My Favorite Movies

Blisteringly entertaining and wonderfully unique, Joss Whedon's SERENITY may have been born from a (wrongfully) failed TV series, but is one of the cleverest, crankiest, wittiest, wildest, and most character-driven sci-fi adventures I've ever seen. I love the world it creates, the people who populate that world, and the words that spill out of those peoples' mouths when they're not running away from lunatics or blasting their way through assassins.

Obviously I'm a huge fan of the show, but for all you newbies who've never heard of Firefly, seeing the show is not a must for this movie. Serenity has action, comedy, mystery, adventure, thrills, chills, and a whole lot more. But deep down under the surface slickness and the well-wrought characters, there's a deeply satisfying and thought-provoking foundation of staunch sci-fi storytelling.

Nathan Fillion (Mal) rascally portrays one of the most intriguing, conflicted, and fascinating heroes ever created and the delicate Summer Glau (River Tam) steals scene after scene with her sweetness, her vulnerability, and her amazing ass-kickery.

This movie infuses your classic sci-fi concepts with all sorts of Western motifs, Far East influences, character-based comedy, and just a whole lot of gee-whiz gadgetry. The concept here is that Serenity takes place in the future, inside of a not-too distant solar system. As new colonies pop up on all sorts of planets, some of 'em get absorbed by the alliance and become all gleamy and shining, while the colonies a bit further out are forced to live much like our own forefathers did: In cabins, on horses, and packing revolvers. And just like that: You've got your Western in my Science Fiction ... and it tastes great!

Kick Ass!...one of my all time favorite movies. Tons of blood and gore, clever wit and dry humour, and a unique love story, this movie has everything you can ask for, and more.

The acting in this film is superb. Reno has such an expressive face which conveys emotions with great sensitivity and few words. He is cold as ice as the almost super-human 'professional', but his performance is most moving when he reveals his sensitive side. Watching as his wounded soul slowly begins to heal is enough to touch the heart of any woman, but it is handled so subtly that it never becomes too 'sappy'.

In her film debut, Natalie Portman turns in a performance that is beautiful beyond belief. She manages the transition from a frightened child to a woman capable of killing so convincingly that it makes the relationship between she and Leon not only believable, but understandable.

Gary Oldman is just the best psycho there is! As a dirty cop in this film he personifies evil, and it is a joy to watch him do his thing.

This movie is and will always be my favorite action movie. Superb! Brava!

Crash features a top-notch ensemble cast which All put in superb performances in a tight script which is at once raw, heartwarming, shocking, tragic and witty.

Action shifts between the various characters, whose lives collide with each other in unpredictable ways as each faces their own moral dilemma, and tries to cope with the consequences of their resulting decision made or action taken.

Each of the dozen or so main characters undergoes some type of a personal metamorphosis as the various story lines head toward a striking, common conclusion, which succeeds at being both cathartic and unsettling.

The soundtrack and cinematography was both brilliant and intense, especially with close-ups without sound (other than a very effective musical score) that captures the actors' facial expressions, which suitably detail key moments of the characters' aching pain, fear, anger, bitter anguish, remorse or grief, far better than any dialogue could.

I loved it, one of the most intense movies I've ever seen. Crash took my breath away and blew my mind all at the same time, utterly superb!

Visually speaking, 300 is a remarkable piece of art. Kind of like Sin City and Gladiator mixed with steroids.

Snyder's striking use of color helps to emphasize and enhance the mood of each scene, and the CGI work is fluid and flawless. With surprisingly fleshed out characters and a plot that's both simple and deep, 300 blends bloody violence, sensuality, brutality, and moments of true beauty into a breathtaking and mesmerizing film experience.

There's plenty of blood and body parts being chopped off and some of the best fight scenes on film. Snyder's use of stop-motion to capture specific moments during battle helps the film achieve a painting come to life kind of tone.

And for all the dismemberments and killings, there are a few passionate moments between the Spartan king and queen tossed in to balance it out. In other words, there's a little something for action film freaks as well as those more into drama and romance.

And let's be totally honest here. Just the sight of Butler and the talented cast of actors who make up the Spartan army running around in "codpieces" that barely conceal the family jewels and little else is reason enough for most women to want to check out the film.

This movie is a slam-dunk sci-fi extravaganza that totally blew me away. It is propelled by a lively assortment of special effects, exotic sets, and wild costumes. There is plenty of action, adventure, and carnage delivered by big boys playing with big guns, tons of bizarre and silly comedy scenes (especially by Chris Tucker), and even an advocacy for love to boot, this movie has got everything, and yet its not like anything I've ever seen before. Simply awesome, I never get tired of watching it.

This is one of those films that's so moving, heartbreaking and wonderfully haunting, you sigh when the end credits roll. Using fantasy and horror to explore the darkness of human nature, del Toro gives us a bravura film that is a cautionary gothic fable in every way.

Pan's Labyrinth is a dazzle of deep forests, hidden passageways, creepy creatures, a wicked stepparent, cruelty, undying love, dark promises, deadly danger, and grotesqueries galore, blurring the lines beautifully to show that the boundaries between what we see as reality and make-believe don't exist at all.

It's dark poetry set to startling images, a one-of-a-kind nightmare that has a soaring, spiritual center transporting its audience into an intoxicating fantasy world generally seen only in dreams.

Can a terrorist be a hero? Vendetta's answer is "yes."
Yes, a terrorist can be a hero. Yes, violence can be justified, even necessary, in the fight against oppressive regimes. And, yes, in the words of V, its alliterative desperado, "blowing up a building can change the world."

In the best films, all elements -- performance, cinematography, score -- exist simply and solely to tell the story. And Vendetta is a fine example. Its as invigorating, challenging, and moving a film as one can hope to expect, especially from a major studio production.

When the film reaches its darkest, most harrowing hour, a side story about a lone woman's impossible love in the time of government oppression is absolutely heartbreaking, and the point of the movie becomes crystal clear: this is a story of individuals triumphing over administrations, about personal histories claiming their place in public record. Remember, Remember, the 5th of November...Whether you love it or hate it, you can't keep your eyes off of it, V for Vendetta grabs you and holds you.

A political thriller enhanced with a healthy dose of both fantasy and current relevance, it questions authority in ways that are uncomfortable for some, liberating for others, and eye-opening for everyone. After watching this intelligent extrapolation of the current social and political climate, one would be hard-pressed to accept anything at face value again.

Its viciously, vibrantly, vigorously, very, very good!

Probably the most visually intoxicating movie I've seen to date, from the first double-cross to the last screaming second of mayhem and slaughter I was totally blown away. I can't wait for the next chapters of this comicbook brought to life.

LNS (Lucky Number Slevin) is one smart, slick, and engaging thriller. Hard to define and even harder to discuss without giving anything away, LNS is one of those rare movies where the gotcha moment isn't seen a mile in advance. Because it's so twisty-turny, putting down in words the standard plot blurb doesn't do the film justice. It would be doing a disservice to the film and the filmmakers to attempt to sum this up in one neat little paragraph. Whatever is said about the film has to be heavily edited to remove the possibility of any spoilers.

Having said all that, the plot - in a nutshell - involves a very unlucky man named Slevin (Josh Hartnett) who gets dragged right in the middle of a war between two rival crime bosses who both think he's Nick Fisher, a guy who owes them big time. On one side is The Boss (Morgan Freeman), on the other side is The Rabbi (Ben Kingsley). Also in the middle of this situation is Goodkat (Bruce Willis), an assassin who always gets his man and Detective Brikowski (Stanley Tucci). Then there's the 'love interest' played by Lucy Liu, who is just delightful - vibrant and full of energy - her character of Lindsey is easily the most engaging of the lot. The plot thickens as the body count rises and you learn that people aren't always who they seem to be.

