The Most Anticipated Films of mrpopcorn

"Dig the life fantastic."

Angry farmers, tired of sharing their chickens with a sly fox, look to get rid of their opponent and his family.

REVIEW
Truly ? well, fantastic ? animated adaptation of Roald Dahl's children's lit classic as envisioned by filmmaker Wes Anderson (who co-wrote with Noah Baumbach and actually provides a voice talent too) about sly, wry Mr. Fox (equally wry and sly Clooney, his voice as welcome as a blanket on a snowy winter's night) whose days of chicken rousting are numbered when he backpedals from his domestic bliss with wife & teen son (Streep & Schwartzman equally cozy tones) to abscond with poultry from three community farmers (read: villains) and the consequences unleashed upon his animal community with impunity. Fast, fun and sharply etched with fine comedic bravado throughout (thank you again Bill Murray for your insouciant vocals) and a truly amazing tour-de-force for the stop-motion animators and production design by Nelson Lowry (seriously should be considered for an Oscar) with its autumnal palette and homemade puppetry look (waycool how everything bristles to life!)

"You have returned for a reason. Your adventure begins now."

Lucy and Edmund Pevensie return to Narnia with their cousin Eustace where they meet up with Prince Caspian for a trip across the sea aboard the royal ship The Dawn Treader. Along the way they encounter dragons, dwarves, merfolk, and a band of lost warriors before reaching the edge of the world.

REVIEW
The third Narnia movie under the auspices of 20th Century Fox rather than Disney, adapts what may be the most popular of the Narnia novels, and the final one to involve any of the Pevensie children. And "adapt" is the right word, because the film takes some liberties with the book. The main one of these is a sensible one - a threat is introduced to provide a reason for the children to be there and to provide a more coherent link than the simple ongoing quest to find the missing Lords as per the book.

And underlying both book and film is the story of the redemption of Eustace Scrubb. Will Poulter as Eustace is a triumph - the boy is odious, but very, very human. Skandar Keynes is, unfortunately still underwhelming - I'm afraid I find his overstressed sibilants terribly distracting. Georgie Henley does better as Lucy although, again, I am possibly out of step with others in not finding her quite as wonderful as everyone else. Ben Barnes seems a little more at ease as King Caspian. Simon Pegg is a more than adequate voice replacement for Eddie Izzard as Reepicheep.

The film looks great, is a nice mixture of action, humour, and spectacle, and is well paced. I have read opinions that the Christian allegory is maybe a little more overt than previously - as an agnostic, the allegory is not exclusively Christian, it seems to me. The 3D has its moments but is far from essential. Finally, it was wonderful to see the Pauline Baynes illustrations from the novel used as the background for the closing credits.

"The story of a life and everything that came after..."

Centers on a young girl who has been murdered and watches over her family - and her killer - from heaven. She must weigh her desire for vengeance against her desire for her family to heal.

REVIEW
The Lovely Bones is a longwinded, tonally disjointed movie from Peter Jackson. Going from sweeping fantasy to cat-and-mouse thriller to psychological drama, the only thing you can be sure of is that you aren't supposed to be feeling good. Whilst there are some relatively powerful moments ? a scene where all the girls murdered by the same man meet is noteworthy ? overall it is badly edited and contains too many scenes that fall dreadfully flat. The apex of its failures appearing in an embarrassing interaction near the end between Susie and her crush Ray (Reece Ritchie); fortunately by that point you're used to the crassness.

Taking two years in post production due to the overwhelmingly intricate computer effects of the 'in-between', The Lovely Bones offers up a delicious platter of grand CGI images for your eyes to feast on. The highlight is an awe-inspiring segment with gigantic glass bottles containing ships smashing against the rocks. The only issue is that these phantasmagorical treats lose their varnish due to being randomly inserted among other scenes with a completely different vibe.

