This page contains Dave's reviews of films seen from January through March 2011.

“Sucker Punch”: My, what a beautiful and confusing mess. That’s my one sentence description of “Sucker Punch,” the latest green-screen wonder from “300” director Zack Snyder. Snyder’s ambition and vision demands to be admired, but that doesn’t make for a coherent story or a good film. The plot, if you want to call it that, involves a wrongly institutionalized young girl named Baby Doll (played by Emily Browning). She’s sent to a facility after she’s wrongly accused of her little sister’s death, and a subsequent attack upon her sadistic stepfather (gee, that cliché has never been done before). Did I mention that the mental hospital has a bunch of attractive and titillating young girls? And that they’ll follow Baby Doll to get out of there? Y’see, all Baby Doll has to do is dance and that’s enough of a distraction to enable her fellow female patients to get the things necessary for the escape. Oh, and what we all witness during the dance is some sort of crazy dream sequence that show Baby Doll and her friends kicking some serious butt on the bad guys. None of this makes any sense but it is well done visually, and, if you happen to be a hormonal 14 year-old boy with videogame overload, “Sucker Punch” would probably be your favorite movie…ever. I’m quite a bit older than 14 so to me this film is just, well, creepy. It has a killer soundtrack and incredible visuals but that’s not enough to pay the good film bills. Not recommended for anyone over the age of 16. Seriously. * ½ (out of) **** (3/27/11)

“The Adjustment Bureau”: Philip K. Dick was once quoted as saying “Reality is that which, when you stop believing in it, doesn't go away.” I find myself staying away from films that incorporate very little reality in their scripts. Yet, I never seem to have a problem watching an adaptation of a Philip K. Dick story. The works of the late science fiction writer led to films like “Blade Runner,” “Total Recall” and “Minority Report,” all with plots that are far-fetched, yet well-told with enough intrigue to satisfy any imagination. The latest adaptation of a Dick story is “The Adjustment Bureau.” Directed and adapted by George Nolfi, “Adjustment” stars Matt Damon as David Morris, a rising star in the political spectrum, whose otherwise bright future has been marred by a few ill-advised decisions. One of those decisions – a college prank – derails his congressional run, yet his life is forever turned upside down that same night when he meets Elise Sellas (Emily Blunt), a beautiful dancer who inspires Morris to make a concession speech that will remind people why they supported the bright young man in the first place. David’s destiny is the highest office in the land, but it’s Elise who stands in his way, well, according to members of a mysterious organization (known as the Adjustment Bureau) that is hell-bent on keeping Morris from ever again encountering the fair lady. You see, David’s life has a Plan and Elise isn’t part of that Plan. Much to the dismay of the Bureau, David knows a little too much about this Plan, yet, love is blind, so the Plan be damned, and destiny be damned, for David is going to find Elise again. There’s a lot more going on in “The Adjustment Bureau,” but I’ve already revealed too much. Matt Damon and Emily Blunt have excellent chemistry as David and Elise, and “Adjustment” also benefits from a smart performance from Anthony Mackie (“The Hurt Locker”) and nice turns from John Slattery and Michael Kelly. But it’s George Nolfi’s imaginative and very thought-provoking script that turns “The Adjustment Bureau” from a far-fetched piece of science fiction/romance into an excellent film that never loses its viewer’s attention. Somewhere, probably in an alternate universe, Philip K. Dick is smiling. *** ½ (out of) **** (3/05/11)

“Nowhere Boy”: Aaron Johnson plays a young John Lennon in a film that’s more than just a coming-of-age story. Obviously, it involves the life of one of most important figures of the last half-century; a man who would influence countless lives in a positive way, and, very sadly, a man whose own life was struck down far, far too soon. I still can’t listen to his solo work – especially the song “Imagine” -- without thinking what might’ve been. But once upon a time John Lennon was a rambunctious and directionless lad. He was raised by his Aunt Mimi (Kristin Scott Thomas) and Uncle George (David Threlfall), the latter who passed away suddenly near the beginning of this film’s story. This also coincided with John’s rebelling against his aunt (whom he addressed as ‘Mimi’). It also led him to his birth mother, Julia (Anne-Marie Duff), who effectively gave him up to her sister when John was very young. Like John, Julia still has a lot of child in her, and it’s that child that draws John back to her and emotionally away from the strict Mimi, who cares deeply for John, but can’t connect to him on any level. It’s also Julia who teaches John how to strum a banjo. It’s that simple instrument that unlocks young John’s immense talent and gives his life a new direction. He forms his first band (“The Quarrymen”) who would eventually include George Harrison and Paul McCartney, leading to, well, THAT band. You know the one. “Nowhere Boy” was directed by Sam Taylor-Wood and adapted by Matt Greenhalgh from Julia Baird’s (John’s half-sister) memoir. Taylor-Wood does a nice job of staying within the story and draws strong performances from her cast, especially Aaron Johnson and Anne-Marie Duff, who dominate the screen, especially Duff as John’s troubled mother. Recommended. *** (out of) **** (On DVD) (2/27/11)