It's extremely clever, violent when it needs to be, and the whole movie plays like the "Kansas City Shuffle", where you look left and everybody else goes right. The misdirection keeps you on your toes. Slevin seems like such a goofball, incapable of taking care of himself and Goodkat looks totally cold and calculating - but looks can be deceiving. The entire cast shines in these juicy roles with witty dialog that actors dream about - it's so well written and there's never a wasted moment. The sets, the music, the look and style of the film are all designed to enhance the story - and it works! Dark and playful, LNS teases you while keeping you guessing, and ultimately delivers all that it promises - and more! LNS is sparkling and edgy--demented entertainment that keeps challenging you to figure out who's what, and how it all comes together. It's in the rare category of movies I immediately wanted to see again. A definate must see.

"I stole the baby!!!" Had to put that in there just cause I used to quote lines from this movie all the time, and well just cause I'm a freak. One of my favorites growing up, I still really enjoy watching this movie. One of only a handful of fantasy movies from the 80's that is legitimately good, Willow combines swordplay, magic, and mythic characters together to treat us to an adventurous fable. Humorous interplay between all the main characters also makes this movie fun to watch.

There isn't a single drop of blood in The Others, and nobody gets slashed, stabbed, burnt alive or impaled. Yet this is as spooky a film as you're going to find, it draws you in so subtly you're almost unaware of being frightened until you feel the hair on the back of your neck suddenly rise.

This is the sort of movie that leaves you peering through its low light in search of answers to lots and lots of questions. Who are those new servants? Are there ghosts in the house? Why is Grace's daughter ambivalent about her? Is her husband dead or alive?

There are tantalizing clues, a couple of surprising turns, and one big twist; and beneath the supernatural goings-on you also have a profound tale of motherhood, madness, and religious repression. And through it all there is constant suspense!

Kidman delivers one of her finest performances to date as the haunted Grace, and the child actors portraying her kids are nothing short of sensational.

Perhaps a bit too "slow-moving" for the hardcore hack-and-slash crowd, The Others is simply a fantastic campfire-tale of a movie delivered with impeccable style and solid sense of outright "creepyness". Its the most sophisticated and satisfying horror/ghost-story that I've seen since The Sixth Sense.
Absolutely superb film.

Written and directed by Shyamalan (whom I love), The Sixth Sense is a movie full of deeply shaking psychological shocks and jumps. It has a fair share of cheap scares, but Shyamalan is so sly with them that just a hollow-eyed figure passing through the frame is enough to induce a scream.

But this movie rattles you deeper than a mere adrenaline rush. From a broader perspective, The Sixth Sense is about the power to communicate. Dead or alive, every character seeks to reach a level of communication in order to deliver or obtain love, knowledge and peace.

Shyamalan exhibits profound mastery of the difficult and subtle art of weaving complex psychological, theological, and spiritual themes into a powerful, transcendent story.

The cast is uniformly excellent. Willis gives perhaps the most restrained and thoughtful performance of his career, and Toni Colette goes far beyond typical single-Mom stereotypes to make Cole's mother a complex model of determination, caring, and bewilderment. But the true star here belongs to Osment. His performance would be notable from an actor of any age, but from an eleven-year-old it is nothing short of astonishing.

Now, without giving too much away, the ending changed everything. Seeing it a second time is a whole different experience. From beginning to end it was fascinatingly creepy; unnervingly dark and subtly terrifying. Brilliant!

Shyamalan has infused the archetypes of superhero comic book storytelling into this film. While the plot elements are certainly not as overt as Batman or Superman, the script does make numerous references to the standard elements of superhero mythos in Unbreakable-- the mild-mannered individual who has superhuman abilities thrust upon them, a fatal Achilles' heel that could stop the hero cold, an archenemy whose moral compass has been bent out of shape by their misguided beliefs, and a moral imperative for the hero to use their abilities for the greater good. It certainly is no coincidence that Shyamalan's 'hero shots' have Willis dressed up in a hooded rainslick coat, evoking the image of a 'caped crusader'.

This comic book, superhero theology portrayed in this movie was what intrigued me the most about Unbreakable, an original and impressive piece of storytelling.

Signs is all about suspense. And Shyamalan is absolutely masterful in generating it. He uses a lot of sound, low light and clever camera work to create much of the suspense. Even the wind blowing adds to the intensity of this movie. And he knows when to pause, and let the suspense build by doing nothing at all. But the story itself and the writing is absolutely genuis.

Shyamalan explores the relationship between reason and faith, coincidence and destiny. He begins with the human need for reassurance and security in the face of the unknown. His ability to entertain while exploring deeper issues is exactly why I love his movies.

In crafting a film about the ways fear can manipulate, Shyamalan gives the film a metaphorical weight that goes much deeper than goose bumps.

Beautifully shot and populated by a terrific cast whose performances really made you feel for the characters, especially by Howard and Phoenix.

Some people found this movie to be slow and dull, but for me the pace that this movie took just added to its intensity.
Great watch, 5 stars!

This movie was compelling, funny and wonderfully sweet, a captivating mystery, thriller and mythic fantasy.

Shyamalan shows such inventiveness, audacity and wonderful storytelling its no wonder he's one of my favorite directors.

A serial killer thriller that has the sensibilities of an art film, visually enticing and intellectually demanding, THE CELL takes you deep into nightmarish realms of true darkness and horror that is both equally grotesque, disturbing, mesmerizing and uniquely beautiful.

Its a bizarre mixture of science fiction and serial murders, mind games and pop psychology, wild images and haunting special effects. It's a thriller and a fantasy, a police movie and a venture into the mind of a killer so perverse he makes Hannibal Lecter look like Santa Clause.
Simply Awesome!

Flawlessly acted and directed, Shawshank is an intricate and surprisingly moving guide to retaining ones own humanity while those around you lose theirs, showing the resiliance of the human spirit.
This may just be the best prison movie ever made.

Once again, Frank Darabont converts a great Stephen King work into an excellent movie. While it covers the same basic themes of The Shawshank Redemption, the two really have nothing in common. Except for the intelligent writing, powerful performances and perfect direction.

The Green Mile is simply a wonderful movie. It has in it all of the components that any of the classics do. The story is simply hypnotic and moves seamlessly. Although it clocks in at just over three hours, there's not one empty scene. You may realize how long the movie is, but it's unlikely that you'll mind. The script is easily that strong, plus the cast is flawless, down to the smallest character.

Describe a death-row movie as entertaining, and people may think you're strange. Add that the movie has three execution scenes, and they might decide you're a sicko. Well, call me crazy-this movie rocked!

A lot of vampire movies are not known for their story, they mostly depend on the blood and gore with some interesting characters to carry the movie, Interview With The Vampire is not like your typical vampire movie.

It's as lavish and opulent as Anne Rice's writing, as true to the book as any of her devoted fans could hope for. It's violent, subtly erotic, dark, ripe with anguish and moral suffering.

The movie draws you in and enfolds you in a thick fog of menace. Jordan is a master of poetic, deceptive atmosphere. At the same time, he isn't afraid to break the spell with a shocking image or a dash of morbid slapstick.

The big surprise of the film is that Cruise actually does give a performance. We get the full breadth of the character's decadent cruelty and arrogance. Most surprisingly of all, Cruise succeeds in bringing out the element of black humor in the book. The scenes he appears in have a high fire to them, filled with elegant taunts - one scene with Louis feasting on an old woman's poodle is mercilessly funny.

