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CHRISTIAN SAUVÉ

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MOVIE REVIEWS

2007

2007-2008, Christian Sauvé

The Internet Movie Database says: (As of May 2008)

And I say (In alphabetical order):

1408 (2007, Horror): To borrow from THE PRESTIGE, all horror films have three phases: The setup, filled with unspoken horrors and the promise of upcoming chills; the turn, in which the supernatural becomes apparent and characters are confronted with mounting madness; and the prestige, in which an explanation is offered and a resolution is attained. 1408 does its setup exceptionally well, gets sillier during its turn and falls apart during its prestige. None of this is the fault of anchor John Cusack, present in almost all scenes as a writer who's forced to confront his past while trapped in a homicidal hotel room. The beginning of the film is a small gem of foreboding, as the nature of room 1408 is explained by an ice-cold Samuel L. Jackson. Cusack himself is pudgier than ever, but looks comfortably back in the charming screen persona he exemplified in the mid to late nineties. But as the hotel room starts to spin its evil tricks, our minds start grasping at an overarching explanation that never quite gels. The phenomenons in the room are chilling but don't add up to a coherent set of powers and capabilities: just a series of jolts and impossible events. To be entirely fair, though, 1408 is quite good in its minute-by-minute execution: the direction is slick, the pacing is satisfying and the quality of the images couldn't be better. Even the script does a fine job at stringing one thing after another, including a cute moment near the end that will make savvier film-goers mutter "I really hope it doesn't end like that". The true ending is a bit pat, but at least serves the primary purpose of any conclusion. It's a shame that the pieces don't all fit together (something that may be blamed on the adaptation of Stephen King's thin short story) and that we're left with a curious sentiment of dissatisfaction: as it plays, 1408 is one of the best horror films in recent memory... and it does so within the creative constraints of a PG-13 rating. (In theaters, June 2007)

28 WEEKS LATER (2007, Horror/Action): Faster, bigger and more headache-inducing than the first tome, 28 WEEKS LATER struggles from the onset with a wholly unnecessary premise. Though the aspect of repopulating a devastated London (28 weeks after the rage outbreak of the first film) has its original appeal, it's no big plot twist when the plague starts again, lending a profoundly depressing atmosphere to the entire film. The rest is strictly routine in zombie-movie terms: The outbreak takes over everyone, our cast of characters slowly dwindles down, and the only interest comes from the various ways they're picked off. The bleaker-than-bleak conclusion tops the film with an extra dose of futility. Looking more closely at the film's mechanics, it's a bit sad to see that the rage-cam is back, speeding up and getting less coherent at every action scene. The individual gags work well (I defy anyone not to be awed at the firebombing of London), but it add up to a profoundly grim experience. As a fun-house mirror held up to our own anxieties (something zombie movies have traditionally been very, very good at doing), it reflects back our horrors of a never-ending struggle, of pandemics run wild, of complete depersonalization against uncontrollable forces. Whew. You might as well bash yourself on the head with a TV tuned to CNN and save yourself the $10. (In theaters, May 2007)

300 (2007, War/Action): Prepare to be overwhelmed by manufactured cool! This fantasy action film is a rarity in how it glorifies war and aggression by making it look neater than it's ever been. Even splatters of blood are used as design elements in a film that's more a series of violent tableaux than a sustained narrative. (The credit sequence alone is wonderful.) The images, almost all post-processed digitally, show how it's now possible to film even a wide-screen war epic in a warehouse. The effect is a bit claustrophobic, but the film won't let you realize that until far too late: the rest of the time, you'll be pummelled into submission by the loud soundtrack, macho sound bites, constant special effects and almost unbearable self-importance. There's certainly something here for all the boys and the girls: naked torsos, dripping violence and simple subplots will do much to compensate for the quasi-constant decapitations, shaky-cam cinematography and dumb anachronistic details (such as, ahem, a pre-Roman mention of the month of "August"). It's all very loud and big and impressive, but I can't help but reflect that 300 is now a watershed of sorts in my evolution as a moviegoer: For the first time, I'm feeling left behind by a marketing effort addressed to the younger ones. I was never cool, but this film drives the point that I'm forever leaving that particular demographic behind. I'm not sure I'm sad about it if the alternative is movies like 300. (In theaters, March 2007)

A MIGHTY HEART (2007, Bio/Drama): The worst thing about this film is the knowledge that things won't end well. The tragic story of Daniel Pearl is well-known to the public most likely to see this film, and so it unfolds like a tragedy in the making: despite the efforts toward a happy ending, we just know that it's not going to happen, and this sadness permeates any reading of the film from beginning to end. This lends instant respectability to the film, but it also makes it easy to dismiss as Oscar-driven pap. For instance, Angelina Jolie does well with a role that merely requires her to look stunning and speak with a French accent. But even hot Oscar-baiting grandstanding can't completely drive away the true continuing appeal of the film, which eventually plays like a rough and merciless police procedural in the darkness of the Islamic third-world. The most fascinating character of the piece becomes a Pakistani counter-terrorism captain trying to solve the mystery even as his efforts are stymied by the very environment he lives in. The sights and feel of Karachi are oppressive in their claustrophobia: here the setting makes the action seem that much more fantastic, suggesting intriguing possibilities for future fictional thrills. Even the casual use of high technology seems all that more exotic and uncomfortable in an environment where data cables are loosely tied to outdoor pipes and where even laptops look like intrusions from a Science-Fictional world. Alas, those thrills are quickly tempered by the known futility of the efforts, and the anticipated roar of the heroine's grief. Remarkably apolitical yet immediately recognizable as a film shaped by today's world, A MIGHT HEART may not be guilt-free fun, but it's far more fascinating than you would expect from the documented premise. (In theaters, June 2007)

ACROSS THE UNIVERSE (2007, Musical/Romance): “Unusual” starts to describe this picture but doesn't do justice. Take the conceit of structuring a 1960s romance around Beatles songs, and then add Julie Taymor's visual intensity and you'll get a better idea of this film. Oh, it's not entirely successful: the film is high on stunts and low on sustained interest, most of the time being spent waiting for the next flash of interest. The ending takes far too long, and the portrait of the period ends up skewed toward its most exciting fringe elements. But as a heightened portrait of reality, it definitely has its moments, though those moments may end up being farther apart than one would expect. It's a curiosity, though I expect that Beatles fan with an excellent knowledge of the group's musical catalog will be far more entertained than casual second-generation fans. The DVD features a pretty good commentary track by director Julie Taymor. (On DVD, May 2008)

ALIEN VS PREDATOR: REQUIEM (2007, Science-Fiction/Horror): Sixth (or eighth?) in a series of instructions on how to stomp two franchises deeper into the ground. By now, aliens and predators are so familiar that they could be making plushies of them for all the non-terror they inspire. This film doesn't add much to the mythos (barely a look at the Predator planet and a late Yutani cameo) and doesn't do much with the now-generic monsters. The human characters aren't particularly interesting either, and their gory deaths are far more ordinary than you'd expect. (Only a scene in a maternity ward actually stretches the boundaries of good taste and earns some begrudging kudos.) There are some okay special effects, but the men-in-suits shtick is all too obvious here. There's really not much to say about this film: it'll fade in memory even faster than the first ALIEN VERSUS PREDATOR, and that's a telling fact in itself. (In theaters, January 2008)

