Hugo

I read a few reviews of this last week - and I agree with them all.  It deliberately stays very real where it could become farcical.  Yes, the inspector is rather out of place in this otherwise grounded story, but it's not to the point of distracting from enjoyment of the story.

Hugo in 3D
2011, 126 minutes, directed by Martin Scorcese

Terminator: Salvation

They've run out of ways to exploit their "go back in time to save the future" schtick, so at this point they've just turned this franchise into post-apocalyptic warfare with an abundance of references to story lines we're assumed to know.  It could be a Resident Evil script if they'd just replace robots with demons - totally generic.

Terminator: Salvation
2009, 115 minutes, directed by McG

Collateral

My parents were watching this when I arrived at their house this evening, so I admit I missed the first 45 minutes or so.  But the rest of it was good - at least a good performance by Jamie Foxx - and the story was sufficiently interesting to stick around in the living room and see it to the end.  Foxx plays Max, a cab driver who is tricked and coerced into chauffeuring around Vincent, a hit man played by Tom Cruise.  Through threatened and plenty of actual violence, Vincent forces Max to help him with a series of murders.  Tension escalates as Max tries different angles of escape, until he learns that a woman he likes is the target of Vincent's next hit.

Collateral
2004, 120 minutes, directed by Michael Mann

The Rum Diaries

I tried to read the book once, but Hunter S. Thompson's writing style wreaks havoc with my reading, my eyes flitting around from line to line at random, piecing it all together in my mind a few moments later.  I just can't make that work when his words flitter about with the same randomness.

So while watching this film - what I believe to be a true-to-the-book portrayal of his story - I was never sure how much of this is based on real events and how much is pure story.  The resulting confusion left me puzzled by the abrupt ending and text-on-screen epilogue.  I would have liked to like it, but I'm too confused.

The Run Diaries
2011, 120 minutes, directed by Bruce Robinson

Comic-Con Episode Four: A Fan's Hope

I don't usually see documentaries, especially at Fantastic Fest, but as I've probably mentioned before I like Morgan Spurlock.  As it turns out, though, there's very little Morgan Spurlock in this film, as he really steps back and lets the small set of real-life characters he's chosen to follow tell their own stories of Comic Con.

2011, 88 minutes, directed by Morgan Spurlock

You Said What?

Films about making films can be total shit.  But in Norway they work.  Glenn, recently single after he catches his girlfriend cheating on him, is talked into staging a fake film audition in order to meet women.  But when he meets one he likes and tells her she has the part - well now he has to actually make the film...

You Said What?
2011, 107 minutes, directed by Patrik Syversen and Nini Bull Robsahm

Blind

A woman and former police cadet, blinded in an accident that killed her brother and cost her a career, witnesses a hit and run by a serial killer who then stalks her.  Brilliant in its execution, this psychological thriller has you crawling up your seat wishing the lead character could see what was going on around her on screen.

Blind
2011, 111 minutes, directed by Ahn Sang-hoon

Paranormal Activity 3

I saw the first installment of this franchise at Fantastic Fest back in 2009.  It was formulaic and clinical in its execution, which left me wanting more.  Alas, this was not it.  (I never saw the sequel.)  This wasn't nearly as frightening as the first film.  All the setups are now so obvious.

It was really strange watching commercials for this over the next few months and thinking to myself, "Wait, that scene wasn't in the film!"  Yes we were told that the version we watched wasn't 100% done, but seriously half the scenes in the commercials weren't in the movie itself.  Either they used cutting-room scraps to promote the piece, "not 100% done" meant "half the scary bits aren't in yet", or, just maybe, they read bad reviews like this one and choose to spruce it up with the more mildly frightening bits.  It's unlikely I'll ever bother to watch it again to find out if any of that extra film made the final cut.


Paranormal Activity 3
2011, 84 minutes, directed by Henry Joost and Ariel Shulman

Before the film began, I had a brief one-on-one conversation with Elijah Wood which went something like this:
Me: "Glad you came this week and glad you stayed.  Usually the stars all leave."
Mr. Wood: "Fuck all that."

Awesome

Calibre 9

All hell breaks loose when a gun, possessed by the soul of a dead hooker named Sarah, decides to use a mild-mannered city planner named Yann to exact revenge on society, corruption, and anyone else who gets in her way.

This is just what the festival has so far lacked and I greatly needed - glorious, glorious, violence.  With guns.  Well, one gun, named Sarah.

Calibre 9
2011, 84 minutes, directed by Jean-Christian Tassy

Sumarlandid (Summerland)

The stress of making ends meet leads Oscar, who runs a haunted house in the basement of the family home, to agree to sell an elf stone off their property.  If only he had ever believed his wife when she warned that the elves would not be happy...

I enjoyed this pleasant film, focused on a light-hearted struggle between progress and heritage.

Sumarlandid (Summerland)
2010, 85 minutes, directed by Grímur Hákonarson

Kalevet (Rabies)

Stupid fucking people wandering around in the woods making dumb decisions that get each other killed is not what I want to see.

Kalevet (Rabies)
2011, 90 minutes, directed by Aharon Keshales and Navol Papushado

Milocrorze: A Love Story

This film is comprised of three stories that vary in tone, style, mood - really anything to tie them together except the lead actor and the base theme of searching for love.  I left sad and confused.  Or confused and sad.

Milocrorze: A Love Story
2011, 90 minutes, directed by Yoshimasa Ishibashi

Manborg

God damn it don't put a long short or two or FIVE and a Q&A before midnight films!


Robocop meets Army of Darkness with Tron thrown in.  It's not the best film I've seen this year, this week, or even today, but it was a film.

Manborg
2011, 60 minutes, directed by Steven John Kostanski

The Day

Post-apocalyptic survivors, 10 years in, face their final stand.  I liked it.  Watch for the badass female star, refreshingly more badass than female.

The Day
2011, 90 minutes, directed by Douglas Aarniokoski

Smuggler

Boy falls into debt, and must work it off as a smuggler, any cargo accepted.  But when the cargo is notorious killer Vertebrae and his partner Viscera, will he survive the job?

This film is awesome!  It does everything well that Yakuza Weapon didn't.

Smuggler
2011, 115 minutes, directed by Katsuhito Ishii

Yakuza Weapon

They give the impression that they want us to take the film seriously.  And that's just not going to happen.  There's far too much gutteral Japanese.  It's way too cheesy.  But then again the yakuza star has a machine gun arm and a rocket launcher leg.  And then there is an awesome 4 1/2 minute 1-take scene - due to the star breaking his neck on the second take!

Yakuza Weapon
2011, 106 minutes, directed by Tak Sakaguchi and Yudai Yamaguchi

Julia X

Kevin Sorbo has spent far too long playing the good guy, so an opportunity to be a serial killer must have a delight.  Indeed, all the actors seem thrilled to play these roles.  The Stranger (Sorbo) meets, kidnaps, and tortures women, branding each in turn with a letter of the alphabet.  But when he meets Julia, 'X' could be his match.