On the other hand Brad Pitt who is capable of being a fine actor comes across surprisingly bland. If anything one suspects the film might have worked better if Pitt and Cruise had reversed roles - Louis would have been fine as one of Cruise's moody, petulant pretty boys and Lestat would have been great with the fired-up energy that Pitt brought to roles like Kalifornia and Fight Club.

The best performance of all though comes from young Kirsten Dunst. It is an amazing performance Jordan elicits from her -- child-like, yet also adult and filled with a cold cruelty.

Jordan's direction is beautiful and sensual as he plays with interesting issues like eternity, homosexuality, love and loneliness. His gothic saga is not meant to scare, but to display these issues differently. Wrapped up in mystery, it brings vampire-films to a new height.

'Interview' is a rarity: an elegant, truly unsettling horror film in a mostly toothless period for American movies.
Great movie, 5 stars!

From begining to end The Island is packed full of action and destruction, from fight scenes to car chases, this movie is a rollercoaster ride of entertainment.

Like the first half of Minority Report, Bay's movie creates an entire new world making us believe it and dread it at the same time. Bay has wisely cast a bunch of good actors in key roles, which really helps make this more than just a dumb action flick.

Sean Bean is terrific as a ruthless scientist and Steve Buscemi's performance as a slightly hapless techno geek is spot-on perfect. McGregor shines, too, especially when he's playing himself twice. The other key players were splendid as well.

The best thing about The Island is that the plot never gets stupid, creating a world that is believable all the way through to its final moments.

Sure, there are sequences where most mortals would end up dead and our heroes escape with barely a scratch, but it is the movies, after all, not real life.

The first words we hear in the voice-over narration of Henry Hill, the central character of "GoodFellas" are: "For as far back as I can remember, I always wanted to be a gangster."

The violence is raw and sickening, and it doesn't discriminate. These characters lead a violent life, and they receive just as much as they dish out. And anyone can murder anyone else. Loyalty is an illusion, and betrayal is an everyday part of life.
"GoodFellas" seems to reason that one of the major flaws in the Mafia lifestyle is that it relies so heavily on trust, when those you have to trust are lying, conniving, scheming robbers and murderers.

Each 'wiseguy' is perfectly cast and give brilliant and unforgettable performances. Who can forget Joe Pesci's "I'm funny? You mean funny like I'm a clown, I amuse you? I make you laugh, I'm here to fuckin' amuse you? What do you mean funny, funny how? How am I funny?" -- Classic!

It's an unforgettable movie experience simply because of the pure emotion Scorsese embeds in every frame. You can feel the screen pulsating with emotions, whether that be anger or greed or joy or paranoia.

In the last third of the film, Scorsese alters the plot structure by taking us through a day in the life of Henry Hill when he is at his lowest, attempting to pull off a cocaine deal, trade guns, and cook dinner for his family, all while sniffing half his profits, and sweating in paranoia that a helicopter is following him.
Everything about the sequence, from the editing to the acting, to the pacing, is an example of filmmaking at its very finest.

The film's main strength is that Scorsese somehow manages to make the Mafia life completely appealing and completely repulsive at the same time. Brutal, stylish, hypnotic and addictive, "GoodFellas" is undoubtedly Scorsese's best film and the best mob movie ever made.

The Jacket is a cool psychological thriller with great acting and a story that keeps you guessing.
As problem-plagued Jack Starks, Adrien Brody registers kindness without sappiness, confusion without awkwardness and vulnerability without weakness. With The Jacket, he proves that his Oscar-winning performance in The Pianist was no fluke.

This meta-physical/gothic thriller takes on the themes of life and the afterlife, time travel, and one's ability to change the course of human events. Admittedly, The Jacket is not likely to be everyone's cup of tea, but filmmaker John Maybury has forged a mesmerizing mindblower, it is a kinetic smear of cinematic synapses: horrific images, assaultive sounds, space-breaking bursts and mind-blowing compositions.

It is intriguingly oblique and not, I believe, meant to be solvable. Everything that happens could be dismissible as the last firings of a brain's synapses. Or not. That's the fun of it.

Van Helsing is an ear-splitting, eye-popping spectacle that slips into high gear in the first few seconds and never lets up. Almost every scene is an immense set piece, loaded with lavish production design, packed with CGI special effects.

The characters are forever bashing each other, crashing through walls and windows and setting off fiery explosions. And the camera keeps racing around, as it zooms in and out in vertigo-inducing aerial shots that show off the scenery, even as it's exploding all around the characters.

Like Sommers previous two films (The Mummy and The Mummy Returns), Van Helsing is a CGI-driven experience. Done poorly, computer effects get pretty boring and over-reliance on them takes all the weight out of exciting action sequences. Yet, used properly they can create visual magic and Sommers capably does that here.
All the effects aren't perfect and maybe I'd have rather seen a couple of guys in prosthetic monster suits duking it out than sitting through the not quite believable CGI-Dracula versus CGI-Wolfman fight. But overall, Van Helsing's effects work in a resounding and entertaining way.
They operate best in generating stunning scenery, like a beautifully detailed ball in Budapest or the dingy world of Castle Frankenstein.

This creature feature is an exhilarating, action packed, fun time; an entertaining fiend-fest with excellent actors and some new twists on old stories and in my book, there's nothing wrong with that.

This movie proves once again that Tarantino is a hyperactive visionary and the master of cinematic coolness. Employing split screens, slow-motion, an anime sequence, and his trademark ultra-hip musical selections, Tarantino's film dares viewers to be unimpressed.

It should be noted that Kill Bill - Vol. 1 is incredibly violent, among the most violent films I've ever seen, but it's highly stylized and takes place mostly in a synthetic movie world. When the Bride slices off bad guys' limbs, the blood sprays out like shaken-up soda removing the scene from reality. Its audacious, inventive and relentless, a definite must see action movie.

A seriously under-rated film, Waterworld is a great action/adventure flick that I thoroughly enjoyed.

The polar ice caps have melted, and dirt is a prized commodity, like petrol in the Mad Max trilogy. In fact, almost everything in Waterworld is like the Mad Max trilogy (the movie could be called Wet Max), except for its pace. The director, Kevin Reynolds, doesn't give us the cartoon-kinetic jolts of George Miller; he gives us exhausting physical realism. The relentless forward journey, over water instead of scorching desert, progresses against harsh and unforgiving backdrops. Yet, for all the motion, we get no real sense of progression: The damned vast expanse of ocean always looks the same as it did two scenes ago. Reynolds wants us to experience the endless sea as the characters do: both wide open and smothering -- the way you felt as a kid, looking up at the stars in the night sky and feeling infinity come over you in a frightening rush.

Some of the images have a suffocating grandeur. This may be the only water-filled movie in history that makes you thirsty. You can almost smell the salt on Costner's sunburned skin. "Water, water, everywhere-and not a drop to drink."

Costner is amazing as the brutish, brooding hero who is more prone to throwing little girls overboard than to waxing wisecracks while killing. For someone who has never been licensed as an action figure, he's also very nimble on his webbed feet. Mariner eventually thaws a little towards the end, but throughout the movie his very humorlessness is amusing. When Enola(played by Majorino who is a scene stealer, stellar performance for one so young) gives a friendly, innocent wave to the Smokers, Mariner slaps her upside the head: "What are you thinkin' about?"....hilarious!

And the production design is a winner, with the Mariner's boat as the coolest contraption next to the Batmobile. I'm not sure why this movie didn't do so well when first released or why the critics slammed it, but for me, Waterworld was an awesomely thrilling fantasy adventure.

FINDING NEVERLAND traverses both fantasy and everyday reality, melding the difficulties and heartbreak of adult life with the spellbinding allure and childlike innocence of the boy who never grows up. Guided by Depp's gentle performance, Winslet's wistfulness and Macdonald's intense Pan, is a movie that celebrates the power of the imagination while also recognizing its limits in a real world of disappointment, marital disharmony and death.