ATONEMENT (2007, Drama): How fitting that a film about life-long guilt should seem to last forever. If you thought THE ENGLISH PATIENT wasn't long enough, then ATONEMENT is the movie for you: stiff-lipped English romantic drama against a WW2 backdrop, with self-important cinematography and lengthy meaningful pauses. It certainly aims for a particularly forgiving segment of the public, and it's no accident if I was the youngest member of the audience at the screening I attended. The opening manages to be both enigmatic and dull, with enough time-shifting to make anyone wonder if the reels have been wrongly put together. Then it's off to war, and the single best reason to see the film: a lengthy shot flying around three characters as they make their way on and off a beach where English troops are waiting to be evacuated. It's a show-off piece –just like most of what's distinctive about the film, up to and including the ending which slaps the viewer on the face and tells them they shouldn't have bothered. This is pure Oscar-bait, and it exemplifies the type of excruciating cinema that audiences have to inflict upon themselves if they want to stay current during the Awards season. (In theaters, January 2008)

AUGUST RUSH (2007, Romance/Drama): As sugary-sweet as it is lazily put-together, this unabashedly romantic fable is mistaken in thinking that the simple mechanics of a feel-good film can somehow compensate for contrived plot mechanics. The setup of the story clearly announces what's in store, as a fleeing relationship between a classical musician and an Irish rocker result in a kid whose existence is wiped clean by a overbearing grandfather. A decade later, all members of this separate family start looking for each other even as the child has become a musical prodigy whose music will be performed in Central Park, but only if he can avoid the clutches of a mysterious ragamuffin impresario. (Hey, I told you it was contrived.) The complications are as artificial as the way the story is resolved, with happenstance and chance glances. I admit that being overly critical of this film is like kicking an adorable puppy, but the alternative is encouraging films that are just as indifferently put together. Despite the film's interest in music as a transcending, perhaps supernatural force, there's little of that magic at play in the film. It ends abruptly, almost as if it realizes how ashamed it should be of itself. The DVD contains several deleted scenes that merely prolong the agony. (On DVD, October 2008)

BLACK SHEEP (2007, Horror/Comedy): In the venerable genre of "horror movies when seemingly-innocuous things kill people", this isn't one of the bad ones: The idea of sheep turning into carnivorous monsters has a kick to it, and the New Zealand team putting it all together has enough cleverness to use the concept to its fullest extent. It's not revolutionary, particularly funny or scary, but it goes through all of the right motions at a decent rhythm. The leads are sympathetic enough, the gore is suitably over-the-top and the fun just keeps on piling up. It could have been funnier or slicker (we're still far away from SHAUN OF THE DEAD or TREMORS) but there really isn't much more to say about it: Killer sheep, decent production values and enough fun for any gore-hound. (On DVD, June 2008)

BREACH (2007, Thriller): Espionage films tend to go, James-Bond like, for big explosions and tense gun-play as a way to show off spy trade-craft. Reality, of course, is entirely different, and BREACH at least tries to remain grounded in some sort of verisimilitude as it tells the true story of Robert Hanssen, an FBI agent who kept selling secrets to "the other side" for nearly two decades before his arrest in 2001. As we discover through the eyes of our protagonist, a young agent tasked to his office, Hanssen is a study in contradictions: an overly pious career agent who dabbles in amateur pornography and gun worship, Hanssen thinks of himself as superior to his colleagues and sees in his spying just another way to get back at a system that ignores his talents. Chris Cooper is fascinating in a role that's plays a fine line between assurance and arrogance, and Ryan Phillippe at least keeps up with him throughout the entire film. Though there are a few odd contrivances designed to pump up the drama, BREACH remains restrained in its depiction of a real-life story --indeed, even playing down juicy aspects of the true story such as the amateur pornography and the link to Opus Dei. It all amount to a film that is more intellectually thrilling than the average spy film, even though there's nary an explosion in sight. (In theaters, February 2007)

CHARLIE WILSON'S WAR (2007, Comedy): The once-sparse subcategory of geopolitical sarcastic comedy is certainly picking up steam: After LORD OF WAR and THE HUNTING PARTY, here's CHARLIE WILSON'S WAR, a "comedy" with more political savvy than most so-called "political thrillers" (not to mention documentaries) out there. Little surprise, since Aaron Sorkin is writing it: his mastery of Soviet weaponry and the Washington political process shows through. Better yet is the acting talent, with Tom Hanks having fun as a philandering Texas congressman and Julia Roberts hamming it up as a larger-than-life Houston socialite. And yet it's Philip Seymour Hoffman who walks away with the best lines as a riot-nrrrd CIA operative who finally gets a chance to do something. The script deftly takes us around the world, making a comedy out of a foreign policy move that blows back hard. And that, ultimately ends up being the uncomfortable elephant in the room: How can you make a snarky comedy about arming people who would later come back and become one of the USA's many number-one enemies? Well, you don't, and you tag the conclusion in an epilogue. Which may be the truest, unkindest joke of all. (In theaters, January 2008)

DEATH AT A FUNERAL (2007, Comedy): This is not going to be a long review: Amiable funeral farce in which an ensemble of British-accented actors deal with a would-be blackmailer and accidental drug trips. Despite the language and the seemingly-dark theme, this is an innocuous and friendly film that mixes gross laughs with more emotionally complex moments to produce a hard-to-dislike comedy film. The actors are fine (with Alan Tudyk a highlight), the direction is unobtrusive and the script is a little wonder of weaving subplots. Not a bad choice for a comfortable movie night. The DVD contains a director's audio commentary that's impossible to dislike. (On DVD, August 2009)

DIE HARD 4.0 (aka LIVE FREE OR DIE HARD, 2007, Action): The good news are that the fourth instalment of the DIE HARD series is a very enjoyable return to the roots of the good old action film: explosions, dastardly villains, a wisecracking hero, spectacular action set-pieces and things we haven't yet seen. The not-so-good news are that it falls short of being a good DIE HARD film. Over the long run, I suspect that it won't matter: the two previous DIE HARD sequels initially disappointed moviegoers who then grew fonder of them as time went by. At the very least, an older "John McClane" is back, fighting terrorists who are really robbers and trying his damnedest to save family members from consequent harm. The story is a pack of silliness (Hackers! National infrastructure! Turning all traffic lights to green!) with more logical howlers than you can imagine (including a convenient absence of traffic when needed), but at least it gives Bruce Willis something to do and plenty of opportunities to look good with an increasing number of cuts and bruises. Though the villains are a bit wasted (Timothy Oliphant's villain never projects too much menace, while Maggie Q is wasted as a sidekick who can't help but go "yah!" as she's kung-fu fighting) and the direction is too scattered to be truly inspiring, there are a number of really good action sequences here and there. There's a bit of parkour, a wall-smashing gunfight, at least one flying car, some hot jet-on-truck action and a crumbling symbol of American power. Good stuff, though I'd like a cleaner look for the action than the fashionable CGI-boosted shakycam stuff. More globally, it's fascinating to see a mainstream American action thriller take on a plot-line that would have been pure science fiction (in concept and execution) barely twenty years ago: our heroes use cell phones, shrug over memories of 9/11, do some social engineering via OnStar and stare intently at webcams even as McClane is derided as "a Timex in a digital world". It's too bad that this is a different McClane than the one who starred in the first DIE HARD, but I won't complain: Fast-paced action movies are rare enough that I'll take what I can get. (In theaters, June 2007)