The director had a vision.  It just didn't match mine.  But I wasn't very disappointed, what with Kevin Sorbo himself attending this second screening and giving an excellent Q&A.

Julia X
2011, 92 minutes, directed by P.J. Pettiette

Klovn (Clown: The Movie)

I'm seeing this based on my sister-in-law's wholehearted recommendation.  As I've said many times before, the uncomfortable-situation genre of film comedies are difficult to watch.  To the credit of Clown's nationality, though, it's much easier to handle when the actors are European.  Based on a smash hit television series, the story is about two friends - one creepy, one hapless - who embark on a weekend of debauchery to escape their "boring" normal lives.  Except the hapless one brings along his 11-year-old nephew so as to prove to his girlfriend that he's ready for a family.  Significant crude hilarity follows.

Is the film funny?  Yes.  Does it deserve the fanboy-adoration I saw last night when it won the Gutbuster award for best comedy?  Not really.  I prefer the humor of Carre Blanc.  Watch this if you can tolerate stupid funny and lots of uncomfortable situations.

Klovn (Clown: The Movie)
2010, 90 minutes, directed by Mikkel Nørgaard

Knuckle

I had to be talked into seeing this, the only documentary of the festival.  Knuckle follows an Irish gypsy family, the Quinn-McDonaghs, for a decade of illegal bare-knuckle brawls with rival gypsy family with whom they are closely intertwined.  The film spends a lot of time asking Why? but never seems to find a satisfactory answer.  All I can say is that no fake blood was required for this film.

Knuckle
2011, 97 minutes, directed by Ian Palmer

The director chose to subtitle the Irish English, but only prints the gist of each sentence.  Watching the discrepancies between what is quoted and what's actually said is half the fun of seeing this.

Underwater Love

In the film's lore, Kappo are underwater reincarnated spirits who love cucumbers.  One particular Kappo wants to save a girl he loved in life from her own early death.  A German-funded Japanese pinku musical ensues.  It was actually much tamer in those ways than I expected, and was otherwise pretty fantastic.  It's another excellent film from the director of Uncle's Paradise.  The song lyrics are worth it alone.

Underwater Love
2011, 87 minutes, directed by Shinji Imaoka

Carré Blanc

What a surprise.  Another slow-burning story of dystopian future.  And yet this one just works.  The style is excellent, as is the film's overall tone.  Croquet-based humor at its best.  This film might be up there with The City of Lost Children as one of my favorite films of the genre.

Carré Blanc
2011, 77 minutes, directed by Jean-Baptiste Léonetti

Alas, the director couldn't make it.  He was literally in the airport in Paris when his coat was stolen along with his passport.  I would have liked to see him talk about his film.  I think you have to be a pretty interesting guy to be able to put humor in a film like that - and pull it off so well.

The Skin I Live In

I'm sitting in Maudie's Mexican restaurant Tuesday morning, writing up my reviews of films from the past few days.  Maudie's salsa is good, not great.  "Pete's" tacos, with eggs, jalapenos, cheese, onions, sausage, are decent.  But if you put Maudie's salsa on Pete's tacos, something magical happens.  The flavors blend and merge and they become my favorite breakfast tacos.

I mention this because The Skin I Live In, the first secret screening of FF2011, is the best film I've seen so far.  And yet, I can't pin it down to any one thing.  Parts of the film are a little slow, a few parts are a bit uncomfortable, and a few continuity goofs just don't make sense.  But when you put the whole film together as the director did, something magical happens.  The bits and pieces from the three-act story join and it becomes totally fantastic.  It's Antonio Banderas at his creepiest.  You have to see this film.  Do your best to read as little as possible about it first.


The Skin I Live In
2011, 117 minutes, directed by Pedro Almodóvar

Before the screening, we were told that Sony politely asked us to not say what the film was, or to review it before October 12.  WTF?  It premiered at Cannes, so it's not like it's new.  All I can guess is that they want buzz in the days before its Oct. 14 New York limited release.  Sorry Sony, but this isn't the 1980s any more.  You don't get to control your films' social exposure.  And you certainly don't get me to join into your advertisement campaign unless you're comping me something. =)

The Cooridor

The writer and director of this film describe it as a "Sunday morning hangover film", so it seems appropriate that I saw it early Sunday after a late night at the Fantastic Debates.  (No, I'm not hung over.)

Tyler, lifelong friend to Robert, Chris, Everett, and Jim, has a nervous breakdown upon the death of his mother, stabbing two of his friends before he's subdued.  Months later, all five of them gather in the woods at Tyler's mom's retreat cabin to reminisce and make amends.  When Tyler sees a strange cooridor in the woods, has his psychosis returned?  Or is he the only one sane?

This was much more cerebral than I expected, but then again that seems to be the theme this week.  The characters are obsessed with their own pasts and unsure what comes next, which resonates well with me.  This was a good film, worth seeing on a Saturday night.  Gore is minimal but present, so be prepared.

The Cooridor
2010, 100 minutes, directed by Evan Kelly

Urban Explorer

Double tap, damnit.  Stupid people.

Urban Explorer
2011, 88 minutes, directed by Andy Fetscher

Beyond the Black Rainbow

I'm already a little tired from the slow, plotless animated shorts and two hours of Melancholia, but this is just silly.  I could barely stand the imagery scenes scored with loooong, sloooow chords from a 1970s synthesizer, and act II, from 1966 to Rosemary's death, was excruciating.  At least something happens in act III.  Check this out only if you love the look of early 80s dystopia and have access to a fast forward button.

Beyond the Black Rainbow
2010, 115 minutes, directed by Panos Cosmatos

Melancholia

Epic in its ambition, Melancholia presents a clinically-depressed view on the end of the world.  The director (via Skype introduction) sums it up best: "The whole film is on the edge of being kitsch and being unbearable, but please see it anyway."  I am genuinely impressed at the extraordinary lengths he went to not to tie up any of the emotional and inter-character loose ends.

Melancholia
2011, 136 minutes, directed by Lars von Trier

Juan de los Muertos (Juan of the Dead)

Finally, a film that was just what I expected.  Sure, it was designed for the Fantastic Fest crowd - the director used what slow, limited internet access he could to read film sites like Ain't It Cool News.  And sure, it was pretty predictable.  But that's okay.  That's what I expect from a zombie film.  A Cuban take refreshes the genre again.

Juan de los Muertos (Juan of the Dead)
2011, 100 minutes, directed by Alejandro Brugués

"I took many scenes from real life, and just put zombies in it." - Alejandro.

Director Alejandro Brugués of Juan de los Muertos.  My sister-in-law also calls him "hot".

 .