“Another Year”: Writer-director Mike Leigh has made exactly ten feature films since 1988, and, in my opinion, there isn’t a clunker in the bunch. That’s some track record -- one that perhaps only the Coen Brothers (Joel and Ethan) could approach, and even that’s a matter of opinion (I’m lukewarm on a few of their films from the past ten years). The non-stop Leigh train continues with “Another Year,” yet another splendid example of how to make a great ensemble film. “Another Year” stars Lesley Manville as Mary, a lonely woman whose best years have passed her by and she’s still unmarried and without child. She works in a medical office and is good friends with one of its therapists, Gerri (Ruth Sheen), who is very happily married to Tom (Jim Broadbent). Tom and Gerri are one of those ‘perfect’ couples that can drive an insecure person crazy with jealousy. Or, can be great to be around if you just love nice people and intelligent conversation. At first, Mary falls somewhere in-between, but as the year goes on, she becomes increasingly less stable. Tom and Gerri are simple people. They love to tend to their portion of the local community garden and they entertain occasionally at home, inviting close friends like Mary. “Another Year” follows Mary’s decline through each season in a single year in her life. At the crux of her unhappiness is her poor luck with the opposite sex. She secretly fancies the couple’s 30 year-old son, Joe (Oliver Maltman), but that’s just too…weird. But she can’t control her emotions (and drinking) when Joe becomes seriously involved with a sweet young woman (played by Karina Fernandez. The self-pitying Mary views Joe’s new happiness as yet another example of her lousy luck. “Another Year” top-lines the couple – played by Jim Broadbent and Ruth Sheen – but when you strip down this film, it’s really about Mary. Leigh mixes his movie with wonderful, simple moments, especially with Tom and Gerri (and yes, they acknowledge the irony of their names) and plenty of awkward scenes as they try to tolerate Mary’s increasingly erratic behavior. “Another Year” is a near-masterpiece in character study, led by an amazing performance from Lesley Manville. The rest of the small cast (mostly Leigh veterans) are all outstanding, especially Jim Broadbent and Ruth Sheen, whom you wish lived next door. “Another Year” isn’t the easiest movie to watch, but it’s worth a visit. It’s also one of Mike Leigh’s best films. **** (out of) **** (1/30/11)

“Biutiful”: Javier Bardem gives one of his best performances in “Biutiful,” director Alejandro Gonzalez Iñárritu’s latest bleak-fest. It’s also Iñárritu’s first film without writer Guillermo Arriaga, with whom he collaborated successfully on “Amores Perros,” “21 Grams” and “Babel.” Each of those movies involved a structure of three stories. I personally liked and greatly admired each film, but acknowledge that Iñárritu’s style is polarizing. With “Biutiful,” the director ditches the triptych story-telling, but the tone of his film is every bit as downcast. Bardem is Uxbal, a nice man at heart who happens to make his living as a sort of middleman for a criminal organization that specializes in selling knockoff luxury items on the streets of Barcelona. Uxbal controls the Chinese illegals that make up his boss's company. Iñárritu’s story (co-written with Armando Bo and Nicolas Giacobone) does its best to paint Uxbal as a decent man, but he still has that seedy underbelly. I mention this because Uxbal is also a family man with a bipolar ex-wife (played by Maricel Alvarez) and he’s dying of cancer. That last part would seem like overkill, but it’s really at the heart of the story. Uxbal’s ex-wife cannot be trusted to raise their children after he passes, so who can? “Biutiful” has elements in its story that live up to its title -- especially the Spanish scenery (highlighted by Rodrigo Prieto’s gorgeous cinematography) and Uxbal’s interactions with his children – but it’s an extremely difficult film to watch. I recommend it for its many pluses, including Bardem and Alvarez’s performances, and Inarritu’s depressing, but interesting story, but if that’s still not enough for you, stay away. *** (out of) **** (In Spanish and Wolof with English subtitles) (1/28/11)