Shame about the muddled, mediocre screenplay because the acting level is quite high from all involved. Mark Wahlberg is possibly the standout, his obsessed father the most likable and believable character of the lot thanks to his passionate performance. The young Saoirse Ronan (Oscar nominated for her role in Atonement) is certainly one to follow; her portrayal of Susie is fantastic, especially considering she was only 13 during filming. Stanley Tucci, Susan Sarandon and Rachel Weisz all turn in solid supporting parts, even if Weisz's character grinds on the nerves.

A couple of jaw-dropping special effects sequences and an impressive cast save this from becoming the biggest flop of 2009... just.

"There's something you need to know about failure, Tintin. You can never let it defeat you."

Tintin and Captain Haddock set off on a treasure hunt for a sunken ship commanded by Haddock's ancestor. But someone else is in search of the ship.

REVIEW
Spielberg's big-screen adaptation of the classic Belgian comic-books by Hergé/Georges Remi is a fabulous, visually dazzling, good old-fashioned family adventure story, which is both a terrific action film and a beautifully loving tribute to the comics which inspired it. Shot with live-action actors doing mo-cap and then completely CG reanimated (like Robert Zemeckis' Beowulf), it has all the stylish artistry of a comic, complete with bent noses, beady eyes and goofy clothes, but super-smooth animation through the frame. The movie is also masterfully edited by Spielberg's longtime cutter Michael Kahn - rather than chopping all the action scenes up, they are gloriously free form as our heroes rush across traffic-filled streets and the camera swoops and pans all around them. There is a sequence with Tintin on a motorbike chasing the villains through an Arabic town which is one of the most dazzling and dynamic scenes I've ever come across, and makes incredible use of the state-of-the-art animation technology.

The scene where Tintin and Snowy try to retrieve the keys from the bunkhouse is one of many hilarious highlights, and there are oodles of great fights, notably the flashback sea-battle with the pirates. Heroes are honest and true, villains are devious and scheming, and no time is wasted moralising or being sentimental. The cast are great, the key player being Serkis' crazy broad-brogued sot Haddock, who lurches from scene to scene permanently furious, self-pitying, gung-ho and sozzled, often all at the same time. Bell is terrific in the straight-ahead lead, never slipping into a tongue-in-cheek caricature, and also the only actor who actually looks like his on-screen character. Craig enjoys himself as the snarling villain Sakharine, as do comic partners Pegg and Frost (Shaun Of The Dead, Hot Fuzz, Paul) as the goofy Thomson and Thompson. I love the child-like quality of much of Spielberg's work - he has somehow never lost the giddy thrill of excitement he felt when he first discovered these stories and has transplanted that sense into this expertly crafted film.

"The worst prison is the death of one's child. You never get out of it."

A woman struggles to interact with her family and find her place in society after spending fifteen years in prison.

REVIEW
A well written and exceptionally well performed tale that explores the depths of acceptance. Kristin Scott Thomas plays Juliette, a woman returning to society after a fifteen year spell in jail. Mostly met with hostility, she is embraced by her sister Lea (Elsa Zylberstein) and treated with caution by her sister's husband and curious daughter (Lise Segur in an amazing performance). The film focuses on emotional details and provides us with a realistic cross-section of humanity. Reaction to Juliette is experienced via a variety of characters. Director Philipe Claudel makes intelligent choices in terms of what is revealed about Juliette; his style is an unobtrusive one that gives the performers plenty of room to move. Zylberstein and Thomas are great together, convincing us of their history and their private pain. The film doesn't wrap anything up for convenience; it reminds us that life is always gray. It is engaging cinema.

"In a moment the world changed forever."

A post-apocalyptic tale of a man and his son trying to survive by any means possible.

