This page contains Dave's reviews of films seen from October through December 2009.

“A Single Man”: Every once in a while I see a movie that fits into a sub-genre I like to call “film school material,” which is a film so good and so thought-provoking that it is worthy of essays and deep discussion. Tom Ford’s “A Single Man” is such an example. Based on the acclaimed 1964 novel of the same name by Christopher Isherwood, “A Single Man” is the story of George Falconer (Colin Firth), an England-born, Los Angeles college professor who has reached a crossroads in his life. Eight months earlier, Jim (Matthew Goode), his partner of 16 years and seemingly his entire world, was killed in a car accident. We learn of this, and other moments from their relationship through flashbacks. Jim was the great love of George’s life, but now he’s gone and it’s questionable if George will ever recover. George does have his good friend, Charley (Julianne Moore), who, once upon a time, took their friendship a bit further, but was ultimately rejected. Her next step was a loveless marriage to someone else that ended in divorce, followed with the empty solace of unrequited love and plenty of booze. And she’s just about all George has left. His English course has become erratic and boring, which doesn’t go unnoticed by one his students, a young man by the name of Kenny (played by Nicholas Hoult from “About a Boy”), who takes a special interest in his teacher and could possibly give the much older man a fresh reason for living. “A Single Man” was directed and adapted from Isherwood’s novel by the successful fashion designer, Tom Ford, who makes a very impressive debut as a filmmaker. Ford’s ‘day job’ seems to aid in the overall look of the film, which was created with the assistance of the set designers from the acclaimed television show, “Mad Men,” which is fitting given the 1962 setting of Ford’s film. He fills “A Single Man” with meticulous shots, beautiful scenery and spot-on details that are consistent with the era. Ford does straddle the edge a little with his stylistic flourishes, but it’s usually fitting for the particular mood of the moment. The gorgeous cinematography is courtesy of Eduard Grau, and composer Abel Korzeniowski provided the film’s memorable classically-themed score. Both men, like Ford, are relative newcomers to major cinema, but it’s clear they are talents that will be heard from again. At the heart of “A Single Man” is Colin Firth, who is remarkable as George Falconer. He not only convincingly conveys the pain of loss, but of a man who just lost his coping mechanism -- and he does it almost all internally and without registering a false note.  It's an astonishing performance.  And it would be easy to dismiss Julianne Moore's character as annoying, but Moore seems to take snippets from her previous roles in films such as in "Boogie Nights" and "Magnolia,” and channels them into Charley, the sad alcoholic who clings to George with hopes of rekindling something that was never real.  Lastly, there's Nicholas Hoult as George’s mysterious student, Kenny. It’s a fairly quiet part, but it’s a half a world away from his child star roles of the past. It all adds up to a stylish and moody film that doesn’t have to say much to communicate its message. “A Single Man” is one of the best films of 2009. **** (out of) **** (12/28/09)

“It’s Complicated”: Writer-director Nancy Meyers has carved out a very nice career making movies about adult relationships. Her films over the past 30 years have ranged from “Private Benjamin” and “Baby Boom” (both co-written with her ex-husband, Charles Shyer), to “Something's Gotta Give.” Her latest is “It’s Complicated,” and while on the surface it appears to be a Hollywood romantic comedy (not exactly my favorite film genre), it has a fine coat of polish that separates it from other movies of its type. “It’s Complicated” stars Meryl Streep as Jane Adler, a successful Santa Barbara bakery shop owner, who, ten years after her marriage to Jake (Alec Baldwin) ends, finds herself missing some of the normal things she experienced during her marriage like…basic companionship. Jake, louse that he is, cheated on Jane years earlier with Agness, a much younger woman (played by Lake Bell), who turned around and cheated on him, and even had a child with the other man, but that didn’t stop the needy Jake from marrying her anyway. And though he has remarried, Jake has stayed in Jane’s life for the sake of their three adult children. It’s the occasion of their youngest child, Luke’s (Hunter Parrish from “Weeds”) college graduation that brings the whole family to New York City, where a very inebriated Jane and Jake rekindle their long-abandoned romantic relationship. It’s also at that time that Jake realizes what he’s been missing all those years. Jane, however, sobers up and wonders if she can endure being the ‘other woman’ she has resented for all those years, or if she should respond to the innocent flirtations of her architect, Adam (Steve Martin). “It’s Complicated” succeeds on several levels. Its casting is brilliant, with one talented actor after the other. Meryl Streep gives her usual great performance, and the white-hot (and formerly-annoying) Alec Baldwin is perfect as the misguided, but well-meaning ex-husband. Steve Martin is, well, Steve Martin. He isn’t given a ton to do in his smaller role, but he is fantastic in one party sequence in the latter part of the film, and you do root for the guy. John Krasinski from “The Office” does his best to steal his scenes as the future son-in-law who stumbles upon Jane and Jake’s secret affair. But the best part of “It’s Complicated” is Nancy Meyers’ direction and script. She keeps the situations humming along and the story flowing, and the laughs seem to happen naturally. And I especially liked how the ending was, well, complicated. It would’ve been easy to give her film the requisite "Hollywood ending,” but she resisted, leaving her audience to reach their own conclusions. “It’s Complicated” is a breezy little comedy that’s well-made and very entertaining. *** ½ (out of) **** (12/27/09)