DISTURBIA (2007, Thriller): I expected nothing from this teen REAR WINDOW wannabe, so imagine my surprise at a well-done and reasonably entertaining teen thriller. Shia Lebouef emerges as a compelling lead in this film, and he's ideally suited to the mixture of drama, comedy, romance and thriller that develops as DISTURBIA unfolds. There are some modern twists to the story, but the bare bones of a voyeur thriller are there, with an adolescent dash of mischief. It's hardly perfect, what with the cheap plot twists, incompetent voyeuristic skills of the characters and manipulated dramatic twists... But it holds up to casual viewing, and ends up being much better than the cheap "REAR WINDOW remake for teens" label might suggest. (In theaters, April 2007)

DOA: DEAD OR ALIVE (2007, Action): Bikinisploitation, anyone? As excuses go to show bikini-clad good-looking young women doing martial arts scenes, this film is as good as it needs to be: The visuals are slick, the action scenes are fun, the plot reaches a decent clever/dumb balance. It's based on a series of video games (including a bouncy-bouncy volleyball spin-off that does make it in the film), but you don't need to be a gamer to appreciate the way the film consciously goes for PG-13 titillation. No one bleeds, no one shows more skin than a bikini allows, everyone gets to throw a few kung-fu kicks (which must be tougher than you think in bare feet) and there's little left to do but cheer in bemused satisfaction. The featured actresses aren't all equally compelling (Devon Aoki: Yes. Generic blondes? No.) but at least directory Cory Yuen manages to keep things hopping with dynamic editing, relatively rapid fight sequences and a few beautiful shots here and there. Here's a safe prediction if you happen to see this film with a group: The guys will like it and the girls will be bored. (On DVD, June 2008)

ENCHANTED (2007, Romance/Comedy): I missed this in theaters, and shame on me: There is some really clever stuff in this modern retelling of the usual Disney fare. It starts in classic Disney-fairlytale flat 2-D animation, where a princess is exiled to real-world New York. Then things get more interesting as the fairytale idealism of the princess (a perfect, and I do meant perfect, Amy Adams) clashes with the grim (but not-too-grim) practicalities of the big city. The tension here is made even more interesting by the idea that this is a Disney film commenting upon an entire in-house tradition. Nobody will be surprised to find out that idealism ultimately wins over even the lead skeptic (a rather good Patrick Dempsey) by way of sheer cuteness, dragon-fighting and a number of snappy musical numbers (two of which, “Happy Working Song” and “That's How You Know”, stick in mind well after the end credits). As a family film it sometimes loses itself in cute-animals shenanigans, obvious plot-points, overacting and some idiot-plotting. But there are enough clever sequences, smarts details and genre-aware commentary to make it seem interesting even to those who fall outside the “family” audience. Better yet: if wouldn't have been as good had it come from another studio than Disney. (On DVD, June 2008)

EPIC MOVIE (2007, Comedy): Every time I think I'm a good and forgiving reviewer, a stinker like EPIC MOVIE comes along and sets me straight. I normally like comedies and I've got a big soft spot for parodies: I think I may have been one of the few non-teens to give a passing grade to SCARY MOVIE 4, for instance. But the current crop of parodies is a long way away from the classic days of TOP SECRET: Rather than honest good jokes, we get re-creations of familiar big-budget films with violent slapstick and hip-hop references. There is little intent to subvert the original films, point out their flaws, or use the material as a stepping stone to a more original story. EPIC MOVIE is among the laziest of this wave of parodies (and, one hopes against dollars, one of the last). A mish-mash of NARNIA, CHARLIE AND THE CHOCOLATE FACTORY and many others, EPIC MOVIE just seems happy to wallow in recent pop-culture references. Alas, none of them play off each other, the laughs are few and the cumulative effect is irritation. (There's a moderately witty use of the CLICK remote control late in the film, but it comes far too late to save anything.) Heck, even the normally amusing Kal Penn is wasted in this film. Perhaps the only thing EPIC MOVIE is good for is showing off the cuteness of Faune Chambers (who's really playing the role of Regina Hall in the SCARY MOVIEs), but if the price to pay to be in her fan-club is to see this film, it may be worth waiting for her next role. Lazy, dull and dumbly reaching for the lowest common denominator, EPIC MOVIE seems determined to prove how little laughs can be included in a "comedy" without having the audience ask for refunds. (In theaters, February 2007)

FANTASTIC FOUR: RISE OF THE SILVER SURFER (2007, Action/SF): To say that this is a better movie than the first one does no one any favour: It's like praising a casual acquaintance by saying that s/he's probably better than Jack the Ripper. Chances are that everyone will feel slighted by the pointless comparison. It's perhaps more useful to say that if this sequel isn't as exasperating as its predecessor, it's still pretty dumb and still not much fun. Fortunately, it does have a certain basic interest: the painful original story being a thing of the first film, the Fantastic Four are here presented at the height of their powers, with consequent public attention --though still flying coach. There is, simply put, more joy here than in the first film. They're also faced with a decent problem in the form of an all-reflective Silver Surfer that goes and pokes holes around the Earth. Some power-switching shtick makes for passable comedy, though the script also misstep badly with an embarrassing "bachelor party" sequence and a pretty complete lack of any chemistry between the too-be-wed couple. Bad dialogue completes the whole, especially when it surrounds snippets of passable writing. (I liked the "triumphant nrrrd" speech, for instance, but it feels clumsily pasted in the middle of a contrived scene.) At least guys will have something to look at, in between the action scenes, Kerry Washington and a bespectacled plastic replica of Jessica Alba. Heck, the film even allows itself an anti-torture PSA when it points out that excessive torture will tarnish the finish of even the best silver surfers. Now that's quality film-making with a moral centre! Otherwise, well, this sequel spares no effort to raise itself to the level of mere competency with a side-order of silliness. It'll do for the younger members of the audience, especially given the bloodless nature of the action. (In theaters, June 2007)

FIDO (2007, Comedy/Horror): With time, I'm learning that everything is possible, including seeing my tax dollars finance a zombie comedy. A good one, even: Like the best zombie films, FIDO understands the satirical social relevance of zombies, and starts off strongly with a critique of suburban America mixed with a metaphor for slavery and/or racism. The alternate-history nature of FIDO is clever and amusing, and so is the first act of the film, which plays off zombie archetypes against a brightly-coloured suburban background, with a plot that seems inspired by Douglas Sirk . At times subversive and amusing, gruesome and wholesome, FIDO is a great deal better than you'd expect from a B-movie. Sadly, the imagination of its creators seems to run out at the same time than their budget, leading to a flat conclusion that is visibly hampered by shoestring film-making: the climax is a muddle, with no great thematic denouement and hesitant staging that can often feel more ridiculous than suspenseful. But three-quarter of a good film is better than none, and so FIDO earns a marginal recommendation on the strength of being better than expected. That Carrie-Anne Moss has a leading role certainly doesn't hurt. (In theaters, March 2007)