Extraterrestre (Extraterrestrial)

So, Dominic Monaghan and Elijah Wood are in the row right behind me.  They weren't involved in the film; they're just here hanging out.  Gotta love Fantastic Fest.

The film is a little slow paced.  There's no rolling-in-the-seats laughing, but it's enjoyable nonetheless.

Extraterrestre (Extraterrestrial)
2011, 90 minutes, directed by Nacho Vigalondo

The intrepid Tim League, introducing the director of Extraterestrial

Director Nacho Vigalondo introduces his film Extraterrestrial

Nacho Vigalondo alongside star Julián Villagrán of Extraterrestrial during the Q&A

Invasion of Alien Bikini

I'd say this Korean independent film gets weird, but that implies that it didn't start weird.  Filmed with a total budget of $5000, this "comedy" features an alien who must reproduce tonight, and a vow of chastity by the man she's chosen.  Light-hearted torture ensues.  Seriously.  And then it gets really weird.  Quite a head scratcher, this one.

Invasion of Alien Bikini
2011, 75 minutes, directed by Yound-doo Oh

Chonmage purin (A Boy and His Samurai)

A 19th-century samurai appears in modern Tokyo, befriends a woman and her young son, and takes up work as a master pastry chef.  Yes, that's right, pastry.  From the director of the amazing Fish Story, the film is one part Japanese, two parts dessert, topped with Yoshihiro Nakamura magic.

Chonmage purin (A Boy and His Samurai)2010, 109 minutes, directed by Yoshihiro Nakamura

From the introduction, the film is:
"...gonna make you laugh.
...gonna make you cry.
...gonna make you pretty fucking hungry."

There weren't any guests for this film. I took the these while waiting for my next screening.

Fans eagerly await their tickets for the day's awesome.

Penumbra

Again, like the last film, this was not at all what I was expecting.  This was a dialog-driven film more than anything else.  Fortunately the lead actress Cristina Brondo pulls it off.  As a Spanish realtor, she spends a few months each year handling business in Argentina, including for an old apartment she inherited with her sister.  A prospective tenant is running late, but when he arrives, his motivations are suspect.

Penumbra
2011, 85 minutes, directed by Adrián García Bogliano & Ramiro García Bogliano

Director Adrián García Bogliano and a member of the production crew during the Q&A.

This has nothing to do with the film, but I wanted to point out the suckling pig display at the Highball during the opening night party.

El paramo (The Squad)

This was not what I expected.  When I think "military squad" and "horror" images of Predator waft through my mind.  Instead of a murderous rampage with an alien/occult foe, The Squad is very close up, very suspenseful, very introspective.  If such a film sounds appealing, look for this in 2012.

El paramo (The Squad)
2012, 107 minutes, directed by Jaime Osorio Marquez

Director Jaime Osorio Marquez of El paramo.  My sister-in-law called him "hot".

The director during the Q&A.  He sat near us during our subsequent screening, but my sister-in-law wouldn't go talk to him.  Not that he spoke English...

Director BenDavid Grabinski of "Cost of Living", a short film that played before the feature.

"Cost of Living" production crew.

Une pure affaire (Borderline)

If the first two seasons of Weeds taught us anything, it's that hot moms dealing drugs can be cool.  This film features a French couple who "stumble" into the cocaine business.  It's starts very light-hearted, but it's hard to enjoy when I know it's going to go horribly wrong.  And then it all does.  But hang in there.

Une pure affaire (Borderline)
2011, 88 minutes, directed by Alexandre Coffre

Outside the theater after the screening.  I can't help but think that the marquee above his head is reading his thoughts.

Bones

This film makes for great background content while doing my taxes.  Highly recommended for this.

Bones
2001, 96 minutes, directed by Ernest R. Dickerson

Salt

This film was reasonably enjoyable, except for the fact that it was clearly designed to set up a series of sequels.  Angelina Jolie as an action star works well, especially since the action never pauses long enough to consider how she just kicked all those asses.

Salt
2010, 100 minutes, directed by Phillip Noyce

Horrible Bosses

This lighthearted murder comedy features Jason Bateman, Charlie Day, and Jason Sudeikis as Nick, Dale, and Kurt, respectively, all of which hate their bosses.  What better way could there be to solve this problem except kill them all?  But of course they can't kill their own boss; they'd be a top suspect.  So instead they decide to kill each other's bosses.  Hilarity ensues, greatly tempered by the high levels of stupidity in their decision making.  Also starring Kevin Spacey, Jennifer Aniston, and Colin Farrell as the namesake bosses.

Horrible Bosses
2011, 98 minutes, directed by Seth Gordon

Harry Potter and the Deathly Hollows: Part 2

With how much effort was put into giving this story its full due, I wish they could have taken more care with the earlier films to leave in more of the flavor, instead of cutting them to boney plot.

All stories must end.  This end is fitting enough.

Harry Potter and the Deathly Hollows: Part 2
2011, 130 minutes, directed by David Yates

"Hogwarts is threatened.  Do your duty.  Protect our school!" - Professor McGonagall

Captain America: The First Avenger

It all seemed so superficial. Nothing ever presented much of a challenge to the heroes; Captain America is never nicked by a bullet, none of his team is ever hit by the blue rays, etc. The one meaningful death was a godawful slip and fall into a huge ravine, ala Snow White. With lasers that disintegrate an entire human upon any impact, you'd think at least some of them would have picked up a glancing shot. But no, the only thing any of the bad guys can manage to hit is the shield, and that metal is somehow immune both to bullets and disintegration rays.

(Bullets they explain away when the shield is introduced, but the disintegration rays are just assumed. The movie would have been much shorter, though better, if the first one of those that hit the shield had disintegrated it and its bearer, and Steve Rogers' friend would have taken on the role as Captain America with more humility and better equipment. Or swap it around so the friend is the first Captain America and Steve has to follow in his footsteps.)

As it is, it seemed very much to be a superhero product of the 1940s: unfortunately simple and out of its time.

Captain America: The First Avenger
2011, 124 minutes, Joe Johnston

A Film Unfinished

Found reels of a propaganda film from Nazi Germany show contrasting scenes of staged prosperity with real poverty in the Warsaw ghetto, May 1942, not long before it was destroyed and most of its inhabitants sent to their deaths.

But this isn't shown in isolation.  To complement, contrast, and counter the propaganda film, the documentary producers use the incredibly-detailed diaries of the Jewish superintendent of the ghetto, as he was ordered to take part in and witness filming.  They also include comments from survivors viewing the film (and recalling the filming), German reports and records, and even transcripts of testimony of one of the cameramen, the only one of the filmmakers ever uncovered.

With the film never finished, the purpose of the contrasting scenes may never be known, but the film nevertheless gives vision to the final days of a half million Jews starving in the three square miles of the Warsaw ghetto.