“The Princess and the Frog”: marks a return for Disney to its animation roots. Told fairytale-style and set in New Orleans during the 1920s, “The Princess and the Frog” is the story of Tiana (voiced by Anika Noni Rose), who, thanks to her late father, has long chased the dream of owning her own restaurant. Her best friend, Charlotte’s (Jennifer Cody) dream is to marry a prince. Charlotte has a chance to make that a reality when Prince Naveen of Maldonia (voiced by Bruno Campos) comes to town. Fate intervenes, however, when a con-artist named Dr. Faciler (Keith David) turns the prince into a frog, and the “wrong girl” gets kissed. “The Princess and the Frog” is all the things that are good about Disney films. It has simple, but clean animation; a hokey story with plenty of talking animals and silly sight-gags, and an ‘awww’ ending. In other words, it’s a good, clean time at the movies. “The Princess and the Frog” was co-written and directed by Ron Clements and John Musker (also responsible for “The Little Mermaid” and “Aladdin”) who took full advantage of their film’s New Orleans setting, using (and re-using) every conceivable stereotype related to the famed town, but that also included a good time had by all, which, if you have the slightest soft spot for Disney films (I do), should be your reaction after watching “The Princess and the Frog.” *** (out of) **** (12/24/09)

“Avatar”: Several years and millions of dollars after the success of his film “Titanic,” writer-director, James Cameron’s latest film, “Avatar” has finally been released. I’m giving this the announcer introduction because this movie is kind of a big deal. Its budget was one of the largest ever and the hype says it will change the way we look at movies. Did it? Well, I was certainly watching very closely through those 3-D glasses and what I saw should be upsetting to some people, but not necessarily this viewer. “Avatar” takes place in the middle of the 22nd century and is the story of Jake Sully (Sam Worthington), a disabled man who is given the chance to stand in for his late, identical twin brother, Tom, who had spent years as a scientist for a military company (think Blackwater), helping to develop a program that enables people to interact with the creatures that inhabit the planet Pandora. Jake would be able to walk freely around the planet, something he is unable to do in his present condition. Despite the reservations of some of the team (including the head scientist, played by Sigourney Weaver), the inexperienced Jake takes the opportunity. The military outfit, which is run by a sadistic Colonel named Miles Quaritch (Stephen Lang), has bigger ulterior motives for wanting to get to know the planet Pandora – motives that aren’t immediately apparent. “Avatar” is a very, very good-looking film and probably deserves to walk away with many technical awards, but at its heart, is still a pure Hollywood film. The dialogue is clunky and the plot is ridiculous and is not-so-subtly filled with ideologies that likely match that of its filmmaker, but will divide his audience, depending upon where the film is viewed. Having said all that, I have to admit I personally agree with much of that ideology, but I think this could’ve been a better film if James Cameron saved his opinions for the cocktail parties and not as part of his blockbuster film. The performances in “Avatar” were also very average (if that), leaving us with a gorgeous film with a well-meaning message, but little else. If any of the above still appeals to you, see this film. If not, don’t. ** (out of) **** (12/20/09)

“Invictus”: Matt Damon plays South African rugby star, Francois Pienaar, and Morgan Freeman is famed leader, Nelson Mandela, in Clint Eastwood’s “Invictus.” It’s 1995 in South Africa and newly-elected President Mandela is searching for a way to help heal the great racial divide that still exists in his country after the end of apartheid. He finds what he believes is the solution through his nation’s participation in the rugby World Cup, a lesser-known event to its soccer counterpart. Pienaar is clearly his country’s best player, so Mandela reaches out to him to help sell the event to the black community. Pienaar, despite being surrounded by ‘old school thinkers,’ recognizes the moment and shows compassion for the man and for what he’s trying to achieve. Morgan Freeman is absolutely wonderful as Nelson Mandela, which is fitting since it was Mandela who insisted that Freeman play him. And Matt Damon as Pienaar, is terrific as the athlete who feels a little extra weight on his shoulders now that he needs to do more than just win a match for his country. Clint Eastwood, directing Anthony Peckham’s adaptation of John Carlin’s book, takes the human interest story and turns it into more of a sports movie. Ironically, in the recent film, “The Blind Side,” I was surprised (and pleased) the filmmakers did the opposite with their story. It generally works in “Invictus,” but I would’ve appreciated a little more Nelson Mandela and a little less ‘big game.’ Still, there’s plenty to enjoy about this film. *** (out of) **** (12/13/09)

“Fantastic Mr. Fox”: Wes Anderson’s films are definitely an acquired taste. The man behind “Rushmore” and “The Royal Tenebaums” (among others) is practically worshipped in some circles, but this film-lover just doesn’t get it, well, until now. With the stop-motion animated film, “Fantastic Mr. Fox,” the eclectic writer-director has made his most complete film. Mr. Fox (voiced by George Clooney) is a fox. And as a fox that happens to live near a chicken farm, it is his natural instinct to steal chickens. He is aided in his raids by his wife, Felicity Fox (Meryl Streep), well, until she becomes pregnant with Ash (Jason Schwartzman) and tires of the dangerous lifestyle. She encourages her husband to go into a less risky line of work, so Mr. Fox becomes a newspaper columnist and moves his family to a portion of a tree in the woods. Their home just happens to be near the three largest farmers in the area: Boggis, Bunce and Bean – one short, one fat, one lean -- or so goes the beloved Roald Dahl children’s book upon which this film is based. Fox and his opossum sidekick, Kylie (Wally Wolodarsky), can’t resist the lure, and despite the warnings from the Mrs., stage raid after raid, which only infuriates the three farmers, who band together to try to take out the Fox family and their friends once and for all. Once again, Wes Anderson plays upon the eccentricities and various dysfunctions of family, and the medium of stop-motion animation seems to suit his agenda well. The process allows his ideas to blossom more freely and with greater ambition, and his trademark running jokes are given greater life and a larger edge (and include a very clever way to get around the film’s PG rating.) His screenplay adaptation (co-written with the great Noah Baumbach) is terrific, maintaining the heart of Dahl’s book, while still providing Anderson and Baumbach enough creative freedom to effectively add their own ideas. I’ve never been one to overstate the importance of having the right voice in an animated film, but George Clooney’s Mr. Fox just wouldn’t have worked with, say, Wallace Shawn (sorry Rex the Green Dinosaur!). Clooney is smooth and deadpan and, well, fantastic as the sly Mr. Fox. In addition to the previously-mentioned Meryl Streep and Jason Schwartzman, other voices include Bill Murray as the Fox’s badger lawyer, Michael Gambon as Bean, and Willem Dafoe as Rat. Composer Alexandre Desplat provided the very memorable score. As I mentioned in my review of “Coraline,” I’m not a big fan of stop-motion animation, but two of the better films this year happen to use that medium, so I guess it’s time to re-evaluate that opinion! I had tempered expectations for “Fantastic Mr. Fox,” but Wes Anderson’s movie blew me away. His film is virtually flawless, with one pitch-perfect scene after the other, and I just couldn’t stop grinning throughout its 87 minute running time. This is one film that truly lives up to its title. **** (out of) **** (12/11/09)