I was genuinely surprised at how much I enjoyed this movie and all I had to do was "believe".

The Color Purple is a great, warm, hard, unforgiving, triumphant movie, that I will always love and remember. The film takes place in the early 1900's, at a time when blacks were still considered the inferior race. Now if you were a man, things weren't as difficult: you owned property, you grew crops, you married, and you had children. But for women like Celie (Goldberg), things were very much the opposite. As seen through Celie's experiences since childhood and throughout her life. Celie's sole beacon of light and consolation is her sister, Nettie, in whom she loves and confides in. The two are divided, ripped from one another's arms in one of the film's most heart-wrenching scenes. As Nettie runs down the road, she promises to write, shouting "Nothing but death can keep me from it!" And so she does write, but Celie receives not one single letter; her house is her prison, her marriage a jail cell, her life a virtual tomb in which she has nothing to do but fester with the chores of the household, endureing physical and emotional abuse.
But through all of this, there is always a flicker in Celie's eye, a self-contained knowledge that she will someday rise out of the depths of her deep-rooted depression and break free of her restraints. This is portrayed with fascinating conviction by Goldberg, whose debut performance ranks as one of cinema's most triumphant and memorable. She becomes one with the character in ways that few actors have ever been able to master: as a result, we believe not only the emotional toll that Celie's plight has taken on her, but also the later events of her life, as she begins to transform into a whole person, piece by graceful piece.

The film surrounds Celie with a barrage of assorted personalities, all of whom have a distinct part to play in her spellbinding evolution. The most memorable of these is Ms. Sofia (Oprah Winfrey), the young wife of Celie's stepson Harpo whose willpower and defiance of the men in her life are a striking contrast to Celie's timidity. When we first see Sofia, hurrying down the road with everyone trying to keep up, she looks like someone who could never be stopped. But she is stopped, after she tells the local white mayor to go to hell, and the saddest story in the movie is the way her spirit is forever dampened by the beating and jailing she receives.
Celie also comes to cross paths with a pathetic, alcoholic juke-joint singer named Shug Avery, who has been ravaged by life yet still has an indestructible beauty. At first she is put off by Celie calling her ugly, but will later come to show a kindness to Celie that is beneficial to the both of them. Their friendship acts as the catalyst from which their lives will begin the process of changing: Celie realizes that warmth and kindness are not completely unavailable to her, while Shug is able to find her own inner beauty in showing Celie kindness and lending her friend the courage to simply be a whole person for the first time.

Speilberg lenses these events with great attention to detail and authenticity, something he is now well-known for. The 1900's comes to life through a vivid array of sets, costumes, and props, while the local color of the setting practically leaps from the screen with each line of dialogue. The supporting cast all turn in fine, well-rounded performances worthy of the subject matter, and they make the most of scenes requiring the most emotional impact.

In the end, however, it is Celie's triumph over life's harsh cruelty that reigns supreme. "The Color Purple" may seem like a depressionary tale about abused women amidst racial bigotry and male dominance, but it's so much more than that when you realize that this is more than just melodrama. This is real. This is alive. This is a movie that is unafraid of digging deep into its characters, exposing their inner thoughts, revealing the emotional courage they never knew they had.

The Color Purple is not the story of Celie's suffering but of her victory, and by the end of her story this film had moved me and lifted me up as few films have.

The movie is kinetic, atmospheric, visually stunning, and mind-bending. It toys with the boundaries between reality and fantasy in unique and interesting ways.

Keanu Reeves is not generally regarded as a strong actor, but, given the right part - one that doesn't demand much subtlety or emoting - he can be effective. His role as Neo fits the criteria. The Matrix needs a leading man who can look good, act cool, and not stumble over his dialogue, and Reeves is three for three. It's easily his best work since Speed, where the same kinds of demands were made of him.

The Matrix offers a little something for everyone. The die-hard science fiction fan will discover a plot that mixes and matches both new and old conventions of the genre in a compelling fashion. Action aficionados will find that there's no shortage of electric excitement, whether it's in the form of hand-to-hand kung fu-type fights or shoot-outs with seemingly limitless ammunition. There's also betrayal, a little romance, some humor, and a moral dilemma or two, all wrapped in one.

There have been quite a few addiction movies, but most are surface melodramas, concerned with busting the bad guys or facilitating a Hollywood-style transformation from user to productive member of society. Films like The Basketball Diaries, which paint a stark, ugly portrait of drug abuse, are rare.

The movie weaves between reality and the drug-infused, nightmarish dreams of Carroll fantastically. There are a lot of graphic and raw scenes, but the scene most difficult to watch for me has Carroll pleading to his mother to give him money for a fix. His mother has locked the door on him, unable to trust her own son, and sobs uncontrollably over what he has become.

Overall, this film presents a richly woven swatch of a fabric many of us never feel, of life on the streets seen through the eyes of one who can really tell us about it, make us feel it, make us hurt. Visually slick, morally ambiguous, possessed of a truly engaging tour guide, The Basketball Diaries is a cinematic trip to a place most of us rarely visit, but will benefit from having seen.

The 13th Warrior is a long, loud, dirt-caked, sweat-soaked, gets-medieval-on-your-ass, muddy, bloody, violent, and then more-violent sword 'n' shield-er about an Arab poet-turned-ambassador (Antonio Banderas) who is volunteered to join a band of no-nonsense Norsemen to fight a "mysterious enemy" to the north.

It's true that there isn't a whole lot to The 13th Warrior other than the carnage of the battle scenes. And it's true that we're given little insight into the characters and their motivations. But the film still succeeds.
In addition to Banderas and the quality of the action sequences, the excellent costumes, sets and locations also contribute to the experience.

This isn't a great film by any stretch, but it's exciting to watch and it works as long as you aren't expecting something other than what it is.
So enjoy it for what it is - an action/adventure picture filled with violent, bloody battles and larger-than-life heroic deeds. Think Conan the Barbarian crossed with Braveheart. There's more than a little of both to be found here - great deeds by great men in a forgotten era.

The first word that comes to mind upon reflection of this movie is "inspirational." The notions of nobility, chivalry, and honor are all but forgotten in our society today, but this movie brings them back to life. And at the same time, this movie provides a wonderful story, memorable characters, and pure excitement.

The characterizations of the now-retired Musketeers are all impeccable, as may be expected by the cast. The vengeful Athos (Malkovich), spiritual Aramis (Irons), lustful and fun-loving Porthos (Depardieu), and D'Artagnan (Gabriel Byrne), the one who remains loyal to the king, all give a satisfyingly well-rounded feel to the story. We see it from all sides, and we see the love and mutual respect between these old friends, who sometimes quarrel so angrily that we expect them to draw swords against each other, and indeed they do. It's all part of their comfortable yet intensely competetive relationship. What a fine foursome. Together they inspire a great sense of glories past, an immense strength of will, and a magnificent valor that refuses to die. Their power is seductive, and their last call to battle is sheer exhilaration. And lets not forget a young DeCaprio who gives not just one, but two outstanding performances.

Such great acting of a timeless story, along with wonderful scenery and costumes make this movie a masterpiece. One for all and all for one!

Twister is so real and powerful and, above all, entertaining, that to complain that the story is a little hokey or the characters said cliched lines is a fundamental misunderstanding of the film. It's tornadoes, man!