45 years later, an outtake reel was found, with repeated takes of "documentary" scenes until the Germans considered them realistic enough, along with images of the cameramen caught in each others' lenses.

You should see this.

A Film Unfinished
2010, 88 minutes, directed by Yael Hersonski

The Bounty Hunter

Mr. Whoever stars as an ex-cop-turned-bounty-hunter who's tasked with bringing in his ex-wife.  Jennifer Anniston stars as the ex-wife reporter who's stumbled upon police corruption and must convince her ex to help instead of turning her in for the bounty.  Hilarity and some action scenes ensue.

You know, Jennifer Anniston is a good actress, and what's-his-name does a good job, too.  I enjoyed the film on a Saturday afternoon at home.

The Bounty Hunter
2010, 110 minutes, directed by Andy Tennant

Rampage

Yes, it's an Uwe Boll special. But it is everything it presents itself to be. Knowing what I did going in, I have no complaints with the outcome.

Rampage
2009, 85 minutes, directed by Uwe Boll

Jurassic Park III

Oh my God this is stupidly cheesy.  Moar species, moar raptors, moar smarts.  Moar moar moar.  Any hints of unpredictability are gone; the special effects drive the plot.  Such is the sad fate of part three of many a trilogy. And heaven forbid they get funding for a fourth.

Jurassic Park III
2001, 92 minutes, directed by Joe Johnston

Green Lantern

I just don't know about this one.  It's too big and too self-absorbed, like it thinks there's nothing silly about a galactic fleet of green superheroes who have a super ring but talk about their lanterns they keep at home in the closet.  And it stars Ryan Reynolds, who simply lacks any facial expression that hints at depth of character.  I understand that the "Lanterns" operate through force of will, and that humans are special because they can act despite fear, but the constant breaks from action to talk about with his friends made it even harder to not notice how hard they tried to push against the inherent cheesiness of the story.  It just doesn't work for me.

And yes, they set us up the sequel.

Green Lantern
2011, 105 minutes, directed by Martin Campbell

Super 8

J. J. Abrams decided to make an homage to the 1980s kid-adventure genre.  I think he did a pretty good job.  Other than the occasional wink to the audience of the future (the Walkman, film develpment, and drug jokes), it stays pretty firmly rooted in its time and place.  Sure, there are stereotypes aplenty, but that's what an homage is.

Keep in mind that there's some bad language and a selection of body-poppin' brutality.  One difference between now and then: in the 1980s this would have been rated R.

Including the completed home movie in the credits was brilliant.  Make sure you stay for it.

Super 8
2011, 112 minutes, directed by J. .J. Abrams

Exiled

This 1998 made-for-TV film (often titled Exiled: A Law and Order Movie in reruns) picks up the story of Detective Mike Logan, Chris Noth's character previously written out of the series.  It's purely cop drama, on a film scale; the only DA presence is a cameo by Sam Waterston as a (relatively) young Jack McCoy.

Given how old this film is on my first viewing, it seems more like a Law and Order All-Stars show than anything else.  Detective Logan, "exiled" to Staten Island after punching a politician in Manhattan three years prior, is trying to get transferred back.  He thinks the most likely way to do this is to solve a high-profile case, so he snags a floater from the river and makes the case his own.

Together with new partner Frankie Silvera (ably performed by Dana Eskelson), the case takes him back into Manhattan and directly to his old precinct, the 2-7.  Here they find legendary Jerry Orbach as Detective Lennie Briscoe, with his then-partner Rey Curtis (Benjamin Bratt) in a cameo role.  This makes sense, though, because there has to be space to fit in two brand-new 27th precinct detectives, one of which is pretty clearly established (by parade-of-stars-member Dann Florek as Captain Donald Kragen) to be the mob's inside man.  Detective Logan has to figure out who it is, all while wooing the dead girl's sister and keeping his captain (and S. Epatha Merkerson's Lieutenant Van Buren) off his back.

Some of the action and dubbing effects have not held up well, and the film clearly has a made-for-TV feel with too many actors seeming unpolished in their lines, like it's just another episode-of-the-week.  And the bad guys are totally predictable, really, no suspense there at all.  The presence of Ice-T as a pimp is also incredibly jarring; I kept thinking that they were going to reveal him as undercover on the vice squad since he's about to transfer to SVU.  (I know, I know, L&O frequently reuses actors in new roles.)

Still, together with the later Law and Order: Criminal Intent season with Noth, this does bridge the gap and create the Story of Mike Logan, one of the big arcs of L&O's long and successful story.  It's also apparently the first meeting between Captain Kragen and Lieutenant Van Buren, which honestly seems strange as she took over his old job.  (You'd think they would have met at a fundraiser or something.)  So, as part of the L&O lore, I recommend it.  Just watch it in line with the 1998 show, not on its own merits.

Exiled
1998, 120 minutes, directed by Jean de Segonzac

The Lost World: Jurassic Park

Somewhere out there is a Fisher-Price My First Sequel workbook diligently filled out by this film's screenwriter.  I'm amazed at just how many clichés they can squeeze into a two-hour film.

So this time it's revealed that there's a second island filled with dinosaurs.  Old John Hammond, recently removed as Ingen's CEO, says this was the "breeding" or "B" island conveniently unmentioned in the first film.  (Later, though, there's some indication that this was the first attempt at a park, which likely went even more horribly wrong than the park from the first movie.)  Ever the optimist, Hammond thinks a team should be sent in to document the creatures, and Jeff Goldblum's Dr. Ian Malcolm is a perfect fit.  Oh, and Hammond has tricked him into going by sending his girlfriend, Julianne Moore's Dr. Sarah Harding, along first.  Did I mention that there's a stowaway and a secret second mission by Ingen's new CEO, Arliss Howard's Peter Ludlow?  Yeah, they brought a huge team, all of which, with the exception of the stereotypical hunter (Pete Postlethwaite's Roland Tembo), are complete idiots, hellbent on bringing the creatures back to San Diego and completely unable to take any reasonable means of precaution.

Hilarity ensues, which by hilarity I mean waiting inevitably for each and every one of them to be picked off and eaten.  Some go quick, some stay surprisingly long (and a few do walk away), but in the end it's down to Malcolm and Harding to save the city of San Diego while the entire U.S. military, coast guard, and local SWAT remain completely helpless.

While I've seen the first film several times (having, I presume, more appeal for TV networks and their viewers alike), this was the first time I'd seen the sequel.  I won't say it will be the last; next up on my Netflix queue is Jurassic Park 3, and as far as I know it's a clichéd clone again.

The Lost World: Jurassic Park
1997, 129 minutes, directed by Steven Spielberg

Exit Through the Gift Shop

That was totally not what I expected to see.  I had understood that this was a documentary about Banksy, where perhaps he turned the tables on the filmmaker with his own brand of humour.  That didn't happen.