“Precious”: is based on the novel, “Push” by Sapphire. Her story is centered on an obese 16 year-old girl named Claireece “Precious” Jones (Gabourey Sidibe), who is about to give birth to her second child by her abusive, drug-addicted father . The revelation that she is pregnant again is enough to get her permanently dismissed from her Harlem public junior high school, but her principal (played by Nealla Gordon) is caring enough to recommend an alternative school, “Each One, Teach One,” to help teach the bright, but illiterate Precious how to read and write. None of this sits well with Precious’ mother, Mary (Mo’Nique), who views her daughter and grandchild as a constant welfare check, and education as an obstacle. Mary has always thought of Precious as a threat. Her physical and mental abuse of her daughter is partly borne out of her delusion that Precious is trying to steal “her man,” when she knows that man – her boyfriend and Precious’ father -- is really raping their daughter. Precious eventually connects to the school -- and her teacher, Ms. Blu Rain (Paula Patton), who gives her good attention and compassion -- something the young girl had lacked in her life. The school also serves as some sorely-needed positive reality and a healthy substitute to the fantasy world to which Precious finds herself escaping whenever the harsh sadness of her day-to-day loudly announces itself. “Precious,” as the title suggests, is about the girl and less about the school and what it can do for her. This is what separates director Lee Daniels’ film from the “Stand and Deliver,” “Dangerous Minds” genre. Daniels and his screenwriter, Geoffrey Fletcher, took Sapphire’s novel, which was based on the author’s experiences as a literacy teacher in Harlem, and focused on Precious. The result is an extraordinary film that is both painful to watch, yet hard to avoid. It is certainly arguable that Daniels’ film does little to extinguish certain negative racial stereotypes, but there’s still no looking away. Subliminally, Daniels also uses Precious’ fantasy world sequences as a device to temporarily lure us, the viewers, out of the often harsh reality of the story that’s before us on the screen. It’s a powerful and effective method that also reminds us that we can retreat back to our worlds when the film is over, but the character in which we’re being asked to invest our emotions, cannot. It’s Gabourey Sidibe’s humbling performance as Precious that draws us, but Mo’Nique is the actor who commands our attention. She is thoroughly mesmerizing as the abusive mother who is hiding some heavy pain of her own. “Precious” also benefits from a strong supporting performance from Paula Patton, and entertainers Mariah Carey and Lenny Kravitz are also excellent in extended cameos. “Precious” certainly qualifies as one of the bleakest films you’ll see this year, but it’s also one of the best. *** ½ (out of) **** (12/5/09)

“Brothers”: It’s not often that I see a film that contains two scenes totaling maybe five minutes that qualify as some of the best written, directed and acted five minutes in cinema this year. Those scenes, both set around a dinner table and about an hour apart, are nearly flawless in their execution. It’s too bad the rest of the film surrounding these scenes is mostly clichéd-filled and nothing special. “Brothers” stars Tobey Maguire and Jake Gyllenhaal as brothers Sam and Tommy. Sam is a captain in the Marines and is preparing for a tour in Afghanistan. Tommy is an ex-con and family screw-up, much to the chagrin of his domineering father (played by Sam Shepard), who served in Vietnam, also with the Marines and is proud that his son, Sam is continuing the tradition, but is very disappointed in Tommy. Shortly after he’s dispatched, it’s reported that Sam’s plane crashed. A proper funeral is conducted and Sam’s wife, Grace (Natalie Portman) and her two young daughters attempt to go on with their lives. It all begins innocently of course, but Tommy’s desire to spend more time with his nieces leads to a closeness with Grace that the two had never experienced previously. But it’s not as bad as it seems, but tell that to Sam, who suddenly turns up alive and very, very changed by his war experiences. “Brothers” was directed by Jim Sheridan (“In America”) and written by David Benioff, adapting Susanne Bier’s 2004 film of the same name. The film boasts strong performances and a powerful cast, led by its name stars, plus nice supporting turns from Sam Shepard, Mare Winningham, Clifton Collins Jr. and Carey Mulligan, but aside from the two aforementioned scenes, as a whole, “Brothers” fails to rise above the usual dysfunctional family fare. We understand that war changes people; that’s been done a million times in film, and it’s nothing special here. “Brothers” isn’t a bad film, but for all its nice ingredients, it just doesn’t do enough to be considered a good one. ** ½ (out of) **** (12/5/09)