I guess I will give a brief plot summary. The plot does not really matter. The plot is just an excuse for a bunch of tornadoes and destruction. This is a good thing. I do not want to be bothered with emotional baggage or following the intricacies of some loser's backstory. I want to see something get knocked over. Jan de Bont comes through for me.
Hunt and Paxton make an appealing pair, and they try to do more than "Look, a tornado!" Hunt has a fine, lyrical moment when she stands her ground and gazes into a massive twister, her blonde hair billowing; she's like a storybook goddess. But really you don't go to see the people in Twister any more than you went to see the people in Jurassic Park or Speed. You go for three things: pursuit, retreat, annihilation. In that order.

So anyway, there are these storm-chasers, see, they want to find out how a tornado works, because nobody really knows, so they design "Dorothy" a machine that enters the eye of a tornado (they have to place it the tornado's path, of course) and releases hundreds of tiny sensors, which then record and transmit detailed information back to the scientists' computers. Bill (Bill Paxton) designed Dorothy, but he has left the project, and his wife Jo (Helen Hunt) for a new job as a weatherman and a new life with his fiancee, Melissa (Jami Gertz). Of course, on a trek out to get Jo to sign the divorce papers, Bill gets sucked back in with the old crew. Yadda yadda yadda, blah blah blah.
Then there is this evil corporate storm-chaser, Jonas (Cary Elwes), who has stolen the design of Dorothy and is looking to get his findings completed before the other group. A rare storm configuration has presented some unique opportunities for study, so the race is on between the two groups to place and operate their machine first. Sound stupid? It is. Don't think about it too much.

But if you are looking for a movie that is a movie in every full, complete sense of the word, the kind of movie you can watch with popcorn on Saturday afternoon, Twister is it.

Forrest Gump is a movie heart-breaker of oddball wit and startling grace. It has sensitivity, honesty, realism, tragedy, humor and has something substantial to say about the human condition.

The good-natured humor is wonderful in the film, but the thing that makes it so entertaining is how it hits all the human emotions dead-center without resorting to cheap melodrama. The film earns every laugh and every tear honestly.

Throughout the movie Gump seems to be at the center of nearly every major event of the movies 30 year span. He meets everyone, from Elvis Presley to Richard Nixon, travels everywhere(mostly running), and even invents the phrase "shit happens."
Where the fun comes from is hearing what Gump has to say about all these things. His reactions are priceless-- in Vietnam, he recalls "we
were always looking for this guy, Charlie."

I can't think of anyone else as Gump, after seeing how Hanks makes him into a person so dignified, so perfect. The performance is a breathtaking balancing act between comedy and sadness, in a story rich in big laughs and quiet truths.

I still really enjoy this film, much like I did the first time I saw it. I guess there's a certain amount of magic to it that's drawn me in and kept me there. So in the words of Gump--"Thats all I have to say about that!"

Suppose you had the power to change one moment in your life - to erase one tragedy. Do you think it would alter your future for the better? And what would the consequences be for those around you?
These are the questions asked and answered in The Butterfly Effect.
The movie's universal theme is the reason The Butterfly Effect works. We all wish that we could go back in time and change one incident, undo one wrong.

This smart feature, though, delves into the havoc such a dynamic could create.
Most films dealing with time travel ignore paradoxes and such anomalies as the butterfly effect, which derives from a chaos theory that states a butterfly flapping its wings in South Africa can cause a typhoon on the other side of the world, and this film asks if the same concept may be possible through time rather than space.

The Butterfly Effect is a masterfully disturbing, mindbending psychodrama and eerie thriller, but, as a refreshing concept, most of its effectiveness evolves from its thought-provoking ideas, as opposed to cheap shock value and exploitation.
Its also a love story between Evan and Kayleigh, gentle and true, but one that seems destined for a tragic outcome.

As a time-traveling fantasy, it somewhat reminds one of a grimmer version of Back to the Future or Somewhere in Time, without ever feeling like a rehash. The picture moves effortlessly between the past and present with startling aplomb and an increasing sense of poignancy, as pieces of Evan's childhood only come into focus after he is able to return to them as an adult.
Out of the changes he makes, however, the characters' present day evolution sometimes has unexpected and horrific ramifications.

Perhaps the best thing about the movie is the intelligence brought to such a tricky premise. In the wrong hands, the plot could have easily become cheesy, preposterous, and even laughable. Auspicious debuting filmmakers Gruber and Bress refuse to fall into this trap at every corner, treating their characters and situations with maturity.

The central dilemma at work here is whether, for better or worse, a person should let the natural hands of fate decide our outcomes, or change things with the chance that better lives could come of it. Simply a compelling and intriguing movie that toys with the powers of choice and chance in a way that is not overused.
And who knew Ashton Kutcher could actually act?!

(I viewed the Directors Cut on this one, which had a completely different ending than the original theatrical version)

I love it when a movie relies on a strong idea to win the audience over -- rather than excessive violence or high-tech special effects (although I enjoy those kinds of movies as well).

The premise of Return to Paradise is relatively simple: Three friends on holiday in Malaysia. Two leave. The police arrive and find hash where they were staying. The third is put in jail. Two years later a lawyer finds the two remaining men in New York and tells them that their friend was found guilty of trafficking. They must go back to share the punishment or he will die in 7 days.

It's a frightening dilemma and you can't help but ask yourself the same question. Would you go back? If one goes back they go to prison for 6 years. If both go they will have 3 years each. All of the arguments are put forward, making the answer not seem as clear as originally imagined. The timeframe is made even tenser with titles reminding us of how many days are remaining.

Vince Vaughn plays our hero who doesn't always act in the morally correct way we expect him to do. He doesn't immediately decide to go back, making us question if we would either. Vaughn gives the finest performance of his career as the not completely likeable 'Sheriff'. Anne Heche plays the increasingly desperate lawyer who will do anything to save her client from execution. And her desperation is made completely believable by Heche's multi-faceted performance.

The real stand out performance for me was that of Joaquin Phoenix who plays the imprisoned Lewis. Phoenix has little screen time but whenever he's on he totally captivates. The video message to his two friends is just heartbreaking, and his last scene is one I will never forget.

The powerful portrayals in this film are rivaled by its powerful story. The plot is so richly detailed that, though it seems a ridiculously simple premise, it is brought to life with horrific realism.

Not a car chase in sight and hardly any violence, but the tension is sky high. When Sheriff visits Lewis in prison, and Lewis tries to describe his life of the last two years, knowing that his friend has still not yet agreed to the deal . . . what a scene!
And by the time the suspenseful court scene arrives, you will find yourself nervously hoping for a happy ending.

Needless to say the film ends with a succession of unspeakably powerful scenes. I find that not too many people know of this movie, and that's a shame...5 stars, definitely recommend.

(Ask yourself...would you give up years of your life for a friend? Would you be willing to let that friend die if you didn't?)

DANCES WITH WOLVES is a rousing adventure, a touching romance, and a stirring drama told with a grace and humor that keeps the viewer constantly entertained through its nearly three-hour length.

It has the kind of vision and ambition that is rare in movies. Its not a formula movie, but a thoughtful, carefully observed story. It is a Western at a time when the Western is said to be dead. It asks for our imagination and our sympathy.

Costner infuses a rare blend of masculinity and sensitivity in his storytelling. Through his vision we observe the tragic plight of the American Indian as their way of life is brutally destroyed by an encroaching "civilization". It becomes painfully obvious who the real savages are when the Indians reverence for life is countered with the wanton destruction of the white hunter.

There are some of the plot points you would expect in an epic story like this, The buffalo hunt (thrillingly photographed), A bloody fight with a hostile tribe, The inevitable love story between Dunbar and Stands With a Fist,...But all is done with an eye to detail, with a respect for tradition, and with a certain sweetness of disposition. Probably the finest achievement of Kevin Costner's career.

