful and hilarious all at the same time.), the music they wrote for this film sticks with you. It's universally just good music, something that I can imagine myself listening to with all the windows down, blah blah and all that stereotypical shit. But, it's not shit - it was impressive, unique, enjoyable and something I'll definitely download to keep enjoying it.

I urge everyone to put this on your list to see. Music-lovers, it's a no-brainer. Everyone else, it's actually a well-told story and a damn good movie so don't pass it up.

An Education

MUST-SEE: (Lone Scherfig) This has to be one of my top picks from the list of Oscar noms this year. An Education is a superb story about a mature young woman intellectually polished and preparing for Harvard, yet unsatisfied with what the world at present has to offer. But Jenny's vanilla perspective of the world all begins to shift when she is charmed by the dapper (and much older) David, who opens up doors for her to experience the world's culture of fun music, rare arts and constant travel. To Jenny, this is what she's been waiting for, and inevitably, this is what tempts her to teeter from what Harvard studies could yield her versus how life experience would entertain her. She dives head first into this new, "officially mature" life, surprisingly blessed by her parents (although shunned by her educators), to get the most out of every day. The film is funny and real, innocent, yet wise, and touching to the point of teary eyes. Carey Mulligan creates Jenny to grab at your spirit, forcing you in and out of the story and convicted along with her decisions. She is convincing and ravishing, blowing your mind as she transforms easily from drab and conservative 16-year old to poised and elegant woman-of-the-world. The story hits ups and downs, but is never dull. In the end, you'll leave uplifted, reassured and entertained. Don't miss this quirky piece - a raw life lesson and educational romance.

Coco avant Chanel

MUST-SEE: (Anne Fontaine) I'm a sucker for a period piece. I also adore vintage fashion and French films. In Coco Before Chanel, all my favorite things are rolled into one romantic fashion-forward fairytale. The story begins in a nightclub where Coco and her sister perform cheesy song and dance for pocket change, living in cramped quarters and dreaming of stardom amidst sweaty suitors and dirty dresses. But plans change when her sister meets a gentleman and moves away, halting the dynamic duo's dreams and forcing Coco to pursue her a future on her own. She ends up as a hidden muse on the estate of the wealthy Etienne Balsan - an infamous host of wild parties, tremendous imbibing and fabulous (in his opinion) material things. Coco, ridden to the shadows, spends her time perfecting her hat-making hobby and sewing new clothes, grabbing attention despite Balsan's attempts to keep her a secret. With her androgynous outfits and trendy chapeaus, she lights a fire under the staple trends, building a reputation for herself with each stitch. Squeeze in a long journey of love and heartbreak and you end up with Coco Chanel - the only woman ever to own a professional powerhouse in her own name.

Audrey Tautou plays Coco as a spunky, independent and sardonic woman. Serious about her own interests and eager to impress, but unwilling to compromise, Tautou rounds out Coco as a woman to envy - both professionally and spiritually. The film plays through lightly and genuinely - remaining entertaining and visually stimulating. You'll enjoy it if you're into the aforementioned things I love. It's whimsy and stylish, and a story woven together as easily as Chanel's hats. It'll inspire you to stick to your dreams and polish your talents, proving that you can never underestimate what you are capable of accomplishing. Enjoy this one!!

The Last Station

MUST-SEE: (Michael Hoffman) What a surprise this film is! If you're a loyal reader, you know period pieces are my passion. But I assure you, that bias plays no part in my love of this story. My only regret is I failed to read the book first. The Last Station is the tale of Leo Tolstoy and his family and following at the end of his life. Amidst the Tolstoyian Movement, it was an era of love relating all people, religions and beliefs. It was about ridding your spirit (and life) of excess, going back to the basics and living happily without material distraction or influence. It preaches numerous things, but the success of this piece is that it humbles itself. To the very end, its unclear what parts of his doctrine Tolstoy himself actually takes literally.... in the end suggesting that the way the greater population understood them was in fact, incorrect. As a man of simplicity, but filled with love, he acted, thought and persevered with only that as motivation. And, it was contagious. Modest and warm, he earned a friend with each meeting. Christopher Plummer translates this warmth easily. And don't expect to watch this movie without a smile. The chemistry between him and Helen Mirren is electric, believable. Second to that, James McAvoy and Kerry Condon are an instant romance - innocent and undeniable, their relationship the future of what Leo meant his Tolstoyian love to teach. Love story lovers, period piece fanatics and literary minds--don't miss this one!