“The Road”: Viggo Mortensen stars in John Hillcoat’s adaptation of Cormac McCarthy’s celebrated novel of a man and his son struggling to survive in a post-apocalyptic world that is only sparsely populated. We’re never quite sure what precipitated the “End,” but we learn through flashbacks that the man (whose name is never mentioned) once had a good marriage (his wife is played by Charlize Theron) and appeared happy. All that vanished after the End and the man is left to try to continue to teach his son (Kodi Smit-McPhee) valuable lessons he’ll never get the chance to pass along to his children. Life is now a constant struggle to survive when the only food around is, well, what few people who are still left. Armed with a pistol with two bullets, they do their best to eat and stay warm, but they’re usually busy trying to stay several steps ahead of the cannibals that always seem to be around. John Hillcoat, who previously directed the somewhat similar “The Proposition” (well, in mood), does a pretty good job of navigating the treacherous and bleak landscape, but, as viewers, all that’s left to keep us going are the strong performances, of which there are plenty, starting with Viggo Mortensen, who is quietly amassing a very impressive body of work while staying mostly outside the mainstream (unless you count the “Lord of the Rings” series). Charlize Theron, in yet another unflattering role, is excellent in her flashback scenes. Robert Duvall, Garrett Dillahunt and Michael K. Williams also contributed nice cameo appearances. This is a road that should be travelled with caution. ** ½ (out of) **** (11/28/09)

“Red Cliff”: Director John Woo was a legend in his native China, but in 1992, after achieving a string of successes with films like “The Killer,” “A Better Tomorrow” and “Hard Boiled,” he left for the allure of Hollywood where he made so-so films with actors like John Travolta and Nicholas Cage. He generally entertained a specific audience, but was never able to duplicate the great reputation he achieved in China. “Red Cliff” marks his return to his homeland and his first film there in 17 years. Filmed in two parts totaling five hours, the U.S. version is condensed to 2 ½ hours. I can’t say if it worked or not because I haven’t seen the full version, but Woo’s U.S. cut is still pretty impressive. From all accounts, “Red Cliff” is a fairly faithful retelling of the legendary 208 A.D. Battle of Red Cliffs. General (and self-proclaimed Prime Minister) Cao Cao (Fengyi Zhang) is able to convince his weak Emperor Han (Wang Ning) to declare war on two kingdoms. They already control much of northern China, but in their thirst for absolute power, desire to take over the southern portion. Cao Cao 200,000 man imperial army has dominated the kingdom led by Liu Bei (Yong You) for years. Bei knows he cannot stop him without help, so with the great assistance of his advisor, Zhuge Liang (Takesehi Kaneshiro), Bei travels to visit Sun Quan (Chen Chang), his younger and respected counterpart, who is generally a passive person and just wants to enjoy the vast beauty of his land, but does possess a powerful army capable of withstanding Cao. After some effort, Yu is able to convince Quan to help him defeat Cao. Adding to the dynamic are Quan’s cerebral viceroy and strategist, Zhou Yu (Tony Leung) and Quan’s beautiful wife, Xiao Qiao (Chiling Lin), plus his plucky sister, Sun Shangxiang (Wei Zhao). This isn’t Sun Tzu’s “The Art of War,” though through John Woo’s ambitious vision, some real soldiers from the Red Army, and some good CGI work, we’re sucked into this from beginning to end. Personally, I preferred “Mongol,” but there’s still a lot to like from John Woo’s “Red Cliff.” Here’s hoping this marks a new beginning for the revered filmmaker. *** (out of) **** (In Mandarin with English subtitles) (11/19/09)

“Everybody’s Fine”: Robert De Niro stars as Frank Goode, a retired telephone wire installer. Frank just lost his wife and is now all alone with his garden and four grown children scattered around the country. He invites them for a special Sunday evening barbeque, but one by one they each have excuses to not attend. He doesn’t let on, but this breaks his fragile heart. Against the advice of his doctor, Frank decides that if they won’t come to him, he’ll go to them. This means boarding a bus to New York City to visit his artist son, David (Austin Lysy), then continuing on to see daughter Amy (Kate Beckinsale) in Chicago, followed by a stopover in Denver to see his orchestra conductor son, Robert (Sam Rockwell), and finally a trip to Las Vegas to see his wild daughter, Rosie (Drew Barrymore). They’re a formerly-close family who now have lives of their own, but manage to stay in touch with each other, which is especially helpful when it’s revealed that one of the children isn’t exactly available for a visit from dad. The children, who each have something they’re keeping from dad, do their best to handle the situation without doing any additional damage. “Everybody’s Fine” is based on a 1990 film of the same name by Giuseppe Tornatore, and although I didn’t see the original (but I loved his “Cinema Paradiso”), there’s nothing here that’s too offensive. The performances are pleasant and it’s nice to see Robert De Niro gracefully graduating to older roles. “Everybody’s Fine” doesn’t re-invent the movie wheel, but it’s a pleasant enough diversion at the movies. *** (out of) **** (11/18/09)