The movie is about revenge and redemption, and how, in America's darkest social corridors and backalleys, the two can be inextricably linked.
It's also a condemnation of a criminal justice system that allows innocence to be callously destroyed. Yet, even though Sleepers is basically a vigilante motion picture, it exists on a much higher plane than something like Death Wish, which offers a least common denominator, visceral satisfaction. There's little thrill in watching the vengeance extracted by the protagonists of this film because Sleepers approaches its subject with a conscience.

With such a disturbing and powerful story Levinson takes us through every phase of the boys' torture so that, when the time comes, we can understand and sympathize with their need to emulate the hero of their favorite book, The Count of Monte Cristo, and exact decisive retribution.

Few films have so many actors displaying their talent so effectively. After seeing this movie I was nothing short of amazed at what I had just seen. Fact or fiction, the themes and messages are no less valid either way.
Sleepers is simply exquisitely crafted cinema with an unforgettable story.

This is a powerful, first-rate, deeply compelling, thought-provoking thriller that delivers the goods and then some!
With a cast like this--needless to say--the acting is topnotch.

What makes the movie really tick is the central character. Everyone can relate to John Q. Denzel pulls off what could have been a melodramatic mess in less capable hands, he gives a terrific performance that ensures he never loses the sympathy of the audience, even as you're practically willing him not to go through with his plan.
In fact, he makes the role his own - it's hard to imagine any other actor in the part. He is really playing every father who has ever loved a son and it is at times heart wrenching to watch. Especially intense is the scene where he 'says goodbye' to the boy with tears streaming down his face.

The supporting cast includes James Woods, at his arrogant best, as a heart surgeon held hostage. Robert Duvall is underused as the detective on the case. He really has nothing to do but look serious and give orders. Kimberly Elise as the mother matches Denzel in emotional intensity and the two of them really capture the horror of losing a child. Anne Heche, Eddie Griffin and Ray Liotta round out the cast.

What really elevates John Q above the run-of-the-mill hostage flick is the script - as well as providing several very funny lines (such as Eddie Griffin exposing Shawn Hatosy as a wife-beater by saying "I know your sort - you from the Slap-A-Ho tribe"; or Washington's answer to Duvall's enquiry as to whether anyone is hurt: "Everyone's hurt - it's an emergency room!"), the script also finds time for an intelligent scene in which everyone discusses the political implications of the government's policy on health insurance.

The film does preach its message quite a bit, but it's efficient and truthful and makes you want to preach along.

This rich mature script with its dead-on dialogue and powerful performances held me engaged and sympathetic. Some films keep you on the edge of your chair ... "I Am Sam" keeps you on the edge of a tear.

Penn may be playing just the type of character Oscar loves, but don't hold that against him. This is a fiery, complex performance and one of the more brutally honest depictions of mental illness the screen has seen.
Penn's portrayal is free of the general tics and gestures that most actors employ when diving into such parts, and his style is so loose and natural it's easy to believe he is actually handicapped.
What I am Sam does best is get to the heart of the emotional roller
coaster by asking: Do you have to be smarter than your child to be a good parent? Or, are other criteria -- love, trust, emotional support and security -- just as important? Could such things be even more important than brains?

Donner directs with an efficient hand. He keeps the action moving briskly. But most important for this format, he knows how to slip in a quick joke or two without distracting from the tension of the suspenseful plot.
Even at two hours and 15 minutes, Conspiracy Theory is fast-paced and exciting, effectively mixing drama, comedy, ingenuity, suspense, revelation and a heartening sense of a triumph of humanity.

Jerry Fletcher (Gibson), a grungy New York cabbie, has an elaborate theory for everything. Bobbing along in his own private sea of crackpot logic, Jerry is the most entertaining creature I've seen in a long time. Gibson and Roberts are just marvelous together.

Conspiracy Theory works as a twisty comic-thriller given a manic edge by Gibson. And Donner has fun with the paranoid theme of such thrillers -- that you can't trust anyone or anything, even your own memory.

I hate when movie critics defend movies they enjoy by degrading the intelligence or cinematic knowledge of those people who disagree with them. Having said that, I feel that Sam Raimi's 'The Quick and the Dead' is a vastly underrated mini-classic and if you don't think so, then you're a big dumb moron!

Raimi's movie borrows heavily from classic spaghetti westerns, but Raimi has a style of his own, and plenty of it; complete with straightforward, fast-paced action, a plethora of unusual camera angles, creaking leather and cleverly choreographed violence.

Sharon Stone is a strong lead as an Eastwood-esque interloper with no name and a score to settle, while Hackman's creepy "badguy" is full of malicious delight at his own devilish cunning.

The whole film has tremendous visual style, and the frequent bursts of violence are delivered with a clever and often hilarious use of special effects. The Quick and The Dead will always be the best "Western?" I've ever seen.

Once in awhile, Hollywood manages to surprise me with an uncompromising film full of genuine emotion and enough to make you really think. Powder was completely unexpected: it's a modern fable, and at the heart of it, a rather depressing one at that. But that doesn't make it any less magical.

Sometimes a film just clicks for reasons hard to determine. POWDER should not work well as a film, but it does. It initially looks like a self-indulgent film searching for a cult following from a narrow band of sentimentalists. That may even be what it was, but it did just enough that worked for me that I fell into that narrow band. In another ten years I may look at this film and wonder what I saw in it, but for right now it had more than one scene that paid off for me. I would like to think I will always find the subplot with the deputy to be very powerful.

This probably isn't a film for the brain-dead hordes of moviegoers looking for mindless eye candy. It requires a little commitment on the viewer's part, but it's well worth it.

Both sweeping and intimate, a lovely evocation of changing cultures and enduring family ties The Joy Luck Club is loaded with heart, filled with life and completely entertaining.

This rich and fully dimensional ensemble character study also boasts a first-rate cast of entrancing performers. And though the audience may not have seen many of these players before, there's no question that each will stay in the hearts and minds of those who are fortunate enough to see this film.

Eight stories unfold, those of four women born into traditional Chinese culture and their adult daughters, all born as Americans. Each of these stories is ultimately interwoven with the others as we observe the tragedies and triumphs experienced by these older women, and the traditions their daughters have, in some cases, chosen to ignore - or unwittingly embraced in a distorted form. How each comes to terms with these situations is the crux of the film. How the stories are told is the film's main strength.

Probably the sappiest movie ever made but I love it anyways....so blah!

Steven Spielberg's adaptation of J. G. Ballard's autobiographical novel "Empire of the Sun" is a disturbing coming-of-age story about a privileged English boy, Jim Graham (the young Christian Bale), who's caught in the Japanese invasion of Shanghai and detained for the duration of WW II in a civilian internment camp. A gripping film that vividly conveys the brutality, betrayal, and senseless violence of all wars.

Its about the survival of a remarkable little boy during terribly difficult times. Jim represents the resilient human spirit, and Spielberg and Bale's efforts combine to create a memorable portrait.

Bale's debut is a doozy, delivering one of the most impressive child performances you are ever likely to see, balancing the overwhelming collection of emotions that would be coursing through Jim to allow us to see him survive, grow, and change from innocent child to wizened adolescent survivor.

Some movies just stick in your mind for years after your first viewing, having left an impression that doesn't fade, even after detailed memories of the storyline and even the characters or visual images start slipping away.
The most unforgettable and unshakeable movie, for me, was 'The Killing Fields'; perhaps the most harrowing and visceral films of the 1980s.
This is a memorable film because the story is powerful, compelling and horrific, the script intelligent, the cinematography beautiful and the performances nearly flawless. It's doubly memorable because the story is true and co-star Haing S. Ngor (Pran) - a medical doctor by training, not an actor - was a survivor of the real Killing Fields.
The horror of genocide is probably truly comprehensible only to the people who have survived it, but the images of Pran, literally up to his eyes in corpses, in his desperate bid to escape the killing fields is desperately affecting - and provides a palpable sense of real terror.
Your not meant to enjoy this movie, its a story meant to be experienced and felt.