This was about Thierry Guetta, French camera man and pseudo filmmaker, artist, sudden millionaire.  How can someone survive on a decade-long manic high?  How can he be such a large part of the street art scene while making no effort to hide the meaningless commercialism of his work?

And yet, it's all just a little bit too fanciful.  Could he really take a simple request to go away and turn it into the biggest art show of the year?  Would his colleagues really say those things?  And when Banksy would never help with a documentary about street art again, why did he direct this one?

I think there's more scripting than appears on screen.  And yet I just can't be sure.  It's that mystery, that sense of marginal disbelief, that makes the film so appealing.

Exit Through the Gift Shop
2010, 87 minutes, directed by Banksy

Chronoscrimines (Timecrimes)

All the way back in 2007, Timecrimes was the second film I reviewed.  The darling of Fantastic Fest that year, I consider it the best time travel movie I've ever seen.  It's just so tight.

I didn't expect to get it in my Netflix queue.  They have some sort of problem with the second disc of season three Dexter, and so rather than continue with that I jumped way down on the list to bring me a repeat favorite.  Fortunately I convinced my wife to watch so I could share in the enjoyment of something new through her mind.

I missed some awesome films.  It's just hard to tell what will shine.  But I'm proud to say I was at the world premiere of Nacho Vigalondo's first feature film, and it was truly amazing.  Rent this when you can.  (As always I recommend subtitles and the native Spanish, to pick up the intended nuance of speech.)

Chronoscrimines (Timecrimes)
2007, 88 minutes, directed by Nacho Vigalondo

The Patriot

As I would expect, had I ever cared enough to ponder, this made-for-feel-good movie hits every cliche it can.  Of course he gives all for his country in its fight for freedom.  Of course there's a former slave who earns the respect of his white brethren.  Of course his biggest nemesis is a tangential character who can be dealt with without upsetting the historical balance.

It was all there, but the substance - the meaning - was gone.

The Patriot
2000, 165 minutes, directed by Roland Emmerich

Biggie and Tupac

For some reason, after the Bar Karma season finale, I just kept watching Current TV.  I'd seen a few bits and pieces of this documentary earlier in the year, as my DVR was left on the channel, but the story was genuinely surprising.  The filmmaker basically asserts that Suge Knight killed Tupac to steal his money, then had Biggie killed to throw suspicion off of himself and onto the so-called "east-west" rivalry.  I can't imagine the conversations between lawyers over these allegations.

Unfortunately I just didn't care for the filmmaker's voice and brash personality.  Almost any cheese voice-over narrator could have improved the work.

Biggie and Tupac
2002, 108 minutes, directed by Nick Broomfield

Burn Notice: The Fall of Sam Axe

I like Burn Notice as a show it just works for me.  Sure it's all contrived and improbable, and bullets miss too much, but I enjoy the "how to be a spy" narration.  And I like Bruce Campbell.  So, when a made-for-TV movie pops up outside the normal season, and (at first glance) it looks like they're going to kill off his character, I have to take notice.

It turns out that was a false fear, as a few seconds with any preview bumper would show.  This is the story of how Sam Axe left the service, a short while before the TV show started.  And again, it's all contrived and improbable, but then again, Bruce Campbell thrives like that.  I enjoyed the adventure and look forward to more next season.

Burn Notice: The Fall of Sam Axe
2011, 120 minutes, directed by Jeffrey Donovan

Oh, hey, look at that.  Jeffrey Donovan directed this.

The Greatest Movie Ever Sold

I admit, I'm a Morgan Spurlock fan.  I understood and agreed with his point of view in Super Size Me.  I enjoyed his brief television series 30 Days.  With that full disclosure out of the way, I really enjoyed his latest film, POM Wonderful Presents the Greatest Movie Ever Sold.

Honestly the product placement isn't any more obtrusive than typical television.  If anything, it's better.  TV shows usually have one or two product sponsors, and those items stand out in a show otherwise devoid of specifics and filled with prop vendors and conspicuous black tape.  Here, the film was filled with advertisements, some subtle and some not, but that represents real life.  Just looking for corporate logos in my point of view right now, I see logos for: Texas Instruments, Seagate, LG, Dell, LEGO, Logitech, Optek, National Instruments.  I tune them out in life; make them prevalent enough in film and I'll tune them out there as well.

Morgan doesn't go into this film with a cause to bash over our heads.  Yes, there's some commentary about advertisement directed toward children, especially advertisement at school, but overall he takes the view that it's part of life, always there, and something you might as well use when offered.  It's a very reasonable position, something I admire from a documentary filmmaker.

The Greatest Movie Ever Sold
2011, 90 minutes, directed by Morgan Spurlock

Scott Pilgrim vs. the World

I'm astounded that somewhere out there is a studio executive willing to fund a movie this awesome.  Never taking itself seriously, the film dives into the quest to overcome our pasts and live for the moment by literally making it a quest, with coin and skillups and bonus lives.  I really liked this film.

Scott Pilgrim vs. the World
2010, 112 minutes, directed by Edgar Wright

I'd hoped to see this in the theater last year.  I even talked my wife into going with me - a rare occurrence given her dislike of cinema.  Then she came up with the great excuse of needing emergency back surgery. =P  (She's recovering fine, thanks.)  So Netflix it is.  This would have been even better in a theater full of fans laughing along.

Extract

I'd heard so many good things about this film.  Funny, quirky, enriching.  But it's not.  The lead is gullible and stupid - barely less so than the gigolo he hires to seduce his wife - who quickly and repeatedly falls for it.  Mila Kunis might act as instigator, but her part is completely secondary.  And the ending is contrived and, frankly, disappointing.  I regret seeing this and won't do so again.

Extract
2009, 92 minutes, directed by Mike Judge

Dead Like Me: Life After Death

I just finished a multi-day marathon of this short-lived Showtime series, capped off by this direct-to-video movie.  (Standard disclaimer: I don't review TV shows.)  The film lacked everything enjoyable from the series, and didn't really advance the plot any further than the last scene of the last episode in the graveyard on All Saint's Day.  If you've just sat through all 29 episodes in series and want be a trooper, go for it.  Otherwise don't bother.

Dead Like Me: Life After Death
2009, 87 minutes, directed by Stephen Herek

Sucker Punch

The second film of my Friday-night double header is Zack Snyder's Sucker Punch.  I'm not familiar with the franchise, though I know it has done well in the week since release.

The visual imagery is -absolutely- stunning.  I love the presentation of the battle scenes.  But - it's so sad.  I didn't expect that.  The ever-present layers of misdirection eventually must crumble and they are left with nothing.

Sucker Punch
2011, 110 minutes, directed by Zack Snyder

The soundtrack is awesome.