“Five Minutes of Heaven”: is the story of a grown man’s opportunity to avenge his older brother’s murder – a tragedy that happened in the Belfast, Ireland area over thirty years earlier and that the then-eleven year-old witnessed. The younger brother, Joe Griffin (played as an adult by James Nesbitt), leaps at the chance to sit down with his brother’s killer, Alistair Little (Liam Neeson), who, as a way of cleansing his soul, has agreed to meet with Joe as part of a reality television show stunt. Griffin, who has spent most of the rest of his life being blamed by his mother for doing nothing to stop the killing, is very thirsty for revenge, while Little, now a changed man, just wants to put the mistake of his youth behind him (he was 17 when he committed the murder.) He’s hopeful that Griffin will give him the forgiveness he needs to go with his life. “Five Minutes of Heaven” was directed by Oliver Hirschbiegel, who is responsible for one of the greatest films of this decade, “Downfall,” redeems himself after his unsuccessful foray into Hollywood (with “The Invasion”). Hirschbiegel, working from an excellent screenplay by Guy Hibbert, takes his film’s explosive premise and absolutely milks it for every possible moment of suspense. But that’s not necessarily a bad thing, especially when it’s mostly effective, as it is here. Interestingly, the characters of Joe Griffin and Alistair Little are based on real-life people, but their meeting scenario is imagined by the filmmakers. As the film’s reformed killer, Alistair Little is well-played by Liam Neeson, but the “Five Minute’s” star-turn comes from James Nesbitt (“Bloody Sunday”), who is absolutely brilliant as the angry Joe Griffin. This film is a relatively small BBC production, but I hope Nesbitt gets an award push for his role. “Five Minutes of Heaven” takes a good idea and runs well with it. The film clocked in at a brisk 90 minutes, which is just enough time to makes its point. Recommended. *** (out of) **** (11/14/09)

“Ballast”: Lawrence (Michael J. Smith) has just lost his identical twin brother, Darius to an overdose of sleeping pills. The distraught brother couldn’t handle not being able to see his 12 year-old son, James (JimMyron Ross), who was being protected by his mother, Marlee (Tarra Riggs), who had filed a restraining order against Darius. The twins co-owned a convenience store/gas station in a very rural area of the Mississippi Delta. And perhaps out of a special bond between twins, after Darius’ tragedy, Lawrence also found it difficult to go on. Because of the brother’s final instructions and some unusual encounters with his troubled nephew, Lawrence finds himself in the lives of James and Marlee, though seeing a constant reminder of her son’s father is not easy on Marlee, who is a proud, but increasingly fragile woman with only James to keep her afloat emotionally. “Ballast” is the work of newcomers, from its writer and director, Lance Hammer, to the three primary actors, all without previous credits. Yet, it’s so quiet and spare, with almost no false notes. This is in part to Hammer’s workshop style of rehearsals (a la Mike Leigh) in preparation for filming this movie (I recommend watching the DVD’s ‘making of’ portion, where the process is demonstrated in detail). The actors embodied their roles and it showed. “Ballast” premiered at the 2008 Sundance Film Festival, where it won awards for directing and cinematography, but Hammer’s insistence that it be self-distributed limited its audience and overall awareness. And after sitting in my Netflix queue for over a year-and-a-half, this little film is finally out on DVD. Admittedly, “Ballast” is not the easiest viewing experience, but it can be very satisfying once you piece it all together. And considering its traditional constraints, including an ultra-low budget, “Ballast” still manages to stand out among most films. Its tone and message play like a more deliberate cross between “Badlands” and “Killer of Sheep.” Yes, it’s that good and that interesting, and frankly, is worthy of essays and undivided attention from film classes. As hard as it may be for some to watch, “Ballast” is even harder to get out of your head. *** ½ (out of) **** (On DVD) (11/13/09)

“Up In the Air”: George Clooney plays Ryan Bingman, whose job could probably be best described as a professional ‘firer.’ He works for a company that dispatches their employees around the country to handle the nasty stuff like layoffs for companies that lack the spine for the task. It’s Clooney’s responsibility to break the bad news and to offer comfort to those who now need it. He’s a smooth guy who’s also in demand as a motivational speaker (“What’s in your backpack?”), a job he does in-between that other unpleasant thing. His boss (played by Jason Bateman) has just hired a hot-shot college graduate named Natalie (Anna Kendrick) who has never fired a person in her life, but has developed a video-conferencing way of doing it. If this program is allowed to be implemented, well, let’s just say it would be a little ironic for Ryan. He’s more than a little intimidated, in part because the thought of being grounded at the company’s headquarters in Omaha, Nebraska is very unsettling to a guy who is at home when he’s in an airport. Ryan Bingman is a confirmed bachelor with very little ties to a family. He’s also on the verge of reaching ten million frequent flyer miles, a feat reached by only six other individuals. Accomplishing that goal has become an obsession for him and he isn’t going to let some wet-behind-the-ears ‘kid’ take it away from him. At Ryan’s suggestion, Natalie is sent to travel with Ryan, so he can show her that his job isn’t exactly easy to do in front of a computer. And what Natalie – and Ryan -- experience opens their eyes. “Up in the Air” was directed by Jason Reitman (“Juno” and “Thank You for Smoking”), who adapted a spec script by Sheldon Turner (from Walter Kirn’s novel of the same name). The strength of the film is in this brilliant story, which peels away the many layers of Ryan and Natalie, as well as Alex (Vera Farmiga), a fellow professional traveler who does her best to coordinate her busy schedule with Ryan. Their moments together have a real tenderness. The film’s dialogue is crisp and real and the characters are deeply explored. Reitman also filled his film with interviews with real displaced employees, which added an extra air of authenticity to his already richly-developed story. The film’s performances were all excellent from the steady George Clooney, to the nice turn from Vera Farmiga, who shares a real chemistry with her famous co-star. The real eye-opener came from newcomer (to me) Anna Kendrick, whose previous resume is a series of successes on Broadway and a role in the “Twilight” movie series. She’s perfectly cast as the well-meaning, but mostly annoying new kid. I expect to see a lot more of her in the future. “Up in the Air” is a very polished and entertaining film. *** ½ (out of) **** (11/11/09)