REVIEW
Grimly realized adaptation of the award-winning best-seller by Cormac McCarthy's post-apocalyptic morality tale set in a barren, bleak wasteland in the near- future after some form of unspoken, cataclysmic event that focuses on an unnamed father and son (Mortensen in one of his best performances and stunning new comer Smit-McPhee) on the ultimate journey into fear: survival of the fittest indeed. Filmmaker John Hillcoat ? who adapted the screenplay with Joe Penhall ? successfully translates the despair yet unbridled spirit of humanity abetted by expert cinematography by Javier Aguiresarobe (all grey palette); Chris Kennedy's amazing production design and Gershon Ginsburg's art direction. Oscar-worthy Mortensen ? barely recognizable as a wizened, dirt-caked, emaciated 'thing' more than 'man'; his haunted eyes the only glimmer of hope/life beneath all that horror ? buoys the bleak storyline with his natural chemistry of his charge Smit-McPhee ?one of the most amazing debuts of a young actor to date- is the real deal. One of 2009's best.

"There is more barbarity in eating a man alive than in eating him dead."

Barkley Michaelson is in a deep life rut. He's struggling to finish his PhD thesis when his father, the learned Eli Michaelson, wins the Nobel Prize for Chemistry.

REVIEW
This is a perfect indie film with a bizarre script with endless twists and turns, excellent actors in quirky, often off-putting roles, a loud, funky soundtrack, and a pace that's so quick you'll need to see the movie twice to absorb it all. The ensemble cast is headed by Alan Rickman at his sarcastic best, wallowing happily in his role as a heartless husband and father. He's wonderful. Steenburgen's role is never fully explained; why would she stay married to such a beast? Bill Pullman is great as the cop who investigates the kidnapping. He's sympathetic, professional, and ultra-creepy all at the same time. Bryan Greenberg is good as the kidnap victim. Danny de Vito and Ted Danson round out the cast in small parts.

The exciting script will keep you guessing and the acting is top-notch. Recommended.

"He Wasn't a Rebel Until He Found His Cause."

While his trailer trash parents teeter on the edge of divorce, Nick Twisp sets his sights on dream girl Sheeni Saunders, hoping that she'll be the one to take away his virginity.

REVIEW
Michael Cera, star of great cult classics such as Juno, Superbad, and Nick & Norah's Infinite Playlist, has emerged slowly and gracefully into a leading man. His film Youth in Revolt directed by Michael Arteta and written by Gustin Nash who adapted the film from the book by C.D. Payne, is a solid and enjoyable fixture for the first half of 2010. Cera enables much of the film in a strong comedic performance, surely one of his strongest yet, and shows tender moments, equally showcasing a talent to be seen in the near future in bigger, better pictures. There are funny supporting players performing at their best. Steve Buscemi and Zack Galifianakis being the strongest seen. Ray Liotta and Jean Smart are also memorable and good in their respective roles.Although the writing isn't the most brilliant and the most clever, it provides laughable moments that keep the viewer entertained throughout. From word of mouth, Nash keeps true to Payne's series of books and provides just the right elements of his own interpretation. I guess you can't ask for more when adapting a popular work. The film in the end is passable, entertaining, and a straight-forward time at the movies. Nothing more, nothing less. It's all worth a watch.

"What makes you so special?
Nothing. I'm just a kid from Brooklyn."

After being deemed unfit for military service, Steve Rogers volunteers for a top secret research project that turns him into Captain America, a superhero dedicated to defending America's ideals.

REVIEW
Slam-bam crackerjack origin story of the classic Marvel Comics' titular patriotic hero (with an amiable Chris Evans) AKA Steve Rogers, a 98 lb. scrawny kid from Brooklyn trying to do his gung-ho best for America during WWII, finding himself transformed into a pec-laden super soldier and facing the nefarious Nazi villain Johann Schmidt - AKA The Red Skull (a fierce steely-eyed Hugo Weaving) - hell bent on world domination. Along for the ride are the estimable Stanley Tucci as the German émigré scientist Erskine whose top-secret serum gives the hero his juice; Tommy Lee Jones as crusty as ever as the taciturn Colonel Phillips and comely aide de camp Peggy Carter (the luscious Hayley Atwell), all provide fine ensemble work. Credit yeoman director Joe Johnston to let Christopher Markus' & Stephen McFeeley's adaption fly freely with a peppering of humor and pathos, great rousing score by veteran composer Alan Silvestri; ace sepia toned cinematography by Shelly Johnson, evoking the era perfectly; expert production design by Rick Heinrichs and great costumes by Anna B. Sheppard. The 3-D is pretty nifty with Cap's trusty shield thrown your way for good measure; Saturday matinée vibe only adds to the movie magic.