The Imaginarium of Dr. Parnassus

WORTH-IT: (Terry Gilliam) For anyone who doesn't know, Gilliam's twisted, fantastical, devilish Imaginarium was the late Heath Ledger's last acting gig. He passed before filming was complete, leaving Gilliam with his tall tale unfinished--and no lead. He and co-writer Charles McKeown sat back down to re-work round 2, bringing in Johnny Depp, Jude Law and Colin Farrell to split Ledger's character. Although hard to imagine how one could simply substitute faces and expect it to work was questionable in my mind, but the duo did it, and flawlessly no less. Depp's appearance even gave me goosebumps (yes, this might be a little based in bias)- he does a fantastic job and leaves shoes too big for either of the other Ledgers to fill. And though I won't spoil how he does it, their creativity amazed me. No one would know an actor died halfway through the story.

To give you a little background, the imaginarium is a magical world completely fabricated from literally, your wildest dreams. One simply steps through the mirror and basks in every one of their fantasies come true. Its a journey of rediscovery and liberation, helping save souls and clean up bad eggs. Yes, the lines are fuzzy and not a lot makes sense, but we've come to expect that with Mr. Gilliam, haven't we? So, we're going with it.

The selling point for this film is the candy land carnival brought to life on screen. Bright colors, cartoon people and chocolate rivers making it a big top of entertainment wrapped up in two hours. The nonsense matters little, really... at least not to the general public. In my opinion, it doesn't have to. Life is nonsense often, dreams certainly don't make sense, and ultimately it's the what-ifs and the fantasies that make the journey so interesting. See this film to laugh out loud and exercise your imagination, while challenging your youth and spirit. We will surely miss Heath Ledger, as this script added to a short set of films just beginning to explore the depth of talent the young man had.

NINE

ALMOST: (Rob Marshall) Daniel Day-Lewis, Marion Cotillard, Penelope Cruz, Judi Dench, Nicole Kidman, Fergie, Kate Hudson, Sophia Loren... just a handful of reasons not to ignore this musical. Unfortunately, I can't say much for it's credibility as a great movie, because it lacks the fluidity to be an impacting story. But, the performances are good enough to enjoy it simply as a musical mosaic and not worry with whether or not the story actually makes sense. That last part may be unfair - I do understand that its the story of a famous Italian director (Day-Lewis) who has fallen victim to the film making industry. He gave his all to his work and his leading women, (ignoring what his mother taught him) and left nothing for himself or his wife... in the end losing everything. Simple enough. But, I stress, this motif falls flat. It's not at all about "Guido's" struggle to make a film. For me, it was the tremendous effort on the part of this film's stars that made it something worth seeing. Kate Hudson (looking more and more like Goldie) is unlike you've ever seen her before. She rocks. And she sings, dances, seduces... Fergie does what she does best. She is the sexy, elusive man-eater, singing and dancing in what is my personal favorite scene ("Be Italian"). Penelope (what made her earn the only nomination?) strips down and spreads her legs rolling around in the curtains. She's slammin' (and from what I hear, now bruised) in this role, adding another hold-your-breath scene to the flick. Cotillard is most-memorable, showing us fire and ice in her acting repertoire--first as the innocent and overlooked wife, and second as the star her husband never let her become (a passionate striptease with high notes). Dench surprises us with a powerful voice and vamp personality. And, Kidman makes a short, but glamorous appearance as the industry's "it" gal. I'm starting to ramble, so I hope you're getting the picture. I was overly impressed with the abilities of these ladies, especially in a cinematic era almost completely depressed of raw, theatre talent (No, Jennifer Hudson - I haven't forgotten you!). They're phenomenal--memorable and deserving of ample recognition. Bravo to the composer and choreographer. The song and dance truly is magic on screen.

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.

Powder Blue

ALMOST: (Timothy Linh Bui) Well, there is usually a reason when films go straight to DVD. Basically: It's not good enough to make people pay $10 for. Powder Blue is actually not good enough to make people pause life for its measly 106 minutes. Now, don't get me wrong, this film has some redeeming qualities that kept my machine playing. Forest Whitaker delivers a suspenseful and heartbreaking performance and Lisa Kudrow peaks into the plot as a refreshing quirky personality. And, while the storyline involving these two is minimal and secondary, it is by far supreme. Jessica Biel and Ray Liotta play the mainstream, an ill-matched customer-stripper with an unexplained relationship reaching deeper than what either admits out loud. Honestly, I didn't really care. Biel over acts her way through sweaty dancing and rainy sidewalks (an atmosphere also over done). Liotta has few words, yet relies on the same stoned facial expression for his entire appearance. In the end, I can't really say what this movie was about, what its bottom line was, or even how the title related. I was tempted to watch this movie because of the build up--now I ask, why was it even worth mentioning?