Source Code

Frankly, I'm surprised by the stream of positive reviews this film has received.  It was pretty decent, and I didn't have it all figured out from the start, but I anticipated each plot turn.  It may be the best science fiction / action film of the year - but the year is still young.

Source Code
2011, 93 minutes, directed by Duncan Jones

Fool's Gold

Mindlessly predictable.  Predictably annoying.  Annoyingly mindless.  Good background movie for doing one's taxes.

Fool's Gold
2008, 112 minutes, directed by Andy Tennant

My Sucky Team Romance

Here it is, my last film of the festival.  The director and nearly the entire cast is still here, which shows dedication.  (Also, it shows most of them live locally.)  I've heard of director Emily Hagins from the documentary of her first film, made when she was 12.  This is her third film, the last one she hoped to fit in before she graduated from high school.  Vampires are real, they are in town, and they've turned Paul and his coworker Allison.  They're only hope to reverse the conversion lies at the local sci-fi convention.  For Kate, it's her last weekend in town, and she heads to the convention with her friends, not expecting to find her crush Paul...

Still drawing talent mostly from her own school, some of the acting is amateur, and I note some dubbing problems and an unusually low-budget set.  But Emily herself is very well-spoken, has put tremendous effort into the film through more roles than any one person should, and is already planning for her future.  I think, with a good mentor or time spent at college, it will be a very bright future for her indeed.

My Sucky Teen Romance
2011, 77 minutes, directed by Emily Hagins

Leaving the Rollings Theater after the film, I discover that the shuttle system has completely broken down.  The shuttle stop - supposedly moved to be a block away, is unlabeled and unstaffed - so it's a long walk back to S. Lamar and my car.  If they plan to keep using this theater, SXSW better fix this for next year.

Cave of Forgotten Dreams

I only plan to see one film tonight.  After this I have to book it to La Zona Rosa for the Green Label Sound showcase.

Werner Herzog's 3D film, about the Chauvet cave in France, is an exploration of the earliest remnants of human expression.  The images are stunning in quality and age, but Werner's narration is little more than cheesy.  Laugh off his postulation and enjoy the views.

Cave of Forgotten Dreams
2010, 89 minutes, directed by Werner Herzog

Wuss

Early on while watching this film, I'm pretty uncomfortable.  Real people just let others act this way toward them.  If it's going to be so fake, how about a hobo with a shotgun to enact justice?

But, as the movie unfolds, it grows on me.  The film is about a bullied teacher, too passive to react, until he joins forces with his best student to seek revenge.  I felt the story finished strong; it was a good film and I'm happy I saw it.

Wuss
2011, 96 minutes, directed by Clay Liford

I was happy to see most of the cast stay in town this late into the week.  Both Nate and Alicia attend.  A few notes from the Q&A:
Director Clay Liford explained that Alicia was working at a taco stand in Denton when she was talked into trying out.
All the rap music in the film is by Ryan Anderson, who also plays Re-up.
It was a 15-day shoot, with 7 days at the school.
115-page script, so lots of shots didn't make the final cut.

Hobo with a Shotgun

A few years ago, SXSW sponsored a grindhouse trailer competition.  The winner was for a little film called Hobo with a Shotgun, which has now been made into a full-length feature.  I was 14 people back when the cut the line for its first screening at SXSW (having been at the Foo Fighter's concert), but I made sure to be there the next night.

It's totally awesome.  Filled with over-the-top characters (I liked the pawn shop owner and the Plague), senseless violence, and simple justice, it fits all the needs of a grindhouse splatterfest.

Raw.  Raw good.

Hobo with a Shotgun
2010, 86 minutes, directed by Jason Eisner

The Beaver

I admit, there's absolutely no way I'd consider seeing this film in the theater on my own.  I likely wouldn't even recall its release.  And yet, I do try to expand my horizons at film festivals.  I've seen some interesting documentaries this way.  I've tolerated some decent comedies.  But I'd never before seen The Beaver.

Overall, despite my best expectations, this film was really good.  I don't know how much of that was the script, Jodie Foster's directing, or Mel Gibson's performance, but I came away both attached to and satisfied by the story.  Well done.

The Beaver
2011, 90 minutes, directed by Jodie Foster

Foo Fighters

I love the Foo Fighters.  They are of my era, from my college years.  I was near the front of the line to see the world premiere of this documentary, and was surprised with an unexplained wristband and strong suggestion to "show up at Stubb's by 9 o'clock".  Suddenly my plans for the evening changed, and I was destined to enjoy a two hour set of Foo Fighters music.  Many, many photos follow the film review.

But, back to the film.  There are several types of documentaries.  Some filmmakers like to insert themselves into the film.  Some are focused on a thing (like mushrooms) or people (like Ed Roth) and like to use silly graphics and animation.  Some rely on archived footage and interviews to create a story.  To create a good documentary, the filmmaker has to choose the correct style for the subject.  But, just as import, the subject itself must be interesting.  Last year's film about the Doors was fascinating in that it featured a lot of old footage of Jim Morrison, narrated by Johnny Depp, and told the story of a great rise and fall.

Unfortunately, in this case the subject and style just doesn't prove to be all that interesting.  Much of the film is an encyclopedic recitation of member changes:

• interview with Dave Grohl who says former band member A wasn't working out
• interview with former band member A who says they aren't sure why they were kicked out
• interview with Dave Grohl saying how he let them know
• back ground on replacement band member D

Also, too, the story isn't done.  (Not that I want it to be - I do love the Foo Fighters.)  A work in progress documentary tends to end with a lot of time focused on recent events - in this case the crafting of their latest album.  That makes the second half of the film seem like a big advertisement.

Finally, the summation is weak.  Dave Grohl says, "I feel bad about the bad things, but I feel good about the good things."  Then the film ends.  There's no lessons to learn, no arcs to close out.  They could at least have focused on how Pat Smear is back with the band (not replacing, but complementing Chris Shiflett).  As it was I felt let down.

But then, I went to the concert!  Lots of pictures follow.  Go buy their new album!

Foo Fighters
2011, 100 minutes, directed by James Moll

The Divide

I had to crash Sunday night and missed the world premiere of this apocalypse survival film.  Monday night, after catching the early showing of John Oliver's New York Stand-Up (Live), I was able to fit this in.

Some spoilers may follow.


Set almost entirely in the basement of a New York apartment building, the design, lighting, and mood of the locale was perfect for an apocalypse psychological survival film. (In the Q&A, the directed noted that he used the same set designer as Moon.) The cast, too, was very dedicated; the film was shot in sequence, and stars Milo Ventimiglia and Michael Eklund lose 20 lbs over the course of the filming to simulate the effects of radiation sickness. (Though note that Lauren German and Michael Biehn seem to be less effected by the radiation and barely show any effects until later in the film.)