"There was an idea to bring together a group of remarkable people, so when we needed them, they could fight the battles that we never could..."

Nick Fury of S.H.I.E.L.D. brings together a team of super humans to form The Avengers to help save the Earth from Loki and his army.

REVIEW
Having cracked the problem of super-hero movies with successful runs on Spider-Man and X-Men (both franchises contracted out to major studios), Marvel went independent with assorted features based on their lesser known characters - Hulk, Iron Man, Thor and Captain America - and did very well with a series of one-off movies which were commercially and critically well received. Importantly, these movies were conceived, from the very start, as essential building blocks moving towards this film, which achieves a cinematic first by bringing together a number of characters who have headlined their own movies and who now appear together (OK, so I'm ignoring Abbott and Castello's role in bringing together Dracula, Frankenstein's Monster and the Wolfman. So sue me).

The problem was always going to be how to deal with bringing together such powerful characters in a team movie when every one of them is a strong enough character to have carried his own movie - surely either they are all downgraded to sidekicks of each other? Or else the movie will be nothing but a testosterone-fueled pissing contest? It turns out that it is both these things, but the mix is beautifully judged. By entrusting the script and direction to Joss Whedon - ace script doctor, master at working with ensemble pieces, and lifelong comic lover (and excellent comic writer, one might also add), the balance - for balance was always going to be critical in this movie - is perfect.

I won't say anything very much about the content, because there is so much in this movie to enjoy. It is simply full of small touches among the bombast, which will bring delight to the average viewer who likes an action-packed blockbuster, and absolute joy to comic lovers. The characters which have been established in the previous movies are all here, and they are all the same people - they haven't been changed for The Avengers, but they have more depth and there is also character development here. The script is terrific and the action is stunning. Oh, and hang on until after the main titles have finished at the end...

"The Elder Wand, the most powerful wand ever made. The Resurrection Stone. The Cloak of Invisibility. Together, they make the Deathly Hallows. Together, they make one master of death."

As Harry races against time and evil to destroy the Horcruxes, he uncovers the existence of three most powerful objects in the wizarding world: the Deathly Hallows.

REVIEW
We have invested nearly a decade, getting to know each of the main characters in this series, and with each book/movie, their personalities and the intense relationship that binds the main protagonists have grown darker and more powerful. In the first installment, we learned that the lives of Voldemort and Potter were linked and the bond might never be severed, even after death. The tone of the books was light and served as an introduction to the magical universe we've grown to love. Seven books later, the universe is crumbling, as Voldemort gains momentum and is getting closer to his prey.

From its superb prologue to its magical closing image, this film shows us how masterpieces are created. We are now witnesses to the perfect marriage of good, old fashioned movie making, a time when solid story telling and characterization were the basis of great cinema and eventual classics; with the help of technology and sophisticated camera work, the latest chapter in Harry's story is definitely the most meditative, deep, and dark. Its director has taken chances taking us in a ride which shows the soul of the three protagonists. Giving sure and heartfelt performances, Rupert, Emma, and Daniel have matured into leading actors, fully able to communicate what lies deep inside their characters' souls. The mid section of this movie moves at a very leisured pace, offering us more than a peek into how close Harry, Hermoine, and Ron are, and what they each mean to each other, and consequently us. The gorgeous photography allows us to experience their loneliness, their devotion, their integrity, and how desperation threatens to overcome and destroy them.