FRACTURE (2007, Thriller): At a time where out-of-left-field plot twists are becoming the norm in the thriller genre, it's a refreshing change to see a competent howhedidit rather than a ludicrous whodunit. Here, there's little doubt that Anthony Hopkins' character shot his wife: the only question is how he was able to do it and yet do his best to escape every effort to convict him for the crime. Despite at least one huge whopper of a coincidence and a very convenient suicide, FRACTURE nonetheless moves along at a pleasant pace, in no small part due to Hopkins' self-aware acting, and a decent turn by Ryan Gosling as a young cocky lawyer who learns better. Pay attention, and you will even hear a heartening bit of public service boosterism. Otherwise, well, Los Angeles is convincingly portrayed, the direction is efficient, and there's a guilty thrill in looking at the brilliant antagonist as everyone plays according to his plan. While not flawless, or even truly memorable, this film will do as rainy afternoon entertainment. (In theaters, April 2007)

FUTURAMA: BENDER'S BIG SCORE (2007, SF/Comedy): The futurama gang is back from cancellation in style with the first of four feature-length episodes. After an opening sequence featuring a number of jokes at the expense of the “Box Network” executives that grounded the crew, the subsequent story tackles the binary incantation for time travel, evil aliens, Bender's insatiable appetite for the cool crime of robbery and makes another trip to Fry's last moments in 1999. Even Al Gore makes a return appearance. Some of the jokes feel a bit forced, but if you already love Futurama, there's little else to add here: it's a good extended episode, and the sheer joy of seeing another bit of the smartest SF cartoon series ever produced will do much to enhance the experience. Don't miss the Math lesson hidden in the DVD supplements, or the Hypnotoad episode. (On DVD, May 2008)

GHOST RIDER (2007, Fantasy): Let's name names, shall we? Writer/director Mark Steven Johnson, you are the one responsible for the insipid waste of time that is GHOST RIDER. The failure isn't all that surprising after the barely-better DAREDEVIL: the only thing worth pondering is how Johnson was able to get another studio directing job after that train-wreck. Like its predecessor, GHOST RIDER wastes every promising element it has, and compresses handily in a moderately interesting trailer that pretty much says everything worth knowing about the film. (The film itself is worse than anything you could imagine from the trailer.) Even the combined talents of Nicholas Cage and the curvaceous Eva Mendes can't rescue this turkey as it loses itself in a deeply predictable morass of clichés. The special effects are sub-standard, but it's really the dull story that fails to engage. Save yourself the trouble: re-watch the trailer again and let this one go. (In theaters, April 2007)

GRINDHOUSE (2007, Horror/Thriller): For a movie industry that is renowned for not taking risks and always presenting the same thing, American cinema can still be surprising from time to time. Case in point: the wonderful cinematic experience that is GRINDHOUSE, complete with two full-length movies, fake trailers, fake film damage, "missing reels" and intermission cards. (Canadian theatres even got the bonus trailer HOBO WITH A SHOTGUN). It's long, it's self-indulgent, it's hyper-violent... but it's a trip and one of the best prepackaged movie-going experience I ever had in a multiplex. The movies themselves aren't all that special, but it's the whole experience that makes the show. Robert Rodriguez's PLANET TERROR is by far the most entertaining film of the duo: A self-aware parody of zombie films, it's crunchy-delicious in its avowed awfulness, and never misses an outlandish beat when it sees one. In comparison, Quentin Tarantino's subversive DEATH PROOF is far less even: it dawdles along on Tarantino's usual verbal pyrotechnics, then delivers a jolt of exploitation adrenaline. But then the movie resets to another format, turning the cards and screwing around with audience expectations. It's a ride and a half, perhaps too conceptually clever for its own sake. Still, the entire package that is GRINDHOUSE is a success and a great big gift to movie geeks. Whatever you do, don't miss DON'T! (In theaters, April 2007)

HANNIBAL RISING (2007, Crime/Drama): It's a law of commercial exploitation that every compelling character will be over-exploited until only an easy caricature will be left. In this case, this fourth (or fifth, if you count MANHUNTER) Hannibal Lecter film achieves the dubious distinction of de-fanging the character until all that's left is a tiresome standard-issue serial killer movie. This prequel (always a sign of creative desperation) doesn't teach us much about Lecter (especially if you've read the silly Hannibal) , and what little it does is more ridiculous than interesting. After that, it fades into a pretty standard revenge story in which the protagonist likes to eat his victims. The little suspense in the film is quickly overwhelmed by its ridiculousness, and the competent art direction does little to overwhelm the boredom that eventually creeps over the film. I'm already tired of the "serial killer as a hero" theme; such a limp take on the concept does nothing to endear me again to the concept. HANNIBAL RISING is the kind of film that justifies the existence of reviewers: For goodness' sake, leave this one on the video store shelves. (In theaters, February 2007)

HOT FUZZ (2007, Comedy/Crime): The boys of SHAUN OF THE DEAD are back with another genre comedy, and this time it's both the quaint English countryside character comedy and the big old Hollywood action movie who successively come under fire. Simon Pegg is exceptional as the super-agent "Nick Frost" transferred from London (where he makes the rest of the force look bad) to a small village where nothing happens. Nothing? Well, OK, not nothing: maybe a continuous series of suspicious incidents... It's all fun and surprisingly gory jokes until the two-third mark, at which point the film changes gears and truly tackles action movie clichés with a delirious energy. The solid all-star cast does little to distract from the fun. So far, this is the comedy to beat this year... (In theaters, April 2007)

JUNO (2007, Comedy): There are a number of really nice things about this film, and it's a shame that some of them work at cross-purposes. JUNO may begin as a tart-tongued indie comedy with a lot of cynicism, but it gradually transforms itself into a relatively better-mannered romantic drama with a lot more heart than you'd expect from Rainn Wilson's initial rapid-fire smart-alec riffs. It works, in part because it mirrors the transitions of the characters themselves: Coolness is a variable quality in JUNO, and the better people can often be the ones you don't expect. It earns its heartfelt ending. On the other hand, the crunchy dialog gets more and more ordinary as the film advances, and it's easy to pine for the earlier flurry of quotable material. But a better case of instincts running aground can be seen in the typical "indie" feel: the minimalist soundtrack, the endearing goofiness of the characters, the jerky pacing, the basement-cheap cinematography and the deliberately off-the-wall opening credits. It works more or less well: JUNO wouldn't be the film it is had it been adulterated by a slick marketing department, but the rough edges of the film still feel off-putting. But I'm really being far more critical than I should: Out of a lengthy list of indie comedies that have caught on mainstream audiences lately, JUNO stands far above NAPOLEON DYNAMITE and is generally more consistent than LITTLE MISS SUNHINE. Ellen Page shines in the title role, and the script is pure savvy writing. Characters act in refreshing fashions (no cheap histrionics here) and stick in mind long after other films have faded in memory. Oh, just see it, all right? (In theaters, January 2008)

JUST BURIED (Canada, 2007, Crime/Comedy): This Canadian-made low-budget film blew through a limited theatrical release, and that's too bad given how well it succeeds as a very dark comedy. As a young nerdish man inherits a struggling small-town funeral home, he comes to realize, with the help of his new girlfriend, that mortal accidents are a great way to send paying clients to his business. But once you start killing people, intentionally or not, it can be hard to stop... Rose Byrne (looking a lot like Kirsten Dunst) is the film's standout performer as a mortician with a keen interest in her job; regrettably, Jay Baruchel is saddled with a too-annoying character to be sympathetic, and the film flounders a bit on this lack of attachment. The script itself is a clever hybrid between small town comedies and disturbingly morbid plotting. At a time where “dark comedy” is labeled on just about anything, JUST BURIED is the real thing, a film that could have slid in outright horror with just a few tiny adjustments. Despite a few third-act problems, the film wraps up neatly with a merciless finale that ironically gives moral weight to the rest of the script. It's definitely a low-budget independent film: even if the budget allows for a few impressive explosions and crashes, it takes chances that normally wouldn't even be thinkable for a wider audience. If your tastes can handle murder for love and profit, well, scour the local video store for this one. (In theaters, July 2008)