The problems with the film are the gaps in the plot. Somewhat early on, the survivors are found by radiation-suit wearing "soldiers" with automatic rifles. They kidnap a girl, then attempt to wipe out the other survivors. A fight ensues, the survivors win, and they have a working radiation suit to explore with. What they find is puzzling and completely unexplained; after a single scene the entire sub-plot is never visited again.

Meanwhile, the characters are supposed to be shown falling to the "Lord of the Flies"-style mental effects of isolation along with the physical effects of radiation sickness. As I mentioned, they handle the physical imagery intermittently well. The mental seems to come in jumps and stutters, with some characters (Marilyn) degenerating from one scene to the next, while others (Sam) seem to bounce in and back.

Finally, I just don't get the choices made by the lead character (Eva) at the end. I think the "divide" is supposed to mean many things - the divide between those who made it into the basement (and survived) versus those just outside who died; the divide between those who suffer from radiation and those who don't; the divide between those who can keep it together under crisis and those who fall apart; and finally, the divide between those who can shed their humanity to survive and those who can't. I think Eva is supposed to be shown crossing the divide, but it really doesn't feel right for her character given her other options.

Overall, I don't rate movies, but if I did I'd give this one a B-.

The Divide
2011, 110 minutes, directed by Xavier Gens

I was surprised that the director gave the budget during the Q&A.  Usually they won't do that, and I hope he didn't get in trouble.  ($8-10mil)

Viva Riva!

Hard.  Sensual.  Criminal.  Viva Riva!

As the first major film from the Congo, director Djo Munga could have struggled to find funding, support, talent.  Instead everything came together to produce this hard-hitting film of bigger-than-life life.  Funding came from multiple sources - France, Belgum, Africa.  The cast - with the exception of Manie Malone (Nora) - was drawn from within the Congo.  This wasn't the first African film I've seen, but it was certainly one of the best.  I look forward to more from this director.

Viva Riva!
2010, 96 minutes, directed by Djo Munga

Paul

This geek comedy played really well with the SXSW audience, but I'm not sure it would do well, or if I would even enjoy it, when played for the general public.

I like this team - this group of friends who have made some great movies together - but I'm not sure this is one of them.  For that I feel sad, which is exactly not what they want people to walk out of the theater feeling.

Paul
2010, 104 minutes, directed by Greg Mottola

Detention

With a serial killer on the loose, prom fast approaching, and the entire cast sentenced to detention, only a time-traveling bear can save the day!  Does that sound pretty stupid?  Yes, yes it does.  This film tries to pull of some sort of teen-horror-comedy caricature, but it just falls flat.  It's filled with annoying cliches - occasionally talking to camera, complete disregard for the seriousness of a situation, random tangential fly DNA - that serve no purpose but to let me use labels like "cheesy" and "stupid people".

It tries to be irreverent and hip, but it just isn't.

Detention
2011, 98 minutes, directed by Joseph Kahn

Attack the Block

While waiting in line to see this film, I spotted a young lady clearly in distress on the major party/club street near the theater. Being who I am, I ran over to help. I really don't know what had happened, but she was in tears, was stumbling, and just needed assistance. Eventually another girl agrees to walk her to a friend's place and I get back in line.

Then I get into Attack the Block, and almost right away one of the main characters (Moses) mugs another (Sam) at knife point. The whole rest of the film revolves around Sam being forced to rely on Moses for safety against the alien threat, until eventually she can learn to trust and care for him. Maybe it was just the particular circumstances of my evening, but I just couldn't get over the initial assault in the limited 70-minutes I was expected to do so. Unlike in real life, I tend to want bad guys to get their faces ripped off in film, so having him become the bad good guy was too much.

Other than that hang-up, there's not really all that much bad about the film. I think it has gotten really good reviews from most other people who have seen it, so if you can keep real life separate from the screen you might like it as well.

I can say that I appreciated the fact that Nick Frost came to the screening. He really only has a minor part in the film, and I know he was here for the Paul North American premiere the next day, but I feel more strongly for actors who bother to support their films at real fan screenings.

Attack the Block
2011, 97 minutes, directed by Joe Cornish

 

Director Joe Cornish introducing the second screening of Attack the Block.

Nick Frost at Attack the Block.

The Innkeepers

I was looking forward to this as perhaps the first good narrative of the festival (not counting The Pee-Wee Herman Show as to me that felt more like a documentary).  Alas, it just doesn't quite get there.  The story centers around the Yankee Peddler Inn, an old establishment on its last weekend before being closed down.  The owner has bailed for Barbados, leaving just two employees to care for the place and its few final guests.  Claire (Sara Paxton) and Luke (Pat Healy) occupy their time trying to find the ghost who haunts the place, while interacting with each other and the customers.

The problem revolve around a lack of strong central plot.  They bring up some things - like the knowledge that there are three ghosts instead of just one - but then don't take them anywhere.  And they leave you scratching your head as to the truth - something that may be fine in some films but not one billed as a comedy (not that it's very comedic).  I think they just weren't sure what type of film to make, and so made a lot of pieces of different ones that just don't fit right.

The Innkeepers
2011, 100 minutes, directed by Ti West

The Pee-Wee Herman Show on Broadway

While I was a little old for Elmo, I'm just the right age to have appreciated the Pee-Wee Herman Show on television.  It's for this reason that I ran out of the Elmo screening before the Q&A, to get a good seat in the small but functional State Theatre for this world premiere of the HBO special The Pee-Wee Herman Show on Broadway.

This is everything I remember - all the puppets, characters, plots, story line and feel - and it just all works so well.  I'm happy he's back.  I'm not sure if today's children will "get it" if forced to watch the special by their parents, but if he does bring back the live show (he's thinking about Las Vegas) it's worth the trip for the whole family.

The Pee-Wee Herman Show on Broadway
2011, 90 minutes, directed by Marty Callner

All photos copyright 2011 by Digs of Moviedigs.

Performing the Pee-Wee Herman Dance

Being Elmo: A Puppeteer's Journey

This is a documentary about Kevin Clash, the very private person whose hand has become world famous as Elmo, the loving, lovable monster on Sesame Street.  Elmo post-dates my own time with the show, but the documentary still brings out the good feelings of the muppets and what they meant to me and many others.  It's a sometimes sad, but overall uplifting story.  It's clear why it was awarded at Sundance.

Being Elmo: A Puppeteer's Journey
2011, 80 minutes, directed by Constance Marks

On my way to this film, I stumbled across a book & DVD signing by Felicia Day.  Here are a few non-sequitur photos I took.  All images copyright 2011 by Digs of Moviedigs.

Little Deaths

I don't usually review short stories.  If I went down that path, what's next?  A pointless micro-blog review of each TV show and YouTube click I watch?  So you won't find mention of short-film collections on here, like the Futurestates series I quite surprisingly enjoyed at last year's SX (and will be seeing the second season premiere of tomorrow).