Away We Go

MUST-SEE: (Sam Mendes) Maya Rudolph and John Krasinski star as Ramona and Burt in this immeasurably adorable flick about two young lovers expecting a little one and trying to find their place in the world before it comes. It starts off light-hearted and comical, just skimming the edge of sincerity and sentiment. But then, the couple says goodbye to their only set of would-be grandparents and has to stop the car on the side of the road to let out frustration. Is this the pivotal fight making it the drama it claims to be? Nope. Just a sigh and a deep thought from Verona before picking at Burt until his struggles to make her laugh win out and as the audience, we are left smitten for a truly candid couple, ignorant to the world's judgement and dependent on a positive wing of fate to lend their survival. Their love is a unique gesture--one often underestimated here in our real world. They're frank. They're quick about their frankness. And, they've got their entire life packed in a hatchback to take across the US in search of the site for their perfect home. It's a labyrinth from here--a scurry to visit all the places where either family or friends have once described the bliss found in that particular city. From Madison to Phoenix to Miami, their little journey runs them through kooky pastimes and even stranger people. They face sadness and disappointment, are reminded of old scars and end up facing each other, wondering if this is something, if this life is something, they are really cut out for. Writers Dave Eggers and Vendela Vita bring us solid emotion as it plays out for the real people. Real fright and real issues standing in the way of happiness are put up against a kind of love unmoved by life's tragedies, and for sure not trivial consequences. They illustrate fine ordinary people moving about their way, but doing it with such an unspoken grace, one almost unrecognizable, that by the end you're gripped, hypnotized by the the tender relationship you're watching grow on screen. Believe me, I let the tears rain on this one. It catches you off guard, literally warms your heart and soul. Your emotional ups and downs are so deeply opposed that the overwhelming ride is one unfit for nonchalance. This is serious stuff, seriously good stuff. Don't miss it.

Yes Man

WORTH-IT: (Peyton Reed) From the director of The Break Up comes a Jim Carrey film that one hundred percent mocks Liar Liar, but one hundred percent entertains, again. I cannot emphasize how much this movie is like it's 1997 predecessor, but I also love that even with that complete unoriginality, it absolutely entertains. Carrey has been on a field trip doing serious films to balance out his Ace reputation (no doubt), but for his truest fans, Yes Man brings back the over-enunciating funny man that we knew and loved. Accompanied by Zooey Deschanel and Bradley Cooper, this is the story of a soon-to-be-recluse stepping out of his comfort zone to get over his ex and start living life again. With the help of a long-lost friend (John Michael Higgins) he adopts a program where all he can do to anything is say, "yes!" So, in the spirit of any Carrey personality, it's immediately taken to the extreme and too literally, setting him off on a journey of love, a promotion, new friendships, and then, eventually, jail. Between nights of too many red bulls and spontaneous trips across the country, lessons are hard-learned and relationships are tested. I am sure you can guess whether or not he makes a full recover and all is well, but I wouldn't want to spoil a movie you haven't pretty much already seen (in 1997). The bottom line here, is that if you run across this film, it's hilarious and you're in for a laugh and a much-needed dose of Carrey-humor, and who can resist Deschanel singing? But don't feel like you have to rush out to watch it. It's a treat, but it's not a treasure.

Last Chance Harvey

WORTH-IT: (Joel Hopkins) Now here is a story for the masses. An unusual love story of two adults, late in life and way past cliche. Dustin Hoffman and Emma Thompson play Harvey and Kate, introduced by chance in Heathrow Airport and inevitably akin. Nominated for 2 Golden Globes this story is refreshing, comedic and heartfelt, unlike the romantic comedies of its time. Harvey, an outcast in his own family, on the verge of losing his job, and facing a scary realization that he might actually be all alone meets Kate. She is a spinster who hangs with her mother and take surveys in the airport. Both intolerant of daily bullshit, but subconsciously yearning for something more than what they've made, their chance meeting takes them from making fun of each other to endless conversation and chemistry. Two of Hollywood's most congenial characters merge here, taking with them immediate fans in the hearts of their audience. The film goes by fast, meets all expectations and leaves you with a smile on your face and sparkle in your eye (most likely from a tear). No regrets from watching, although you must know there are also no big performances or life-changing story lines. It's simple life brought to the big screen, and it's in just that candor that the charm of the film wins out.