LIVE FREE OR DIE HARD (2007, Action): I'm shocked: This film actually works better the second time around. Free from the initial impact of silly plotting and logical howlers, this fourth DIE HARD installment surprises by how well it understands the mechanics of the character, while the direction is a cut above the jerky style commonly used nowadays. The pacing is steady and the climax delivers on its promise. The bare-bones DVD version still includes a fairly entertaining commentary with Bruce Willis and director Len Weisman (who redeems himself after the two UNDERWORLD movies): it explains a fair bit about the conception and the making of a project that was a long time in the making. I didn't actually expect this film to hold up to a second viewing, but it does do quite well. (Second viewing, On DVD, February 2008)

MA FILLE, MON ANGE ([MY DAUGHTER, MY ANGEL], Canada, 2007, Crime/Drama): there's something hilarious about the film's self-important message about the dangers of letting your daughter go to the big city. Hard drugs, abusive boyfriends and Internet pornography are inevitable consequences of parental indulgence! The upper-middle-class paranoia of the script plays doubly false given the film's own titillation factor and goody-goody characters. The murder mystery ends up being a false front for a hypocritical feature-length reactionary tract that resolves itself in a bitterly unsatisfying twist. While the pacing is generally satisfying and the production value hold up well, the film itself is a hollow shell. Too bad; the actors do generally well with what they're given, and it's always a pleasure to see Michel Côté get in a fist-fight. (On DVD, January 2008)

MEET THE ROBINSONS (2007, Kids/Comedy/Science Fiction): This second Disney CGI effort after the uneven CHICKEN LITTLE is a good step up for the new animation house: Not only is it a solid kid's film, it espouses a number of worthwhile values and even presents a mission statement of sort of Disney itself. Not bad for a film dealing with a genius twin being carried away in the future. The pacing is brisk, the characters are surprisingly well-defined, the animation is fine and little of it is saccharine or maudlin. Better yet: the film often allows itself little forays in bizarre territory, such as when a dozen characters are introduced in ninety seconds, or when a family dinner turns into a cheaply dubbed martial arts sequence. Not exactly the kind of thing you'd expect from the fairly standard trailer. Perhaps the best thing about this film from a purely geek perspective is how it embraces the notion of technological progress as an extension of human values; that's a nice SF attitude right there, and it does much to make me fond of the movie. (Heck, I even went back two weeks later to see it as a 3-D feature and still enjoyed it.) (In theaters, April 2007)

MR. BROOKS (2007, Crime): Wait long enough and you'll see everything. In this case, MR. BROOKS takes the current trend of glorifying serial killers and turns it into a feel-good film about such a protagonist. It's meant as a black comedy, but the execution often isn't too sure of the intended effect: The presence of a cackling John Hurt as the imaginary anti-conscience of Kevin Costner's Mr. Brooks makes for some amusing sequences, but the bloody suspense of the piece doesn't play nice with the cynical grins. It doesn't help that the script never knows when to quit: Starting from a mildly intriguing premise about a serial murderer troubled by his conscience, MR. BROOKS spins up more and more subplots until we're left with almost a half-dozen killers (including potential ones) running around at cross-purposes. It quickly gets ridiculous. Other signs suggests that the script was either badly constructed from the start or damaged in editing: a hideous coincidence during the third act hint at a plot point that is never brought up again. When the false-trick ending comes up, it doesn't feel as cheap as it could have: why that point in the movie, we're just wondering how ludicrous this is going to become. At least it remains interesting: for all of its faults, there are enough promising things about MR. BROOKS to keep our interest until the bitter disappointment of its ending. If this film is remembered at all, it will be as a sort of apogee for post-modern serial killer plotting. (In theaters, June 2007)

NEXT (2007, Science-Fiction): Adaptations of Philip K. Dick stories are either SF classics or B-grade pap, and NEXT goes straight in the second category as a limp action film that never uses its premise to its fullest extent. Oh, Nicholas Cage is entertaining enough as a Las Vegas magician with a few special powers, but there's little of note in the tedious film that surround him. The action scenes are by the numbers (all the best images are in the trailer), the special effects look substandard, and the ending takes back the entire third act. Boo! Though not quite egregiously offencive or awful, NEXT nonetheless leaves no lasting impression and will soon go languish in bargain bins all around the world, right next to PAYCHECK. Isn't that just a waste? (In theaters, April 2007)

NO END IN SIGHT (2007, Documentary): This brainy documentary takes on a tough subject (the way the aftermath of the invasion of Iraq was mishandled) without much in terms of eye-candy: It's mostly Baghdad footage and talking heads for the entire duration. But don't let that stop you from watching this intelligent explanation of how and why the United States has really dropped the ball and exacerbated existing problems after its invasion. A lot of this material will be familiar to observers of the situation over the past few years, but NO END IN SIGHT does a fine job at piecing it together in a coherent picture that goes beyond the easy headlines. It's a matter of policy decisions and adapting to the fact on the ground –and in there like in the rest of its administration, the Bush II regime is completely incompetent. The film shows over and over how capable people are ignored, sidelined or fired and replaced with ideologically malleable people who don't have a clue. It adds up to a profoundly depressing portrait, a methodical argument without much in terms of overt partisan polemic. (Though Rumsfeld act as the film's own bitter comic relief.) It's not documentary-as-entertainment like we've seen so frequently over the past few years, but it's a clever, remarkable piece of non-fiction cinema. It certainly deserves its Oscar nomination. (On DVD, January 2008)

NORBIT (2007, Comedy): Every year, the Oscars play a dirty trick on completists by nominating the worst sort of tripe for one of the technical categories. Last year it was CLICK; this year it's NORBIT for best make-up. Well, props to the Academy: The makeup effects that allow Eddie Murphy to play three roles alongside himself are top-notch and withstand way-too-close scrutiny. On the other hand, makeup is the only thing worth noticing about this tedious comedy that multiplies the Murphy Mugging factor. The plot concerns a henpecked man (Murphy), raised by an adoptive father (Murphy), hounded by a massive wife (Murphy) rediscovering his inner strength when a long-lost love (Thandie Newton, to be pitied) moves back into town. There's little to the predictable plot but a series of fat jokes and slight gags. The characters aren't caricatures; they're lobotomized stereotypes that highlight how the film was made for 12-year-old audience. The script is leadened with a series of overused jokes, unfunny concepts and dumb staging that will only make sense if you know nothing about the way the world works. (Hence the ideal 12-year-olds audience). Occasionally, NORBIT manages to strike a mildly amusing note or two; otherwise, it's a dreadful experience without much value. (On DVD, January 2008)