The magic remains at the core of the film, but it shows in a very different way. Yes, there are displays of the epic battle to come, as we witness the principals prepare themselves for the final chapter, but it is the subtlety of each characterization, and how each performer beautifully demonstrates the powerful writing and how well they understand their roles. Although, this is the young heroes' showcase, everyone gets a chance to shine, and at times it is a a matter of combining the perfect line with the right camera angle.

There are hints of what the resolution might be, connections to the past, and they are all elegantly displayed. The flashbacks are kept to a minimum, but each link is effectively shown, with the masterful work of Sierra and Desplat, as they create a mood, revive a theme, and enhance the perfect direction and flawless work of each performer. Two moments stand out among the fantastic work in "Hallows": A visit to the cemetery where Harry's parents are buried is a perfect mix of anxiety, sadness, and the power of love. The ending to this chapter is also brilliant as the film offers a most revealing perspective into the dark side.

The film will hopefully increase the appreciation of the cinematic relevance and craftsmanship that remains the strength of the Potter films. Maybe the inclusion of darker themes and touches will earn this epic film the recognition it truly deserves. Here is a movie that explores nightmares of the real kind. There are several moments that will haunt the audience, as we realize that we read, see, and revisit this universe because ultimately we care about this fictional trio and their respective adventures and relationships. Hermoine's beautiful mind and soul would be worthless without her connection to Harry's courage and Ron's passions, and as someone once asked in another one of those fictional worlds asked: "Do you believe?", we can't help but say, "I believe, I believe."

"Harry Potter, the boy who lived... come to die."

The final chapter begins as Harry, Ron, and Hermione continue their quest of finding and destroying the Dark Lord's three remaining Horcruxes, the magical items responsible for his immortality. But as the mystical Deathly Hallows are uncovered, and Voldemort finds out about their mission, the biggest battle begins and life as they know it will never be the same again.

REVIEW
David Yates has done it. He has directed the perfect companion to a wonderful literary work. The conclusion to Harry's adventures was one of the best books in the series, and when it was turned into two films, people didn't exactly approve. The first half was a meditative study (calm before the storm), the bridge to a dark and exciting final chapter. In here, characters have fully developed, dropped their inhibitions and must face their destiny. No one hesitates anymore in this battle. Voldemort's goal is to conquer, and Harry seeks to end his threat.

This film works well with technology, especially 3-D, giving it some of the depth it needs in some of the terrific battle scenes, some involving magical creatures, and others enhancing the good old fashioned swords or magic wands matches between villains and heroes. Truly, they succeed because of all the acting and writing talent involved. The drama hits all its targets, the sadness, the violence, the evil, the connections between the past, present, and future. Nothing is left to chance, and every note rings true.

Harry's quest is to destroy the various objects that contain the dark master's soul, and through some creative plot devices, things don't quite come out the way we expected, but the results are satisfying, and every great hero needs a great villain, and the match is satisfying.

We get everything we want from the eventual meeting of souls, the romantic revelations, the soul baring events. There is one guarantee, very few eyes will remain dry by the end of the film, and all questions regarding what and who is evil will be answered. Snape will be given his due. Overall, it's a terrific piece of filmmaking.

Sometimes the hype manages to kill our expectations, but here is a case where the end is exactly what we deserved, a rich, rewarding, and magical movie: a true work of art.

"When the moon is full the legend comes to life"

Upon his return to his ancestral homeland, an American man (Del Toro) is bitten, and subsequently cursed by, a werewolf.

REVIEW
Like many horror films remakes are now the norm so it was only fitting that "The Wolfman", a classic universal horror tale be retold. And it doesn't disappoint as the stars act well and the story even though it has plenty of blood, gore, and fangs has some background to it that makes "The Wolfman" an interesting film to watch even though it will not be a classic like the Lon Chaney Jr. one from 1941. As with this beastly character it shows just how dealing with the past of emotions, tragedy, and anger can plague a person and that some curses just can't be broken.