It's 1935, Chicago, and Sol Gann (Ray Wise) is having a tough time providing for his teenage daughter. Following the promise of a well-paying (but stunningly hazardous) lumberjacking position, Sol is forced to leave his beloved Natty (Meredith Salenger) behind before making the trek to Washington. Under the mistaken impression that her Dad has abandoned her for good, Natty promptly hits the backroads and begins a colorfully exciting quest to reunite her small family. Along the way, our plucky heroine is befriended by a vicious-looking (yet surprisingly loyal) wolf whose as independent and lonely as she is; and a good-natured vagabond (and would-be boyfriend) named Harry played with rascally charm by a young John Cusack.

Natty's journey sees her coming across a variety of unsavory Depression-era characters, most of whom aim to see the wayward lass remanded to some dank old orphanage. With the help of Harry and her beloved wolf, Natty makes one daring escape after another, always resuming her westward trek to find her Dad. The poor girl has to withstand some truly horrifying travails during her perilous pilgrimage (she survives a train wreck, shares some tender moments with a pregnant woman, joins a gang of youthful hoboes, spends time in a grim orphanage, receives help from a disfigured blacksmith, and escapes from a molester) which make for quite an adventure.

The outdoor photography is nothing short of breathtaking, the depression-era production design is uniformly fantastic, the (sometimes quite dark) 'moral lessons' are offered with a minimum of Disney-esque schmaltz, the performances are strong across the board, and the action bits are realized with style and flair. The Journey of Natty Gann is one great family flick, easily one of Disney's finest live-action releases of the 1980s.

"Kalifornia" is such a film - terrifying and horrifying, yes, but also unflinchingly honest, and so well acted that for most of the film I abandoned any detachment and just watched it as if I were observing the lives of real people.

Visually stylish, thematically creepy and an absolutely riveting movie...Pitt is just outstanding.
Its a gritty, haunting voyeur's peek into the human condition, a very well-written and suspenseful film. Such an underrated and underseen gem.

This distinctive dramedy is in a class all its own. The film itself signals hope for moviegoers tired of formulaic stories with cliché-soaked dialogue. There is none of that in the splendidly written Juno.

What propels the film into the stratosphere is Juno herself. As played by Ellen Page, Juno is a winning combination of fierce intelligence, irrepressible irony, casual profanity and, though she doesn't want to admit it, emotional vulnerability.
The engaging story, coupled with the character's likable quirkiness, makes for a film bristling with vitality and heart, without resorting to glibness or sentimentality.
With its original performances that can't be reduced to simplistic labels, Juno is charming, honest and terrifically acted.

"I Am Legend," is actually three movies in one: a futuristic effects-o-rama, a zombie thriller and a survivalist parable. Each is better than average, and the experience is fairly gripping.

Often surprising in its focus on loneliness and loss, this thoughtful, eerie, and restrained sci-fi horror film provides a parade of startling visuals, but never allows special effects to overcome the human element.

With a single personality on screen for most of it, the key to success in this movie is Smith. He brings a warm dimensionality to everything he does, especially in establishing the terror a survivor finds hiding in dark places.
An emotional high point is attained in a horrific sequence in which Neville(Smith) must fight paralyzing fear in attempting to rescue his dog.
Simply an outstanding performance and an overall entertaining movie.

Although it bears many resemblances to the previous years excellent Return To Paradise, this is a very good film in its own right and stands on its own as a harrowing tale of persecution and imprisonment in another country. Danes and Beckinsale both give powerful performances, and the setting achieved by director Kaplan is disturbingly realistic.
Brokedown Palace beats on the drum of self-discovery while it weaves a tale of desperation, perceived betrayal, unjust imprisonment and legal frustration; where trust, loyalty, and honesty are constantly tested.

I first saw this movie many years ago at a time when my best friend and I were "disagreeing" with each other. This movie gave me so much more feeling, more meaning, than it probably warranted, because it hit home personally for me on the friendship level. That's why its given more credit than it should actually deserve, and why it will always be one of my favorite movies.

So the story goes like this: Maguire and Witherspoon play fractious twins magically transported from the screwed-up present into a '50s sitcom, a black-and-white world devoid of crime, poverty, sex--even bad weather. In this squeaky-clean universe, they're the children of staggeringly perfect parents, played perfectly by Macy and Allen. But once the teens allow their real-life passions to seep into this fantasy world, the monochromatic utopia bursts dramatically into living color.

So what did I think of it?
Well, Its a life-affirming film that throws itself into fairy-tale territory only to tell you that there is no such thing as a fairy-tale. There is only life as it is, and if you accept that, it may be the only "fairy-tale" that you'll ever need.

Sure, it may be a bit sugar-coated and drawn out toward the end, but this is still premium sweetener. With a more-than-adequate cast and visual effects so convincing you'll never look at a rose the same way again, you feel you were sent to "Pleasantville", yourself.

When the film asks us to embrace one-another's differences, rather than condemn them, it turns into more than simple escapism. It becomes a timely picture that asks us to reach inside of ourselves and squelch the hatred which breeds there.

Hollywood satire is not usually this enjoyable: Both savage and silly, Pleasantville is an absolute blast.

Science fiction has long been stereotyped as a hardware-obsessed, techno-jargon laden refuge for computer nerds and outcasts. Especially on television, which lacks the geek chic afforded by big-screen Hollywood budgets, the genre's reputation for hokey dialog and cardboard/wire effects have saturated it with a distinct odor of disrespectability. It is somewhat ironic, then, to see the Sci-Fi Channel, a network which often seems devoted to the pulpy and lowbrow, serve up Battlestar Galactica, a show about spaceships and killer robots that is also arguably the most potent, dramatically vibrant series on television. Its deep, complex, funny, and moving with an unflinching examination of how the military, government, family, and religion interact in the fragile ecosystem of society, its as morally and intellectually serious as it is thrilling.
The fleet is populated with quirky, spirited, and deeply flawed individuals, a floating clutter of neurosis and psychic baggage. But that angst-ridden clutter is all that remains of the human race, and their unity, despite any conflicts they have, is integral to their survival.
Battlestar Galactica burns with a combustive mixture of political turmoil and human drama that is as achingly real and relevant as anything I've ever seen.

While watching Pirates of the Caribbean I spent the entire time with a huge grin on my face, just having a blast!
Its an original, swashbuckling adventure that combines romance, humor, ghosts, a very freaky little monkey, and extraordinary acting; especially from Johnny Depp who plays one of the most "interesting" pirates ever seen on film. Depp claims his inspiration for Captain Jack Sparrow came from mixing Rolling Stones' Keith Richards and the cartoon skunk, Pepe Le Pew. Interesting idea -- taking a pirate and infusing in him the characteristics of one of rock and roll's most out there stars. The Pepe Le Pew thing I don't totally get, but Depp's a genius so he must have had a reason for that bizarre choice. What ends up on screen is a pirate who staggers around like one of those Weebles I had as a kid (the toy that wobbles but doesn't fall down). He sashays, struts, and basically Weebles his way through the film, just an overall outstanding and unforgettable performance.