OCEAN'S THIRTEEN (2007, Crime/Comedy): After the self-indulgent disaster that was OCEAN'S TWELVE, expectations were low for this third modern Danny Ocean adventure. Fortunately, director Soderbergh is back to his audience-friendly persona this time around, and if the result may not be terrific, it's good enough to warrant another look at the crew. This time, the plot goes back to Vegas and the action gets more diffuse: rather than rob something, our bunch of criminal protagonists avenges a friend by cracking open a casino for all takers. The multiplicity of schemes doesn't make for a focused caper plot, but it provides enough choice for everyone: if a particular subplot is dull or vaguely uncomfortable (such as the hotel-from-hell contamination), just wait thirty seconds and something more interesting will come along. This buffet approach makes for an audience-friendly vibe that is reflected elsewhere in the film: the characters are at easy with each other and if the dialogues are still elliptical, they're quite enjoyable. Even the walk-on roles get their chance to shine: Eddie Izzard gets a particularly good five minutes as an expert who demands exposition. It all amounts to a sweet caper film. While the emotional charge of the film is thin and the speaking female characters can be counted on one hand, OCEAN'S THIRTEEN is a decent way for the trilogy to end --we don't really need a fourth one. (In theaters, June 2007)

ORPHANATO, EL ([THE ORPHANAGE], Spain, 2007, Horror): The best horror films are often those that don't reach for your throat with cheap shocks, loud stingers and oceans of blood. THE ORPHANAGE will feel immediately familiar to fans of THE SIXTH SENSE, THE OTHERS and PAN'S LABYRINTH: For a long time, there's little to suggest that this is a horror film, and the hints only accumulate gradually. Cranked like a purring machine, THE ORPHANAGE is light on shocks and deep in atmosphere. Belén Rueda's performance carries nearly the entire film as her character falls apart over the course of the events. There's much to applaud in the script, from the double-trigger twist to an emotionally satisfying climax that works by not wimping out. There are a few rough spots for dramatic purposes, but the rest of the film holds together and is easily better than the vast majority of American horror films. Remember the pedigree I mentioned? This is the horror film that every connoisseur will have to see this year, if only to nag those who haven't. (In theaters, January 2008)

PATHFINDER (2007, Adventure/War): There are bad dull movies and there are compulsively watchable bad movies. PATHFINDER falls squarely in the first category. A war movie in which Vikings go against Native Americans in the year 1000, PATHFINDER thuds in theatres and can't be bothered to be interesting. Bad direction, ugly dark-and-blue cinematography, faint characters, major continuity mistakes (What's that about walking to the Rockies from the eastern coast?) and a total lack of interest are the distinguishing characteristics of this sorry excuse for entertainment. At every moment, we're reminded that APOCALYPTO did the whole "ancient war movie" so much better. Even by the low standards of action cinema, PATHFINDER has little going for it. Go ahead; rent it despite the warnings of this review and feel sorry for yourself. (In theaters, April 2007)

PERFECT STRANGER (2007, Thriller): There are bad dull movies and there are compulsively watchable bad movies. PERFECT STRANGER falls squarely in the latter category. A mish-mash of ludicrous plot twists, unlikable protagonists (I like looking at Halle Berry, but her acting is like nails on a blackboard), bad technical details, dull eroticism and clumsy direction, PERFECT STRANGER is nonetheless captivating: the plot mechanics are unaccountably fascinating, and that's without adding the attraction of watching a cinematic train wreck and wondering how bad this is going to turn out. The final few minutes are a masterpiece of the "let's screw with the audience" school of thriller plotting. A chaste thrill-free "erotic thriller", PERFECT STRANGER still has a magnetism of its own. It's a bad movie, but I guarantee you won't be bored. (In theaters, April 2007)

PERSEPOLIS (2007, Biography): As a confirmed fan of Marjane Satrapi's graphic novel autobiography, I had a number of apprehensions about this adaptation, but most of them were swept away by the end of the movie: It works both as a film and as an adaptation, and the mixture of drama, history and humor is just as balanced on the screen than in the page despite significant differences in how the story is told. The basic idea remains the same: This is the story of a young Iranian girl who, growing up, sees the Islamic revolution first-hand, survives the Iraq/Iran war and is sent to Europe when her rebellion gets to be dangerous. (Not that the story ends there.) The film itself is a wonderful piece of stylistic charm, mixing high technology with Satrapi's iconic black-and-white drawings for a result that is quite unlike anything else in theaters this year. The writing is sharp either in French spoken dialogs or English sub-titles (one of which, regrettably, obscures a visual gag late in the film.) Fans of the original graphic novels will be pleased to note that the film exists as its own entity, with scenes that couldn't exist on the page; film fans will be even happier to discover the wealth of extra material that the graphic autobiography (now available in a single unitary edition) has to offer. There's a lot of biting humor and a lot of material to reflect upon, and the everyday details of life under an oppressive regime are telling. Comic books in written form have long escaped the "just for kids" stigma, and PERSEPOLIS will help do the same for the cinematographic form. If we're lucky, it will mean more animated adaptations of successful graphic novels. (In theaters, January 2008)

PIRATES OF THE CARRIBEAN 3: AT WORLD'S END (2007, Action/Fantasy): Oh no: Cast and Crew of the series have finally convinced themselves of their utter importance to world cinema. That's the only way to explain this flaccid and pretentious third entry in what had begun as a perfectly balanced blend of action, horror, comedy and characterization. Oh, there's still a solid 90 minutes of blockbuster cinema in here. Unfortunately, it's drowned in another hour of superfluous material that advances nothing. The first act of the film is particularly annoying as the pace grinds to a halt and everything seems so important. The normally sympathetic characters seem bored, and so are we. Fortunately, things pick up longly thereafter, once past a death-world sequence that has escaped from a particularly pointless art film. Still, Johnny Depp is fun, Naomi Harris is hot, Geoffrey Rush is cool and the third act is a little masterpiece of special effects. There's a lot of pieces in play (even if they don't all fit together), and keeping track of them almost demands the drawn-out endings that begin to rival the end of the third LORD OF THE RINGS movie. I wonder if someone will ever have the guts to re-edit this self-indulgent mess properly. (In theaters, May 2007)

SCAPHANDRE ET LE PAPILLON, LE ([THE DIVING BELL AND THE BUTTERFLY], France, 2007, Drama): I really didn't want to see this film: Stories of people overcoming physical handicaps to find peace, happiness and Oscar nominations aren't high on my list of priorities, but when a film gets four such nominations, well, I can always follow the crowd and make an effort. So when I say that the film managed to overcome my own preconceptions, you can figure out that it's something special. Adapted from the true story of a man almost completely paralyzed by a stroke and left with the control of only one eye, LE SCAPHANDRE ET LE PAPILLON takes an intensely subjective approach to its subject at first. Thanks to focus issues and staccato movements meant to represent human eye motion, the film sticks the viewer inside the protagonist's head as he has to figure out how to communicate with the world again. It's a painful, sometimes horrifying process, minutely detailed while the basics for communications are re-established in far more than the blink of an eye. (I deny anyone not to hyperventilate during one particular scene in which sewing needles are involved.) It's a brilliant piece of cinema, and it more than establishes the protagonist's situation before we are allowed, once again, objective camera angles. I don't think anyone could have expected a better adaptation of nigh-impossible source material. There's some biting humor through it all, though the film becomes increasingly predictable and conventional the longer it went on. But the result is exceptional (if not always pleasant, at least seldom preachy) and it has a good chance to stick in memory long after the rest of the Oscar-nominated slate of 2007 has faded in memory. (In theaters, February 2008)