Set in 1800's England, Benicio Del Toro (who hams it up as Wolfman) is Lawrence Talbot who returns home after receiving word that his brother has been brutally and mysteriously murdered. This message was received from his clawed brother's fiancée, the innocent and beautiful Gwen (well done by Emily Blunt). Also to contend with is the father, Sir John Talbot (the legendary Anthony Hopkins). Sir Talbot tells of tragic secrets and it proves that the old legendary curse was meant to follow Lawrence. So you guessed it, Lawrence is bitten and along the way he deals with the pain and emotions of being different and being caught in a messy triangle with the town folk and family.

"The Wolfman" is entertaining fun and it has it's gore and blood yet still the story of love, tragedy, and conflict spices it up as you feel all the powerful elements common to classic legendary tales. The scenes were shot just perfect with the spooky and dark backdrops of fog and the rising of the moon. And the wolf transformation scenes were adequate even in today's world of CGI and 3-D. Overall pretty good updated take on the legendary classic it's a roar and a howling of a good time!, as at the same time the story keeps you interested.

"They say when you're born you're given your eternal soul. The part of you that lives on, lives again. Whatever evil she is, didn't come from us. It was already there. From the moment she came into being, she brought something with her. Something older, destructive. Soul of a demon."

A social worker (Zellweger) fights to save a girl from her abusive parents, only to discover that the situation is more dangerous than she ever expected.

REVIEW
Case 39 would have been a bit predictable even if the trailer had not revealed the mystery behind its story. For better or for worse, the story is an homogeneous combination of the well known elements we have seen on many movies which show kids involved on paranormal events. However, despite its lack of innovation, I had a good time watching Case 39, thanks to Christian Alvart's concise and dynamic direction and the competent performances from Renée Zellweger, Jodelle Ferland and Callum Keith Rennie. There are various elements in the screenplay we have seen in other movies. However, even though the story lacks of originality, Case 39 is entertaining, because Alvart created a good rhythm and some solid moments of tension. What is more, the story is well structured.

Zellweger made her return to horror with Case 39 after 15 years (since her unworthy appearance on the atrocious The Return of the Texas Chainsaw Massacre). In recent years, she has created a very different image, but her performance in Case 39 feels realistic and effective.Ferland creates a good aura of threaten with her role; I liked not to see her trying to apparent evilness, because that is the point where almost all the child actors I have seen in the past in similar movies fall. And even though he has short screen-time, Rennie brings a good level of intensity to his character.

"You're a world class liar, darling. Go out there and lie for Italy. Lie for Italia."

Famous film director Guido Contini struggles to find harmony in his professional and personal lives, as he engages in dramatic relationships with his wife, his mistress, his muse, his agent, and his mother.

REVIEW
Lively, enjoyable musical from the director of Chicago chronicles the life of Guido Contini, a renowned director forced to confront his own morality as he struggles to find peace and harmony while maintaining relationships with the various women in his life including his long-suffering wife (Cotillard), his vivacious mistress (Cruz), his costume designer (Dench), his film star muse (Kidman), an American journalist (Hudson), a prostitute from his youth (Fergie), and his mother (Loren), all the while trying to fend off the media while working on the script for his latest project. Flamboyant and engaging, with good direction, excellent songs, exquisite wardrobe, and a splendid cast headlined by the always potent Daniel Day-Lewis. Fergie's fiery musical number is the film's definite highpoint.

"So this is what you want out of your life? This gives you sense of fulfillment? I spend all night, writing about the corruption in this town, and you do nothing."

Following the death of his father, Britt Reid, heir to his father's large company, teams up with his late dad's assistant Kato to become a masked crime fighting team.

REVIEW
Seth Rogen revisits pulp radio (and obscure TV) masked vigilante The Green Hornet in a movie which features all the essential Green Hornet elements, a lot of well-choreographed action, a surprising amount of story, an interesting dynamic between Britt Reid/Green Hornet and sidekick/partner Kato, a non-romance with an underused Cameron Diaz, some fabulous hardware and vehicles courtesy of Kato, a decent comic-book villain in Christoph Waltz, and intermittent doses of trademark Rogen humour, albeit noticeably less crass than usual. This final element came closest to spoiling the movie for me because I don't really care for Rogen's comedy stylings. However, there was enough enjoyment elsewhere to outweigh the worst of Rogen's Rogenishness, and the film qualifies as a success. In passing, it is worth mentioning that the 3D is good throughout (though not essential), with some very effective and imaginative uses, particularly during a split screen sequence.