Little Deaths, though, was conceived and executed as a single "anthology" film.  And I stayed up pretty late for it so I feel like I need to get something out of the effort, like a blog post.  Because - and let me be very honest - I didn't get much out of the film.

The three tales interweave the themes of sex and death.  If you want to read promo blurbs, go find the official film site.  All I can add is that "House & Home", the most satisfying of the three, goes off the crazy end.  "Mutant Tool" starts in crazy and keeps going, and "Bitch" is, well, pretty sad.

I really hope to see something I like at SXSW this year.  Here's hoping for Saturday.

Little Deaths
2010, directed by Sean Hogan, Andrew Parkinson, and Simon Rumley

 

Tim League in a dog suit, shortly after (almost) setting himself on fire.

 The beef stroganoff chugging contest.  Mr. Faceintheglass (next to Tim) won.

Girl Walks Into a Bar

I didn't learn.  After last year's ill-fated Electra Luxx, I could have told myself to stay away from disjointed character portraits from director Sebastian Gutierrez.  Instead, the temptation to see an internet film in a theater (and to avoid the hoopla of the Source Code premiere) was too great, and I dove in for another round.

This time his film Girl Walks Into a Bar is based around the character of Carla Gugino, who is an ex-cop helping to nab a naive dentist (Zachary Quinn) trying to hire a hit man to kill his wife.  When her secret audio confession is stolen by another bar patron, she goes on a one-woman quest to track it down and secure the case.  Along the way, every single character you meet gets a full scene to fill out a life history no matter how disconnected it may be from the rest of the story.  To compound these side-tracks, the primary plot wraps up (with a phone call) and ends about two-thirds of the way into the film, and then the film just keeps going.  All those long unedited dance sequences and character portraits just had to be told, cohesive story be damned.

I think Mr. Gutierrez could make a short, tight, quality film under the watchful eye of an assertive editor.  Clearly he lacks this oversight.

Girl Walks Into a Bar
2011, 80 minutes, directed by Sebastian Gutierrez

This was supposed to have been the world premiere, but they point out that the film "leaked onto YouTube" and had been seen by 35,000 people already today.  For a film intended for internet release, I think that disqualifies the "premiere" moniker.  Though, of those viewers, I wonder if any made it to the end.

Red Riding Hood

Another SXSW is here, and this one starts off early with a midnight premiere of Red Riding Hood.  Ahem, actually we are just the "first audience to see the film" since studios like to co-opt the term "world premiere".  I guess then technically we were the "first audience to see the film after having to empty our pockets and be swept by a metal detector" as well.  Thanks Warner Bros.

The film is beautiful, in that much of it consists of images of the snowy village and close-ups of Amanda Seyfried's face.  I did get the impression that there was a driving force to create a vision for the camera.  Alas, what I didn't feel was any immersion in the plot.  There's a love triangle which barely goes anywhere, a few family secrets laid bare, and lots of suspicion about who the werewolf might be.  And of course there's Solomon, the killed-my-own-wife werewolf hunter who acts in the name of the Holy Church but of course fails to act very holy at all.  Yes, they even run through all the major points of the modern version of the fairy tale.

But all is not lost.  As director Catherine Hardwicke said before the film began, "Luckily I didn't have to have any grown men sparkle in this movie."  For that, I truly feel lucky as well.

Catch it on Netflix.

Red Riding Hood
2011, 102 minutes, directed by Catherine Hardwicke

The Adjustment Bureau

Despite the big-name stars and high advertising budget, this film doesn't have the feel of a blockbuster.  It was released too early in the Spring, and for me it's right before SXSW and its non-stop parade of world premieres.

This isn't necessarily bad, though.  It didn't feel like they were pressured to get the exposition out of the way and get busy with special effects.  I liked how they eased into the weird.  Instead of turning it into some sort of long adventure to find the Chairman, they let most of the movie build momentum for one final chase.

Do note that there are some not-so-subtle religious undertones to the story.  If this bothers you stay away.  But otherwise I think it qualifies as decent Spring filler.

The Adjustment Bureau
2011,  directed by George Nolfi

Planet 51

This computer-animated film portrays a typical children's humans-are-the-aliens story.  What surprised me, though, was the high level of violence in this PG film.  No, no one dies, except a seemingly sentient bug which is squished under a rock, and two solders who are shown dead and lobotomized (but turn out to survive without their brains later).

I guess "modern" kids have seen worse in their online games and afternoon TV, but really it just seemed excessive.  I'd rate this PG-13.

Planet 51
2009, 91 minutes, directed by Jorge Blanco, Javier Abad, and Marcos Martinez

Pandorum

This movie is pretty predictable but sufficiently fun.  They balance the action necessary to secure funding with some decently challenging cerebral sci fi, all set in the most famous of locales, the deep-space freighter.

Pandorum
2009, 108 minutes, directed by Christian Alvart

Rules of Engagement

Although I missed the first 20ish minutes of this film, I picked it up quickly and found myself unexpectedly immersed in the characters and story.  It was brisk, direct, unsubtle, exactly befitting a film about U.S. Marines.

However, the ending I was waiting for was presented as words flashed on the screen just before the credit roll.  What the heck?  I would have rather seen those words unsaid, to assume those parties went unpunished, than be told the outcome with no benefit of drama, dialog, character.  If that's all they could provide, I would rather have read a summary of the script than seen the film at all.

Rules of Engagement
2000, 128 minutes, directed by William Friedkin

Resident Evil: Afterlife

This fourth installment in the Resident Evil film franchise suffers from a few flaws I've seen crop up in the series, namely the Too Many Heroes syndrome and Kill the Extras condition.  The fast-paced action just served to hasten many a demise - the group of characters was hardly introduced when they started getting picked off, leaving only the obvious heroes to the end.  And combining Alice (even her new mere mortal version) with other heroes makes some scenes almost comical.  How long can they extend killing one guy so that all three heroes get a few shots at him?  Finally, a cliffhanger ending on a film like this always disappoints.  There's no reason for it; people still attached to the series will watch the next one regardless, so it's just a point of frustration when watching the film on its own.

Maybe I'm just disappointed that the series has turned into a zombie splatter fest instead of the survival horror of the first film.  I suppose Alien must begat Aliens, etc.  But I hoped they could do better.

Resident Evil: Afterlife
2010, 97 minutes, directed by Paul W. S. Anderson

Hogfather

I haven't actually read this book in Terry Pratchett's Discworld series, and I found myself using Wikipedia a few times during the movie to check on an assumed character relation.  That said, the story was enjoyable and funny in the usual Terry Pratchett way.

Hogfather
2006, 185 minutes, directed by Vadim Jean

Green Hornet

Most comic book remakes go for serious and grim.  This is retro and campy.  You know it's funny.

Green Hornet
2011, 119 minutes, directed by Michel Gondry