SHOOTER (2007, Action/Thriller): There isn't much more here than a good little conspiracy thriller, but don't let that be a problem: Director Antoine Fuqua is back in shape after a trio of underwhelming films, and the result is competent enough to satisfy. Updated from Point of Impact, an original novel by film critic (!) Stephen Hunter, SHOOTER amps up the conspiracy angle of the book to include an entire machinery of government and industry (riffing off the waning power of truth and decency during the Bush administration), yet can't resist a vigilante-like conclusion. Don't worry: The protagonist will escape his pursuers, find the real story, prove it to the right people and get the girl. It's the way in which it's done that's worth the ticket, and here SHOOTER does everything well. Cool supporting characters (including an old man with a historically significant shovel), nice action set-pieces, big explosions and a little bit of courtroom showdown are all we need. The updated references immediately make the film fit in the twenty-first century and mark SHOOTER as a solid thriller with a bit of a wider vision than is usual in movies of its type. (In theaters, March 2007)

SHREK 3 (2007, Comedy/Kids): If this film has any distinctive feature at all, it's the way it may mark the transition of the SHREK movies into a succession of episodes starring an ever-larger cast of characters. Despite the impressive progress in computer-generated animation and the lessening importance of pop-culture gags, Shrek and the gang are becoming blander and more beholden to the necessities of shareholder interests. While the film is generally harmless, the comic highlights are becoming less memorable. Stretching my memory, I can dimly recall a union of villains and a fairly good life-flashback gag involving Pinocchio, but that's about it: the rest just blurs into a series of generally pleasant scenes without much bite. Who wants to bet that there will be a Shrek 4, 5, 6...? (In theaters, May 2007)

SICKO (2007, Documentary): Progressive rabble-rouser Michael Moore is back with a film that delivers exactly what fans and foes are expecting from him. This time, he takes on the shameful American health care problem, which doesn't make for much of a challenge: the system is so broken that it hardly seems sporting to criticize it. The film is a series of heart-breaking anecdotes showing by example the plight of ordinary citizens in a country where everyone has convinced themselves that universal health care is a luxury that no one can afford. Canada, the UK, France and Cuba are trotted as counter-examples –even with the understanding that Moore cherry-picks his examples. But subtlety isn't the name of the game here, and even the most jaded cynics will find it hard not to emphasize with the victims. Ironically, this is perhaps the film where Moore does the least grandstanding: save for an obviously dumb stunt near the end of the film, SICKO is the most emotional, least annoying Moore documentary yet. It does lack the panache that made BOWLING FOR COLUMBINE and FAHRENHEIT 9/11 such memorable pieces, but it's just as effective in raising everyone's hackles. This time around, the lines aren't as partisan as in previous films: While recent Republicans come under fire by sheer dint of incumbency, both Nixon and Hillary Clinton get their share of harsh words... and down in the street, people bankrupted by health insurance don't exactly wear their partisanship on their forehead. Fans of Moore's work will recognize the threads of Moore's meta-narrative being pieced together: Moore's over-arching thesis is that manufactured fear, poverty and desperation are the things keeping Americans from achieving their true potential, and that explicitly gets stated in the film. As usual, I find myself hoping that one day, Moore will piece it together and deliver the film that will blow open everyone's minds. In the meantime, SICKO is a step in the right direction: hopefully, it will find some political traction and play in the 2008 election. Seeing the history of American activism, though, I'm not particularly optimistic. Let me hug my Canadian Passport once more. (In theaters, June 2007)

SMOKIN' ACES (2007, Crime/Drama): The little hyper-caffeinated action film has become a staples of winter movie-going and in these matters, you could do worse than Joe Carnahan's long-awaited return to the screen after 2002's NARC. This effort hims him juggling dozens of characters in an action film that owes as much to comic-book plotting than to straight-up criminal mayhem. Loosely stated, SMOKIN ACES is about dozens of paid killers converging on a hotel where a would-be prosecution witness is staying. With that many characters, it doesn't take a long time before they clash together and start taking themselves down. The cheerfully chaotic nature of the plotting starts early and ends up past the point of ridiculousness (with a nod to Carnahan's “Ticker” short film), but it's a fun ride. Alicia Keys is particularly enjoyable as an assassin on the cusp of big decisions, and so is Ryan Reynolds as one of the few characters firmly committed to justice. The film's best scene comes along with a hail of big-calibre bullets: It'll thrill you just as it will make you deaf. While the build-up is better than the end result (a statement that also goes for the trailer versus the film), the film itself leaves a good impression, as long as all expectations are in check, and as long as you expect the right type of film. (In theaters, January 2007)

SPIDER-MAN 3 (2007, Action/Fantasy): I won't try to pretend that I disliked the first two SPIDER-MAN films, but it's fair to say that I haven't been as impressed with them as most other people have been. Partly, I mourn the Sam Raimi of the EVIL DEAD trilogy; partly, I can't stand the lowest-common-denominator approach that has ensured the series' success. So when SPIDER-MAN 3 comes out and ends up annoying everyone, I'm left muttering "Well, what did you expect?" This being said, there's no doubt that this third instalment is weaker than the first two ones for obvious reasons: too long, too scattered, too coincidental. Obviously, storytelling standards have fallen when, of all the possible places on Earth, a meteorite carrying an evil symbiont just happens to fall next to Peter Parker as he's making out in the park. I happen to like the Venom plot thread, but it seems superfluous in a third tome of a trilogy chiefly concerned about the Parker/Harris/Osborne relationship. That it blows up the duration of the film well past its optimal time is just another knock against it. Without Venom, we might have been given a few more scenes fleshing out the Sandman character... although if the alternative is yet another coma-inducing speech by Aunt May, I'll pass. No, SPIDER-MAN 3 has obviously succumbed to the increasingly common self-importance syndrome of third-parters: the producers' belief that it can do no wrong and audiences will lap it up any way. They may be right... but that won't be of much comfort in a few years when hardly anyone will recall such movies with affection. (In theaters, May 2007)

STOMP THE YARD (2007, Romance/Musical): If ever you've wondered what would happen if you blended hip-hop music with Jackie Chan movie-making, don't look any further: STOMP THE YARD is this year's 8 MILE in how it present a troubled youth's redemption through suddenly-hot performing arts. For Eminem, it was poetry slams; this time around, it's dance-stepping. But whereas 8 MILE was grim and dreary, this one's all-out light and fun. The dance and song sequences have an irresistible energy, and they lift the film far above its terrible plot and dialogue. The protagonist isn't unsympathetic despite his almost tiresome aggression, but that character trait feels like a dramatic shortcut in a film that can't be bothered by subtlety. Elsewhere in the script, hideous coincidences and convenient back-stories make up the rest of what could laughably be called "plotting". But just like a Jackie Chan film, the story is just an excuse to move from sequence to sequence. In this case, it's easy to be forgiving as soon as the foot-stomping dance sequences start: The film suddenly becomes alive, bubbling with good fun and terrific camera work. (It could have used longer coverage shots, but that's a common-enough complaint.) As far as teen movies go, this is surprisingly enjoyable. (In theaters, February 2007)