“The Blind Side”: Yes, another inspirational sports film. That near goof-proof genre produces at least a couple of good movies a year and this year, “The Blind Side” is one of them. The film stars Sandra Bullock as Leigh Ann Tuohy, a well-to-do Southern socialite with a big heart. Her husband, played by Tim McGraw, owns a string of Taco Bells, so success has really touched their family. They see a chance to give some of it back when they have a chance meeting with a down-and-out teenager. The boy, Micheal Oher, “lost” his mother to drugs and has never really known his father. He doesn’t have a permanent residence and isn’t registered at any school. He’s also 6’10” and strong as an ox. The couple takes the boy into their huge home and basically adopts him as their own. They already have two children: a precocious eight year-old boy, S.J. (Jae Head) and 16 year-old Collins (Lily Collins), but there’s room for one more. And it’s just a coincidence that the Tuohys are a couple of rabid alumni of the University of Mississippi (Ole Miss) and that Michael’s size makes him the perfect candidate to dominate a football offensive line. This last part is controversial as it questions the couple’s motivations for adopting Michael. “The Blind Side” is (surprise!) based on the true story of Oher, who is now a rookie with the Baltimore Ravens of the NFL. It is a heartwarming tale, and yes, I lapped it up. The film does play a tick loose with Southern stereotypes (c’mon, it’s not all Republicans and rednecks out here!), but to its credit, it does tactfully address some of the questions and concerns an average person might have about some of the film’s situations. I thought that was a nice touch, as it would’ve been easy to ignore some of those details. “The Blind Side” was directed by John Lee Hancock (“The Rookie”), who also adapted the script from Michael Lewis’ book of the same name. It’s a nice little film with solid performances from its cast, especially Sandra Bullock, who does her best work when she plays strong-willed characters. Of special note is little Jae Head, who plays the Tuohy’s youngest son, S.J. He is a natural talent and quite the scene-stealer. Recommended. *** (out of) **** (11/9/09)

“An Education”: Jenny is a “clever and pretty” 16 year-old girl, who, in the words of her teacher (played by Olivia Williams) is smart enough to do anything she wants. But all Jenny wants is to go to Oxford University. It’s been her aim ever since her protective father, Jack (Alfred Molina), realized his little girl had the ability to go places he didn’t. Jack and his wife, Marjorie (Cara Seymour), tried to give their only child a proper upbringing, as much as their simple middle-class lifestyle could afford, but Jenny still longed for more. So when a mysterious man with a beautiful sports car came to her rescue during a particularly rainy English day, it didn’t seem to bother her that he was more than twice his age and may have had more than innocent intentions. That man, David (played by American actor Peter Sarsgaard), can offer her an education she can’t get at home or at her stuffy private school. In addition to the obvious (which the filmmakers thankfully low-key), David can take her to museums, concerts, movies and plays…even Paris. But first he has to convince her father. “An Education” is based on the memoir by Lynn Barber, who thought the story of her two-year relationship with a much-older man named Simon would make an interesting book. She was correct. And thanks to director Lone Scherfig (“Italian for Beginners”) and acclaimed writer Nick Hornby, it also became an excellent film. Scherfig and Hornby, with the help of some brilliant camerawork by John de Borman, really create the proper mood for “An Education,” which takes place in 1961 in a suburb of London, England, where tea and biscuits are aplenty and where you don’t get into fancy cars with strange, older men. At the heart of outstanding film is the extraordinary Carey Mulligan as Jenny. She has been much hyped as the next Audrey Hepburn, and while I don’t think she quite pulls off Audrey’s wide-eyed innocence, she is gifted enough to handle the transition from confident schoolgirl to vulnerable young woman without a hitch. The end result is one of this year’s strongest performances. The same goes for Alfred Molina, who was stunning as her father, who, like his daughter, had his weaknesses exposed by the cunning David. And Peter Sarsgaard as David, with his subtly effective British accent, plays it super-cool next to the two jaw-dropping turns by Mulligan and Molina, for whom there are simply not enough superlatives, but hopefully plenty of awards. In fact, this is almost a three-person film, with the other characters (and the strong actors playing them) mostly in the background. This is a minor quibble, as I was almost too mesmerized by the three main actors to notice, but this is probably the closest thing to a flaw in this otherwise flawless movie. “An Education” is a great film. **** (out of) **** (11/6/09)

“Sugar”: is the story of Miguel “Sugar” Santos (played by Algenis Perez Soto), a 19 year-old baseball pitcher from the Dominican Republic. Like many of his countrymen, he dreams of playing ball in the States, but unlike most, he possesses the talent to make that happen. After spending time training at a baseball academy run by the fictitious Kansas City Knights, Santos is assigned to their low-A ball team in a small town in Iowa. Yes, this sounds a little like a cross between “The Natural” and “Field of Dreams,” but “Sugar” is less about baseball and more about the growth of a young man very deeply out of his element. Santos understands very little English and speaks even less. This presents some communication problems with his host family and in a few other instances, and it only enhances Santos’ cultural shock. His family back in the Dominican is counting on him financially so the proud young man exaggerates his situation, leading them to believe all is well. But Santos isn’t built to handle adversity, and when he faces it, he doesn’t handle it well. “Sugar” was written and directed by Anna Boden and Ryan Fleck, who were behind the outstanding 2006 film, “Half-Nelson.” “Sugar” isn’t quite up to that high standard, but is a well-written, well-acted movie that also gets the baseball part right (for the most part). First-time actor Algenis Perez Soto is excellent in the title role, and is supported nicely by the rest of the cast, most of whom have familiar faces but whose previous credits were mostly bit roles in small films or television shows. This lends a bit of intimacy to this little independent film that took the time to get those important details right (that this baseball fan notices). “Sugar” is a touch too long and has a couple of improbable sequences, but like its subject, it’s worth rooting for. *** (out of) **** (In some Spanish with English subtitles) (On DVD) (10/27/09)