“Somewhere”: I gently tease one of my sisters that her youngest daughter is a miniature version of herself. It’s not hard to understand why. My niece watches and learns from her mother, so who she will become will have a lot to do her with parents, because, after all, adults are shaped from impressionable children. I bring this up because of Sofia Coppola and her father Francis, and also because of young actress Elle Fanning’s character in Coppola’s new film, “Somewhere.” It is unmistakable that who they are now, and who they will become, is because of the influence of their parents. In Sofia’s case, it’s very clear that the talent of her very famous father (the director of “The Godfather” saga and other excellent films) has rubbed off on her in a major way. In the writer-director’s latest film, “Somewhere,” 11 year-old Cleo (played by Fanning) finds herself in an extended stay arrangement with her movie-star father, Johnny Marco (Stephen Dorff), who, went he isn’t making films or accepting awards in Italy, he’s a recluse at the infamous Chateau Marmont. For unexplained reasons Cleo’s mother has to “take off” for an indefinite amount of time (this is Hollywood, so draw your own conclusions), so Johnny’s lifestyle becomes a little cramped with his tween daughter living with him in a glorified hotel room. Cleo’s visit also forces Johnny to address the direction of his own life. Sofia Coppola’s filmmaking career has been a little hit-and-miss. I really enjoyed “Lost in Translation,” but “The Virgin Suicides,” while full of promise, was a bit rough. And I never bothered to watch “Marie Antoinette” (I was too put off by the MTV-ishness of its trailer). But with “Somewhere,” the obviously gifted auteur has found herself. Well, she really found older Italian films. “Somewhere” has plenty of very long takes and a lot of wordlessness. Coppola’s well-casted leads, Stephen Dorff and Elle Fanning, don’t have a lot to say, but thanks to her wise script, their characters still speak volumes. I also love how “Somewhere” flips the bird to Hollywood and their traditional movies. Sofia Coppola is an old soul who is also making some very interesting films. Good job dad. *** ½ (out of) **** (1/15/11)

“Blue Valentine”: is probably a film best viewed without your significant other, and might be THE anti-date movie, unless you’re trying to scare that person away. “Blue Valentine” is the story of the first and last months of the relationship of Dean (Ryan Gosling) and Cindy (Michelle Williams). We never see the five or six years that are in-between, but we know there’s a little girl (played by newcomer Faith Wladyka) and it’s probably not as ugly as those last months. The couple meets at a rest-home where Cindy is visiting her grandmother, and where Dean often works through his job for a moving company. It doesn’t seem to matter that Cindy is weeks pregnant with her daughter and that the girl’s father, Bobby (Mike Vogel) is newly out of the picture. Bobby is less-than-thrilled that his “son” will call another man daddy, and takes that displeasure out on Dean, but none of this stops the nice young man from love at first sight. The film flashes back and forth between the early and latter part of the couple’s relationship, an effect that is sometimes jarring, since co-writer and director Derek Cianfrance filmed the two parts separately, allowing his talented leads to gain some weight and lose some hair. The difference is also apparent in personality. Cindy is used to jerks in her life. It started with her verbally-abusive father (played by John Doman from “The Wire”). She thought she was getting a gentle, caring guy in Dean, but alcohol and a quick temper changed that for the worse. “Blue Valentine” is clearly a performance-driven film. Ryan Gosling and Michelle Williams, both of whom just turned 30, are two of the better younger actors of their generation, and that’s amply on display in this film, which could easily make a fine stage play. I still wouldn’t recommend it for less-than-secure couples, but if you just love a well-made, well-written film and don’t care if gets a little too under your skin, then see “Blue Valentine.” *** ½ (out of) **** (01/08/11)

“Mother and Child”: Writer-director Rodrigo Garcia has had quite the career out of making interesting characters come to life. His extensive work with HBO, including shows like “Six Feet Under” and “Carnivale,” and more recently, “In Treatment” (which he helped to develop), has prepped him for film work like 2005’s “Nine Lives,” and now, “Mother and Child.” This is his first feature since “Nine Lives” and it’s a vast improvement. Instead of nine separate stories at ten minutes each, Garcia’s script for “Mother and Child” efficiently goes back and forth between three storylines. This borrows a little from executive producer’s Alejandro Gonzalez Inarritu’s playbook, but without all the extra moodiness and color-schemes. But there’s still plenty of moodiness to be found in this film. Annette Bening plays Karen, a physical therapist with people issues. She lives with and care for her elderly mother, Nora (Eileen Ryan), with the assistance of Sofia (Elpidia Carrillo), Nora’s housekeeper and sometimes-confidant. The latter part infuriates the controlling and insecure Karen, for it was her mother who essentially ruined Karen’s life some 37 years earlier when the then-14 year-old girl gave up newborn daughter for adoption. It was probably the right thing to do at the time, but it stunted Karen’s personal growth completely. And not a day went by in those 37 years when Karen didn’t consider the what-ifs. It’s also affected her ability to have a relationship with another man, which poses a problem when a nice guy like Paco (Jimmy Smits) comes along. The daughter she gave up for adoption turns out to be a successful lawyer named Elizabeth (Naomi Watts), who, like the mother she’s never met, is unmarried and not so good at connecting with people, most of whom she appears to devalue. That is, until she meets Paul (Samuel L. Jackson), who is the main partner at her new job. An unexpected turn takes place that will have a ripple effect, but that’s probably best left for a viewing of the film. The last story concerns a young married couple: Lucy (Kerry Washington) and Joseph (David Ramsey), who are not able to conceive a child and are actively considering the adoption process. This brings them to yet another strong-willed female character, Ray, played by the brilliant Shareeka Epps (“Half Nelson”). Ray is an unwed, pregnant 20 year-old who is willing to give up her baby, but is very particular about who is going to get this child. Lost in this dynamic is the desperation of one half of the couple and the true feelings of the other. It’s a charged sequence, like much of Garcia’s film. For me, the first half of this film was a struggle as I didn’t particularly care for the main female characters. That’s a big problem, but thankfully it sorted itself out in the second half as I got to know and at least partly understand the reasons for their collective, um, ‘standoffishness.’ Fortunately, Rodrigo Garcia reconciles it all quite neatly and somewhat bravely. His script is outstanding and the performances from his impressive ensemble cast are excellent. Very highly recommended. *** ½ (out of) **** (On DVD) (01/08/11)