Marley & Me

WORTH-IT: (David Frankel) Based on the memoir by John Grogan, Marley and Me is the story of two young journalists making a life (and a family) in South Florida, accompanied and made more entertaining by the world's worst dog. What began as a test for potential parenthood turns into a life-long attempt to break a golden retriever with genetic defaults to misbehavior. Owen Wilson and Jennifer Aniston find chemistry to play to John and his wife Jenny, bringing their girl/boy next door reputations to play the conservative and lovable Grogans. Where there is nothing tremendously special about this film (and no actual plot) who doesn't automatically appreciate the story of a family's love for it's pooch. Readers of the memoir know the writer is keen to recruit fans, telling his stories honestly and with genuine humor almost everyone can relate to at one point or another. And because his story is so normal, it's easy to get lost in the relationships. Just because we don't know them personally, they are real people and people who are going through one of life's most popular growth spurts. Know that you'll laugh a lot, but be ready for an emotional roller coaster. When it involves a four-legged family member, there are no doubt attachments made that are hard to break (and even harder to watch break). Fortunately, this no-plot film is a beautiful illustration of Grogan's work, and a light-hearted way to enjoy a couple hours. Don't expect Old Yeller (real-life can only offer so much!), but it's better than Air-Bud.

He's Just Not that Into You

ALMOST: (Ken Kwapis) Another film watched on the plane, this one guaranteed not as good elsewhere. Although a cute story - comical, light, honest - He's Just Not That Into You leaves a little to be desired. Packed with fun names, Aniston, Affleck, Barrymore, Johannsen, Bradley Cooper, Jennifer Connelly, Justin Long, Ginnifer Goodwin, etc. etc., it's a playground for watching our girl-next-door favorites evoke flat, hormonal and otherwise typical people of the world. Now, don't get me wrong, I enjoyed watching this film. I was entertained by the hilarity of actually knowing people like the stereotypes they offered. The writing was funny. The lives were believable, and let's be honest, the point of this book/film is undeniable. Some people are clueless, and therefore, desperate, and by illustrating it for the world, it's also extremely funny. But what I am left with after the jokes and the aha! moments is a sense of nonchalance towards the futures of any characters besides Jen and Ben. ( I can't help it, I will always be invested in Jennifer Aniston's characters, because she is ultimately Rachel... forever) The other lines were simply flat, annoying after the meat of the movie was over, and I admitted that I really didn't know them, so I didn't feel more than slight sympathy for anyone. Yikes. Don't mean to be heartless, but after watching, you've got to admit, our writers never quite gave us a deep enough introduction into any one's lives for us to believe hearts were broken or lives were altered. Ginnifer Goodwin's chatty Gigi was the closest I came to "knowing" anyone, and therein lies the wonder of dialogue, but she lives alone in that category. She reign supreme, but at the fault of no one else--they simply weren't given anything to go with. So, catch this one if you're bored, need a laugh and have money and a couple hours to spend. Nothing special or fantastic, but sufficiently entertaining and just funny enough.

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.

Vicky Christina Barcelona

MUST-SEE: (Woody Allen) Bravo to this stupendous film! Penelope Cruz, who never disappoints me, enters this film and 100% steals the show--much to my satisfaction (and her own, Congrats on the statue). Her rapido Spanish eloquently fills in the lines of a love story much unlike anything in the eyes and/or experience of a traditional sap. Take two American grads, on the summer vacation of a lifetime, living free (literally) in Spain before their real lives begin. One is a sane, rational and engaged practical played by Rebecca Hall (The Prestige) and her best friend (and counter personality) is Scarlett Johanssen, playing her God-given roll as the seductress--this time paired with qualities such as "dreamer" and "muse." She and Hall's girlfriends both find themselves in the middle of a whacked-out love triangle, or in this case, maybe more like a rhombus, as the lines often sway. Penelope is wildly appealing as a mentally disturbed ex-wife. Javier Bardem (No Country for Old Men) juggles multiple women with such aire and nonchalance that his bowl-cut killer is long forgotten. His voice has a dark chocolate milk quality to it that both soothes and intrigues, easily placing him as the master of the fiery trio in this story. The film is fun, quirky and a little abstract, but proves life is lived at its utmost when you can forget yourself for a minute. Vicky Christina opens new doors and illustrates a fascinating liberation that our brilliant Woody Allen executes in uniquely romanticized ways.

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.