“A Serious Man”: Larry Gopnik wants to be thought of as a serious man. And even though he has attained more than a measure of success that typically deserves respect (father of two; college professor nearing tenure), he can’t seem to catch a break. He clashes with a foreign student (David Kang) who attempts to bribe Larry in exchange for a good grade; his brother, Arthur (Richard Kind) is a degenerate gambler whose lives on Larry’s couch and hogs the lone bathroom in the family house, and his manipulative wife, Judith (Sari Lennick) leaves him for Sy Ableman (Fred Melamed), who is, well, was, a close family friend. And then there’s his self-absorbed son (Aaron Wolff) who would rather listen to the Jefferson Airplane (the film is set in 1967), watch “F-Troop” and experiment with marijuana, than concentrate on his studies at Hebrew school. And Larry’s always-angry daughter (Jessica McManus) is siphoning money from his wallet so she can get a nose job. Oh, and then there’s the hip, hot neighbor on the one side of his property, and the scary racist neighbor on the other. Needless to say, Larry needs some serious guidance. He goes through two rabbis and seeks help from a third, but can’t seem to get answers. “A Serious Man” was written and directed by Joel and Ethan Coen (“No Country for Old Men,” “Fargo”) and while it’s in the spirit of some of their previous black comedies, it’s far from their best effort. To their credit, “A Serious Man” is very well-written and the performances from the mostly unknown cast (to those of us outside the theater circle) are uniformly excellent, but you can’t help but leave the movie theater feeling a little less-than-satisfied by what you just watched. The Coen Brothers aimed for profound, but ended up a bit empty. ** ½ (out of) **** (10/25/09)

“Black Dynamite”: I’ll cut to the chase: if you enjoy 70s Blaxploitation films (“Shaft,” “Coffy”) then you will absolutely love “Black Dynamite,” which doesn’t attempt to send up a genre (a la what the Wayan brothers have been doing for years with their various film topics du jour); instead, “Black Dynamite” faithfully (and I mean to the letter) recreates the tone, feel and production value (down to the intrusive boom mics, hilarious editing and inconsistent focus) of those movies, to the point where you’ll swear you wandered into a Fred Williamson film festival. “Black Dynamite” is the story of, well, Black Dynamite (no other name is given), a “bad mo-fu” private detective out for revenge against the people responsible for his younger brother’s murder. His reputation as a tough-guy is so powerful that his brother’s killers knew the body count would be high once word of the deed reached Black Dynamite. And to add to the depth of the story, “Whitey,” also known as “The Man,” has conspired in an evil plot (that reaches the top levels of government) to truly keep the black man down. I’d elaborate, but why spoil the funny surprise? “Black Dynamite” is the brainchild of Scott Sanders, who directed and co-wrote the hysterical script along with Byron Minns and Michael Jai White, the latter absolutely shined in the title role. The trio does a fantastic job of keeping their film grounded and letting the fun happen naturally. It’s also helpful that the supporting cast – with character names like Cream Corn, Tasty Freeze and Afroditey -- is nearly pitch-perfect in their performances. Pardon the pun, but “Black Dynamite” is a blast. *** ½ (out of) **** (10/24/09

“The Baader-Meinhof Complex”: is one of ‘those’ films that you’re forced to sit through because you think you’re about to witness something important or profound. And then when the credits roll, you’re wished you watched something else for the second time (like “Where the Wild Things Are”). “The Baader-Meinhof Complex” is based on the events of the Red Army Faction (RAF), a group of social terrorists who, in the quest for revenge against “the system,” ended up causing a lot more hurt than help. The film takes place in West Germany during the late 60s when police and government violence against peaceful protesting German students ignited a vengeful movement, which was led in part by Andreas Baader (Moritz Bleibtreu, “Run, Lola, Run”) and Ulrike Meinhof (Martina Gedeck, “The Lives of Others”). “The Baader-Meinhof Complex” depicts the group’s efforts to get their voices heard, as well as the constant cat and mouse game between themselves and the authorities. The film, despite its considerable length, is generally well-paced, but the blurred lines between good and evil were just too distracting. The film’s script was co-written (with director Uli Edel) by Bernd Eichinger, who wrote the screenplay for one of the best movies of this decade, “Downfall.” He tries here, but all his best efforts can’t change the material, however fact-based that it was, or his characters, who, in their quests to be heroes, actually became the enemy. I understand that’s part of the point of the film, but when you start rooting for the bad guys and when you realize that 150 minutes has just passed, well, that’s not how I want to spend an afternoon. * 1/2 (out of) **** (In German with English subtitles) (10/18/09)