The action in the film is fantastic, featuring pretty much every kind of action you would want from a pirate movie. Swordfights, cannon blasts, thieving, murdering, plundering, it's all there. The special effects, which are used to create battling skeletons are impressive as well.
All the visual elements, including the make-up, costume design, and set design, seem to have been created with the phrase "over the top" in mind. Since the story itself is crammed with hilarity, seeing that infectious enthusiasm spill into the entire production ensures that the picture doesn't lack in entertainment value. It goes without saying that the pirates of the seventeenth century have been given various characteristics and cliché mannerisms (like parrots, tattoos, and the word "matey") in novels and movies produced in the last century, and every cliché in the book is included in this film. But that's not necessarily a bad thing.

The story really does succeed at putting all things "swashbuckler" into the mix. The pirates, the governor's daughter pretending to be a lowly maid, the curse, the battle between ships, the walking of the plank, the deserted island. And none of it seems jammed into the plot for the sake of getting it into the movie. This is a seamless and classic blend of adventure and humor. Nothing is taken terribly seriously, but nothing is treated with even a slight lack of respect either. There are moments of awe, moments of suspense, moments of quiet contemplation, all in keeping with the genre. The funny bits always worked for me, and I admit to having the giggles even after seeing the movie, replaying various scenes in my head.
Talk about "having fun at the movies", this is the movie they were referring to. I have yet to come across someone who didn't enjoy this movie, and that's saying something. Definite five stars all the way.

The Fellowship of the Ring is a first rate story that leverages movie magic to transport audiences to another world and bring a writer's imagination to vivid life. The execution is so enthralling that even at a runtime of three hours, the movie never overstays its welcome and never feels too long. This is one of those rare films that just about has it all: action, horror, high adventure, a dash of comedy and romance, and a spellbinding story with big time special effects to boot.

It's a classic tale of good versus evil set in Middle Earth, a mythical land populated by humans, elves, dwarves, and hobbits. In this realm of swords and sorcery, the evil Dark Lord Sauron has forged a magical Ring of unimaginable power. But in a twist of fate, the One Ring has made its way into the hands of a young hobbit named Frodo. With the help of friends, including the mysterious wizard Gandalf, he must destroy the Ring in the fires of Mount Doom before Sauron can reclaim it and cast the world into Darkness. The trilogy's first installment focuses on the formation of the title group of nine heroes and the beginning of their quest to destroy the Ring. The Fellowship's daunting task faces peril at every turn from hordes of evil minions and the formidable Ringwraiths, Sauron's nine Grim Reaper-ish lieutenants. The action is abundant, and goes just about as far as it can with the film's PG-13 rating, as Aragorn the Ranger(Viggo Mortensen) takes out entire droves of evil creatures single-handedly; and as Legolas the Elf (Orlando Bloom) kicks ass Robin Hood style with a bow and arrow as he dispatches foes with uncanny marksmanship (although one wonders why he never seems to run out of arrows). The more supernatural enemies are dark and menacing as few screen villains are: when the dreaded Ringwraiths appear, you just know that some shit is about to go down; and the Balrog, a fiery demon that Gandalf battles near the end of the movie, is a major bad ass.

I've read the books, but it was long ago, and I certainly have no standing with those rabid Tolkienistas who litter online discussion groups with posts bitching about the deletion of Tom or the expansion of Arwen's character or the casting of "not-pretty-enough" Cate Blanchett as Galadriel. (Let me say that again, so you understand the depths of folly at which some of these Tolkien fans operate: actually complaining that Cate Blanchett was not good-looking enough. To play an elf.) But in a densely packed prologue with voiceover by Blanchett, Jackson compresses thousands of years of Middle Earth history into a single breathtaking overture. Before the title of the film proper has even hit the screen, Jackson has shown us an epic battle involving thousands of soldiers, introduced several major characters, and even hinted at the appearance of big-eyed, hunched-over Gollum, one of the novel's most famous creations. I find it hard to believe that anyone with even a glancing familiarity with the source material would lack goosebumps upon hearing the voice of Gollum holding the ring in his hand and gushing over it: "Precioussssss."

The Fellowship of the Ring is a near-masterpiece, it's a thoughtful, intelligent fantasy, painted on a canvass both epic and intimate, crafted with an attention to detail that reduces the outside world to an unwelcome memory. It is, in short, the down-payment on a dream and a marvelous way to begin an adventure being the first part in a trilogy that constitutes the greatest fantasy story ever told.

A cross between Buffy the Vampire Slayer, Blade and The Matrix, Underworld is a vampire film for the new millennium -- bold, galvanizing and darkly stylish.

Set in a timeless city the film slams into bravura action scenes with wrenching regularity while still weaving an elaborate back-story into its intriguing plot. Humans are hardly seen and barely bitten. Instead, aristocratic vampires and lowly, feral werewolves assail each other in a centuries-old blood feud. Which means that the film's conflict, far from being expressed in the simplistic terms of good and evil (as is traditional in vampire stories), instead becomes a more subtle divide along lines of clan, class and race. Each side has adapted modern weapons to its supernatural needs, lacing bullets with silver nitrate to waste werewolves or ultraviolet liquid to vanquish vampires. Purists may howl, but it makes perfect sense for modern vampires to use guns, cars and cell phones. A bloodsucker's gotta do what a bloodsucker's gotta do.

Here the vampires are heavily armed, are a Godfather-style family ensconced in a massive mansion until venturing out to put hits on its enemies. Forget crosses, stakes, garlic, sunlight or other hoary horror trappings. Looking like a party of aging British rock stars (and played by a largely British cast), these vampires prowl the rainy streets and soggy sewers of their aging city like a John Woo-led army of decadent, slick mercenaries.
Atmospheric to the max, Underworld evokes the elegant noir look and gothic grandeur of Dark City, The Crow and even the Batman movies. It also glamorizes vampires by dressing them in chic cloaks and gowns, not to mention the tight black-leather duds Beckinsale wears to war. Don't hate them because they're beautiful.

Some people think that a film about vampires and werewolves is inherently silly, and should be watched for its visceral thrills only (which Underworld certainly has). Yet at a time when mainstream American discourse would have you believe that in war everything is black and white, Underworld represents a unique voice of reasoned dissent in its suggestion that war is in fact a morally messy business, with complicated and often misunderstood causes -- which makes Underworld not just a kick-ass monster free-for-all, but also a vampire film with an unexpected political bite.

A triumph on a visual and technical scale, "Underworld" is the kind of fun, ambitious, chaotic and exhilarating adventure that doesn't just go to great places, but discovers new ones along the way.

Desperado is a zesty action thriller that recycles the best of the B genres and rolls them into a big-budget, pistol-packing extravaganza that in its best moments leaves you breathless with wonder.

Banderas is simply incredible in his role as the man of few words and many bullets, he oozes sexual charisma and strength. The supporting cast is strong all around, especially a wily Steve Buscemi as the Mariachi's friend.
Its stylish and intriguing right from the opening scenes, its a great big assault weapon with the trigger squeezed hard

Desperado is a wonderfully exciting and hypnotic action film -- It's violence as a dance.

This movie was crazy! (no pun intended) This was probably the best performance I've seen of Brad Pitt, he got into the character of Tyler Durdan so completly that it was frightening and convincing. All the fighting and blood and gore, all the twists and action and explosions in the movie...despite being extremely entertaining you find yourself wondering how sick and deranged you must be for enjoying all the violence...there is a message to it as well.
The film is a cinematic punch to the head as it challenges the status quo and offers a wakeup call to people immersed in a materialistic world where those who have the most stuff, "win." it's like this film wants us to tear all that down, reject corporate monsters like Starbucks and Blockbuster, and try to figure out what we really want out of life. It's almost as if the film is suggesting salvation through self-destruction. And it is these thought-provoking ideas that makes "Fight Club" a dangerously brilliant film that entertains as well as enlightens.