SURF'S UP (2007, Kids/Comedy): If you think you've seen enough movies about penguins, make room for one more: SURF'S UP may not be much more than a fun film, but it's well worth a look. The most obvious difference of the film is how it presents itself as a mockumentary, and sustains the form for the entire duration --even though the illusions gets less transparent during the last half. The story isn't complicated and you'll see the twists comes up well in advance, but it's handled with a competent touch, and it features a bunch of good characters. (Even the chicken gets a few laughs.) As a CGI film, it shows that water effects are pretty much a solved problem: the film seldom hesitates to go into the surf, showing off iridescent green waves in such a way to make us regret that this isn't a real film. The irony, of course, is that despite the cartoons and the script made for the younger ones, SURF'S UP manages to explain the Tao of surfing a lot better than more realistic movies about the subject: You just have to see the penguin protagonists touch the back of a tubular wave to understand how much fun surfing can be. It all adds up to a pretty satisfying time at the movies, and one that quickly dissociates itself from either HAPPY FEET or MARCH OF THE PENGUINS. (In theaters, June 2007)

THE LAST MIMSY (2007, Science-Fiction): Never mind Lewis Padgett's much-beloved original short story: THE LAST MIMZY is the perfect example of how an adaptation can misunderstand the story's fundamental theme and jam it into a generic template. From an original beginning, the film inevitably converges with the plot of just about half of the SF/fantasy films out there. Thematically, the original story was all about superhuman intelligence as a goal in itself and how it doesn't allow you to come back to normality. The adaptation turns super-intelligence into a minor affliction that makes the afflicted kids help other people and soon goes away to let them go back to normal. But that's nothing compared to the woo-woo subplot about the crazy Tibetan prophecies, or the way it suddenly turns into a Homeland Security thriller, or the way the conclusion is another one of those "don't fall in the CGI vortex" cheap stunt. There are, however, still a number of things to like about this film, from the likable kid actors to some of the special effects, to the way that is all comes together acceptably well. It's certainly not a classic, but it ought to please to most of the family, and that's already not too bad. (In theaters, March 2007)

THERE WILL BE BLOOD (2007, Drama): Every year, I do what I'm told and check out the Oscar-nominated films, catching up what I haven't yet seen. Usually, this is an exercise in tediousness: Oscar rarely agrees with the paying public, and there's usually a reason why I haven't yet chosen to see those nominated films. But I think of it as a master-class in respectable cinema. THERE WILL BE BLOOD is one of those films that aren't all that enjoyable, but are made of very impressive pieces. Daniel Day-Lewis is exceptional as the obsessed oilman around whom this film revolves, an ultra-capitalist who's not above two or three shocking gestures to prove his point. The clipped delivery of his dialog is only one of the elements that make his performance impossible to miss. Other sections of the film also hold up, in particular the historical re-creation of the early California oil boom. But writer/director Paul W.S. Anderson isn't particularly interested in an accessible piece of cinema: The soundtrack of the film is as deliberately grating as in PUNCH-DRUNK LOVE and his family epic stutters on and off without much connecting tissue. The film is about thirty minutes too long and yet so much material is missing that it often feels more like a series of sketches (or snippets from Upton Sinclair's original novel) than a coherent film. The shock value of his character's sudden violence also wears off quickly, leaving little to process once it's done with a bang. At some point, I even started musing about how a battle between capitalist and preacher isn't all that different from yet another ALIEN VS PREDATOR film: whoever wins, the rest of us lose. (Am I the only one who dares compare those two films?) (Also: and am I the only one who started imagining Daniel Day-Lewis doing a cover of Kelis' "Milkshake" at the end?) Other directors would have been able to do much better with the same material, but here we're stuck in a deliberately myopic view of a fascinating time with an even more mesmerizing character. But, hey, if that's the kind of thing that the Academy likes... (In theaters, January 2008)

WAITRESS (2007, Comedy/Romance): You wouldn't necessarily expect a film about an unexpected pregnancy in the middle of a loveless marriage, leading to an affair between two married people, to be a feel-good movie. And yet that's exactly what it is: a sometimes-bitter, but mostly-sweet film about a woman rediscovering herself and taking control of her own life. The direction is charming, the script is steadily amusing and the acting is right where it needs to be: Nathan Fillion and Kari Russel are an ideal romantic couple, and the supporting characters hold their own. The ending is a perfect cap. What doesn't work as well is a certain unevenness of tone whenever the abusive husband is concerned: as soon as he enters the picture, WAITRESS seems to hop into a far less pleasant reality –which is part of the idea, but still disconcerting. I could quibble about the deus-ex-inheritance of the ending, but it does fit a certain fairytale ideal. Plus, I can't stay mad at any film that uses Cake's "Short Skirt Long Jacket" so effectively. Don't be surprised to develop a sudden craving for pie while watching. (On DVD, January 2008)

WILD HOGS (2007, Comedy): There's nothing like being stuck on a guided tour bus for hours with proud redneck drivers and force-fed DVDs to make you appreciate the finer points of movies you wouldn't pay to see. But the horrible truth about WILD HOGS is that it made me smile. Despite the generic blandness of Tim Allen, the bloated arrogance of John Travolta, the grating awfulness of Martin Lawrence and the pitiful indignity of William H. Macy (who deserves better), WILD HOGS is cookie-cutter lowest-denominator comedy and it still works. There isn't much to say about the plot (four guys looking for adventure go on a motorcycle trip to the west coast) except for how it's engineered to frustrate the "road trip" aspect almost from the get-go in order to provide a consistent plot. It's the grown-up equivalent of Saturday morning cartoons, with the low-brow middle-aged slapstick and the caricatured opponents, although with the teenage attractions of slap-dash romance, dull homophobic jokes and fear of strong adult women. Everyone and everything is wasted here, including Ray Liotta and especially Marisa Tomei. (Peter Fonda's cameo being the biggest wasted moment.) Yet it's tough to actually stop watching: it's far from being as awful as the trailer suggested, and it's possible to see here the glimmer of a much better film buried under the star prancing and sub-literate plotting: something about middle-aged anxieties, the wasted allure of pretend lifestyles and how it's never too late to grow up. But growing up isn't something that particularly interests either the characters or the audiences of this film, and so WILD HOGS remains painfully limited even if it succeeds on purely mechanical craft. (On DVD, March 2008)

ZODIAC (2007, Crime/Drama): The tag-line of this film says it all: "There's more than one way to lose your life to a killer". That's both the film's thematic statement and the reason why ZODIAC feels fresh after a spate of other serial killer movies. For one thing, it's well-handled by David Fincher, whose welcome return is a breath of cinematic talent after so many incompetent directors. Fincher know what he's going, and his mastery of cinematic technique is only exceeded by the skill with which he understands the delicate balance between suspense and cheap thrills. ZODIAC sticks close to reality, with all of its ambiguities and doubts, and in doing so attains a higher level of meaning. Meanwhile, we watch the lead character practically drive himself crazy with the unsolved mysteries of the case, obsessing over something he simply could have ignored from the beginning. The period detail is convincing, the special effects are used judiciously and the film has the detail-oriented heft of a good book. While some scenes can drag and there's a manipulative element to the way the film suggests a solution to a mystery that's still officially unsolved, ZODIAC makes a confident entry as one of the first good films of 2007. (In theaters, March 2007)