“Where the Wild Things Are”: There are certain books that are sacred and should never be adapted for the big screen. “The Catcher in the Rye” jumps to mind. And while the thought of watching Maurice Sendak’s beloved children’s book, “Where the Wild Things Are,” would be blasphemy to many, personally I was excited to see it, especially after hearing that visionary director Spike Jonze (“Adaptation”) would be at the helm. In my mind, there isn’t another director alive who could’ve pulled off this near-miracle. Taking a ten-sentence book, preserving the integrity of its vision, and turning it into a 94 minute film AND pretty much keeping the viewer’s interest throughout, well, that is amazing. Like most eight year-old boys, Max (Max Records) has a vivid imagination. Whether he’s building forts, or engaging is spirited snowball fights while wearing a wolf costume, Max is 100% boy. But the sensitive lad feels neglected by his hard-working single mom (Catherine Keener), as well as by his older sister, Claire (Pepita Emmerichs), who is now of driving age and has outgrown her little brother. He’s also resentful of his mother’s boyfriend (played by Mark Ruffalo), who is a poor substitute for the missing father he clearly needs in his young, fragile life. All this leaves Max sorely stunted in the social department and prone to spontaneously lashing out when things don’t go his way. A couple of bad episodes lead Max, still wearing the wolf suit, to run away from home to an awaiting sailboat that takes him to an island inhabited with ‘Wild Things;’ a group of oversized creatures led by the volatile Carol (James Gandolfini), who almost immediately connects with the ‘strange’ new visitor. In some way, Max is able to relate to each Wild Thing. In their leaderless world, Max becomes their crowned king. And as king, he plays his games with them, he listens to their troubles, and he’s a good friend. For Max, the new world allows him to be who he isn’t at home. That’s the gist of the film, whose story still leaves a lot for its viewers to interpret. In fact, despite its seemingly simple subject and appeal to a younger audience, “Where the Wild Things Are” is a deeply thought-provoking film. This is the near-miracle part. Jonze is somehow able to balance the legendary story with his own vision without ruining the intent of Maurice Sendak’s book. And he does it while constantly engaging his audience, yet really never going over-the-top. He’s aided by fantastic scenery (“Wild” was filmed in Australia), wonderful costumes and gorgeous camerawork (from Lance Acord). Even the music (from Carter Burwell and Karen Orzolek) was respectful and resisted the urge to exploit any ‘music video moments’ in the film. Thankfully, Jonze just lets his brilliant screenplay (co-written with Dave Eggers from “Away We Go”) tell the story. Max Records is wonderfully expressive as the boy of many moods. The rest of the cast (which includes Chris Cooper, Lauren Ambrose, Forest Whitaker, Catherine O’Hara and Paul Dano, among others) though mostly hidden in costume or in smaller roles, is very good, yet clearly secondary to Spike Jonze and his young lead, Max Records, who both lovingly share their vast imaginations and for whom this film belongs. If you’re able to channel your inner child while watching this film, you should thoroughly enjoy “Where the Wild Things Are.” *** ½ (out of) **** (10/16/09)

“New York, I Love You”: How to kill a couple of hours. That might be a decent title for this collection of ten short films by eleven directors, totaling 110 minutes, all somehow tied to the city of New York, even though the filmmakers, with one exception, seemed to have forgotten that other boroughs besides Manhattan do exist. The premise is similar to the 2006 film, “Paris, je’ t’aime” (“Paris, I Love You”) except this time the stories and characters are allowed to intertwine, hence the need for the eleventh director. Segments were directed by a combination of veterans, up-and-comers, and actors such as Fatih Akin (“The Edge of Heaven”), Brett Ratner (the “Rush Hour” films), Mira Nair (“Monsoon Wedding”), Shekhar Kapur (“Elizabeth”) and actress Natalie Portman. It’s Portman (surprise!) who is the standout here, with her acting segment as a Jewish bride interacting with a diamond merchant (Irrfan Khan) and touching directing portion involving a young ‘manny’ (played by Cesar De Leon) and the young girl he’s watching. Ethan Hawke and Shia LaBeouf show new range (this LaBeouf kid can act!), while Julie Christie, Eli Wallach and Cloris Leachman remind us why they’re still great. Some of the individual sequences work and some don’t. It’s not a bad film, but it’s not high art, even though that appeared to be its aim. And while the transition director (Randall Balsmeyer) does sneak in some fleeting glimpses of New York landmarks, this film is otherwise not a particularly good postcard for the I Heart New York set. Rent it. ** (out of) **** (10/13/09)

“Adventureland”: I was 16 years-old when I got my first job at an ice cream parlor. I couldn’t stand it of course, but the memories and friends made (including my still best friend) have lasted a lifetime. It was that experience that helped me relate to and enjoy “Adventureland,” writer and director, Greg Mottola’s ode to his 1987 summer job at an amusement park in Long Island. The setting shifts to Pennsylvania, but Mottola still nails the mood of the time. “Adventureland” stars Jesse Eisenberg as James Brennan, a smart kid with a college park and plans to move to New York City, well, except for that pesky lack of parental financial support (curse his dad for losing his job at such an inopportune time!). So…he gets a summer job at Adventureland, a nearby amusement park. It’s a cheesy place with lame ride and fake games, but it does have its fair share of oddball characters (played by such stalwarts as Kristen Wiig, Bill Hader and Martin Starr), and well, it also has Em (Kristen Stewart) who helps James forget about his crappy job. The problem is that Em is fooling around with a married guy (played by a dead-panned Ryan Reynolds) and can’t quite escape him. “Adventureland” plays like a drama with a lot of running jokes (watch for a very funny Matt Bush, the kid from the AT&T rollover minutes commercials), but it still keeps you entertained for most of its 107 minutes. Mottala’s script is solid, and the actor’s performances are nice (especially Eisenberg and Stewart, who have good on-screen chemistry). It’s not “Superbad” (Mottola’s previous film) or “Dazed and Confused” (a distant cousin), but it’s still a good time at the movies, especially if it conjures up fond memories of that crappy job you had when you were a teenager. *** (out of) **** (On DVD) (10/3/09)