"No matter how bad things get, something good is out there, just over the horizon..."

A test pilot is granted a mystical green ring that bestows him with otherworldly powers, as well as membership into an intergalactic squadron tasked with keeping peace within the universe.

REVIEW
For DC Comics' first foray into a super-hero universe outside of Superman/Batman, I was expecting big things. Green Lantern was probably my favorite Justice League character while growing up besides that duo, so I have some affinity for GL and his alter-ego Hal Jordan. For some reason however, the film "Green Lantern" misses some of the spark I was expecting, relying way too much on a shotgun approach to an origin story that took years in comic book history to develop. Yes, it was cool to see all those characters from the GL playbook show up - Sinestro, Kilowog, Tomar-Re, Abin-Sur, Carol Ferris - but all together at one time gave little opportunity to digest what the planet Oa and the concept of The Guardians was all about. The villain Parallax is a relatively recent entry in the Green Lantern canon, and might have been better left for the intended sequel which this film obviously sets us up for.

The thought I had while watching the movie was how doubtful it would appear to have been for Hal Jordan to be selected as the first Earthling Green Lantern. It was repeatedly referenced that the ring seeks out it's own master, but in this case, the ring chose the very first human it came in contact with. Really - is that the criteria? There was not much yet at this point in the story to suggest that test pilot Jordan (Ryan Reynolds) had the character and fearlessness to be chosen as a future GL. Even as Green Lantern, he expressed obvious doubt about his selection, most notably to his presumed fiancée Carol (Blake Lively). You know, in my recollection of the early comic book stories, I don't believe Carol knew the identity of Green Lantern, but it was no secret here. I'm sure it won't bother modern viewers with no GL history to go on.

As for the film's special effects, all of the GL constructs emanating from the power ring greatly reminded me of the early comic book stories; I'm thinking of the early Sixties era. A giant green fist for example, to knock out an over-sized opponent of immense power. The roller coaster car befuddled me a little, because Hal was trying to bring the runaway helicopter under control, and the concept didn't seem to mesh. Well, we'll have to see where things go from here. There didn't seem to be as much emphasis on the negating effects of the color yellow against the green will power of a Green Lantern's imagination, but it was reinforced at the finale with Sinestro's change of uniform. Of course, that just seemed to come out of nowhere given the character's unifying mission throughout the story to put Parallax in his place. A hint as to why he turned to the dark side would have been helpful, another reason why the picture was just a bit off the mark for this viewer expecting greater character development to supplement the action.

"Chief Warrant Officer Roy Miller is done following orders"

Discovering covert and faulty intelligence causes a U.S. Army officer to go rogue as he hunts for Weapons of Mass Destruction in an unstable region.

REVIEW
This movie is Hollywood's attempt to moralize on the Iraq war and to a large degree it works. By now it is common knowledge that the pretext used to justify invading Iraq, that Iraq had weapons of mass destruction, was a fabrication. The questions is, what is a soldier supposed to do when he discovers that his mission is based on a lie? That is the crux of this movie and Matt Damon gives a strong performance as a soldier who decides not be part of a cover up. The movie makes one really wonder why the U. S. bothered to invade Iraq, a country completely divided along sectarian lines and in total disarray and why the Iraqi army was disbanded. After all, the army was the only institution in the country that could hold the country together, yet it was dissolved, resulting in chaos that continues to this day. Greg Kinnear plays an uncharacteristically sinister role as an American diplomat who chooses expediency over truth and the other supporting actors give excellent performances that help make this movie not only a work of art but statement about truth and honor in time of war.