“The King’s Speech”: is the story of an important chapter in the life of Prince Albert, Duke of York (played by Colin Firth), who, in the years leading up to his coronation as King George VI of England, struggled with a serious bout of stammering -- strong enough to seek help from various speech therapists, including one who advised him to smoke cigarettes, ironic because it started a habit that likely contributed to the future king’s death at the age of 56. It’s the Prince’s wife, the future Queen Mother (played by Helena Bonham Carter), who gets in touch with Lionel Logue (Geoffrey Rush), whom she learns of through reputation, primarily Logue’s speech work with shell-shocked World War I soldiers in his native Australia. Mr. Logue runs a practice through his home, though he is neither licensed nor is he a doctor. He only works at home, which is more than a little awkward for the understandably private royal family, but after a slow start with the embarrassed Prince, the two men forge an important relationship. “The King’s Speech,” as the title suggests, is about all the efforts leading up to King George’s famous 1939 speech just after England declares war on Germany. But there are other speeches (including his coronation), and it’s through the guidance of Lionel and the desire of “Bertie” (as the Prince is known to his family and Lionel) that helps him to overcome his impediment. “The King’s Speech” was meticulously directed by Tom Hooper (“The Damn United”) from a terrific script from David Seidler, whose previous work was mostly television and/or children’s films. As it turns out, the 73 year-old Seidler was born in England (but raised in the States) and, during his adolescence, also had a stuttering condition. As a child, listening to the king’s wartime speeches encouraged Seidler to overcome his own problem. For reasons of respect to the still-living Queen Mother, Seidler waited nearly his entire career to tell this story – and it’s a great one. “The King’s Speech” benefits from a solid turn from the always good Helena Bonham Carter, but this is truly a two-man film. Colin Firth is pitch-perfect as King George – in a performance that has to make him an Oscar favorite -- and Geoffrey Rush nearly matches him as his firm, but fair friend. After watching this very entertaining film, it’s easy to understand why “The King’s Speech” is racking up the awards and nominations. See it. *** ½ (out of) **** (01/02/11)

“Mother”: Veteran Korean actress Hye-ja Kim plays an unnamed mother to her fragile and simple-minded adult son, Yoon Do-joon (Bin Won). She’s a very devoted mom, caring for her son (no father or siblings are mentioned) and earning her living as the town’s herbal specialist, though she also dabbles rather expertly in acupuncture, an art form that’s frowned upon in her community. The protective mother springs into action when her son is accused of the murder of a local high school girl whose reputation suggests there should be many other suspects. The mother’s sweet and well-intentioned son couldn’t possibly be responsible for the girl’s death, so mother, with the help of Yoon’s friend, Jin-tae (Ku Jin) conducts her own investigation. “Mother” was co-written and directed by Joon-ho Bong, whose previous film “The Host” was a cult sensation back in 2007. I never saw that film (Roy gave it a favorable review at this site) but the strong word-of-mouth for this film couldn’t keep me away. In fact, “Mother” was South Korea’s official submission to last year’s Academy Awards, which is a shame since it didn’t get its proper U.S. release until this past spring. I suspect it would’ve made this year’s cut. “Mother” is an excellent example of great filmmaking. Its story was well-written (and very funny at times), well-paced and has a bit of a non-traditional ending, which is always refreshing to this viewer. The film was also gorgeously shot (courtesy of Kyong-Pyo Hong) and expertly directed by Bong, who got terrific performances from his cast, especially Hye-ja Kim, who truly embodied her role as a mother obsessed with defending her son. “Mother” is a film that’s steeped in quality. Very highly recommended. *** 1/2 (out of) **** (In Korean with English subtitles) (On DVD) (01/01/11)