War Horse

An old fashioned horse story conquered the Tonys this year, but can it also conquer the Oscars? That's what Steven Spielberg hopes to find out with War Horse, first a novel by Michael Morpurgo and then the stage play by Nick Stafford.

Joey the Thoroughbred is born close to World War I in Devon. Farmer Ted Naracott (Peter Mullan) buys him at auction for a hefty sum. His son, Albert (Jeremy Irvine) immediately bonds with the horse and trains him into a fine plow horse. And then the war comes, and Joey's immediately sold to the British Cavalry.

For the rest of the film, Joey and fellow horse Topthorn spend the war on all sides. There they find out, as their humans counterparts already have, that war isn't pretty. Even if the cinematography depicting the war is.

And that cinematography, by Janusz Kamiński, deserves some praise. Its moving pictures contribute strongly to the epicness of it all with its use of color and size. In other words, every shot in the film is high on the wowmeter.

Assembled by editor Michael Kahn, these moving pictures create some of the fiercest war scenes in recent cinema. Composer John Williams, as he did numerous other times, has created a very memorable score to set the mood. And the actors, both human and animal, have created some memorable screen performances. Although my favorite was the goose, who unfortunately disappears when the war starts.

As the second film of Spielberg's double year, War Horse tells a simple story with epicness. It's that simple story, one of humans and horses, that'll certainly draw in its audience. Especially so for those animal lovers watching.

JETHRO'S NOTE: This concludes my year. Next year is 2012. I'm going to wager it won't be the end.

Mission Impossible: Ghost Protocol

As of now, Tom Cruise and his spy alter-ego Ethan Hunt will have fought evil for four films of the Mission Impossible franchise over fifteen years. This fourquel, Mission Impossible: Ghost Protocol, is the type of film that makes each entry worth the long waits.

This time, Ethan Hunt and his fellow spies Benji (Simon Pegg) and Jane (Paula Patton) are sent to stop a heist in the Kremlin. The evil mastermind Hendricks (Michael Nyqvist) plots to steal some nuclear codes in order to get World War III started. Our heroes fail to stop the heist, which Hendricks caps off by blowing up the Kremlin itself.

The end result is that our heroes have been framed for the attack and disavowed. But fortunately, the government, under the titular Ghost Protocol, will let them go on the run so they can find the real bad guys. With new guy Brandt (Jeremy Renner) joining them, our heroes only have themselves to rely on for this mission.

For this mission, Pixar alumnus Brad Bird (The Incredibles, Ratatouille) has taken over the director's spot. What this means for the audience is purely the biggest and best winter blockbuster.

Eschewing 3D in favor of IMAX, Bird gives this franchise some of its biggest scenes ever. Of course, there's Ethan scaling Dubai's Burj Khalifa and later outrunning a giant sandstorm. But it's the holographic screen used to infiltrate the Kremlin that wins the award for novelty. Together with an incredible soundmix, these action scenes keep on amazing its audience until the end.

Together, the actors portraying our heroes form a good acting ensemble. Alone, it's Pegg who provides the best moments. However, Nyqvist, as Hendricks, was a bit too underutilized as a villain. Still, that was one small flaw that didn't bother me that much.

Overall, its director's cinematic transition is a mission accomplished. If they keep this up, perhaps the next mission'll be even more awesome.

The Girl with the Dragon Tattoo

Journalist Stieg Larsson died suddenly in 2004 before his debut as a novelist could be published. That novel, Män som hatar kvinnor (The Men who Hate Women), became such a smash it got two cinematic versions. The first, in its native Sweden, and now in English, where it's called The Girl with the Dragon Tattoo.

Mikael Blomkvist (Daniel Craig) is a journalist in trouble. He tried to expose a crooked businessman of wrongdoing, but the mogul's cronies "exposed" him of libel. Mikael's then contacted by the wealthy Henrik Vanger (Christopher Plummer) to solve the 1966 disappearance of Harriet, his favorite niece.

He's assisted on his mission by Lisbeth Salander (Rooney Mara), the anti-social computer genius for whom the film's named after. He's antagonized by Mr. Vanger's family, "the most detestable collection of people you will ever meet." One of them, Vanger believes, killed Harriet. But who and why?

What director David Fincher has redone on screen isn't fun at all. It's violent, more-so in its depiction of the aftermath of violence than it being done. It's a little over 2 1/2 hours long, which means a lot of sitting for you. And if you're not careful, its plot twists might just confuse you rather than shock you.

Is it well done? Overall, it actually is. Its cinematography, by Jeff Cronenweth, fits the frigid climate perfectly. Its music score and editing finesse are quite memorable, especially in its opening credit sequence. When the film does get thrilling, it pulls it off quite well.

Amongst them all, there's Rooney Mara as Lisbeth Salander. She's fierce, yet lonely, and Mara plays both sides of her extremely well. Its this balance that helps certify Salander twice-over as one of cinema's most memorable characters.

Its first trailer called it "the feel bad movie of Christmas," and it earns that title. So, those wishing for a fun Holiday matinee should look elsewhere. For those willing to withstand it, don't waste a second in thinking.

Jethro's Note: I admit not having seen the original Swedish version. Something tells me I should, though.

The Adventures of Tintin

The Smurfs had their film last summer, now Belgium's other, most famous funny page star has his own Hollywood adventure. That hero is Tintin, created by Hergé and re-created by director Steven Spielberg and producer Peter Jackson for The Adventures of Tintin.

Tintin (Jamie Bell) is an intrepid boy reporter assisted by his faithful pooch Snowy. One day, Tintin acquires a model of The Unicorn, a legendary galleon sunk long ago in a battle with pirates. Unfortunately, the sinister Sakharine (Daniel Craig) wants it too and he doesn't play nice.

Nabbed by Sakharine's goons, Tintin escapes thanks to the drunken sailor Haddock (Andy Serkis). Haddock, or rather his lineage, is the key to Sakharine's plot. So Tintin, like any other reporter, must get to the bottom of the story.

As Spielberg's first 3D animated film, this is a modern day cartoon movie serial. With its motion capture animation, Tintin's characters move and express themselves like real cartoon people. Its action scenes are reminiscent of Raiders of the Lost Ark, but in animation, Spielberg has and expresses the freedom to do truly anything. A one-take motorcycle ride through a fictional Moroccan town is just one fine expression of this freedom.

The screenplay, co-written by Edgar Wright, provides plenty of spotlight for its cast. You'll have no trouble remembering such characters as Haddock, Snowy the Dog, or even the identical bumbling detectives Thomson and Thompson (Nick Frost and Simon Pegg). For those unfamiliar with Tintin, this is a definite plus by any standards.

Still, which one was Thomson and which one was Thompson? Does it matter? Not really.

For some, this movie might be too serialesque; for others, this might be too long. But overall, Tintin's best quality is that it's pure fun from someone who knows fun. This is one movie that should be at least considered for a holiday movie day.

Sherlock Holmes: A Game of Shadows

You've heard of home for the holidays, right? Well, now you can have Holmes for the Holidays. That's because the famous detective, reinterpreted by Robert Downey Jr. two years ago, is back in the sequel, Sherlock Holmes: A Game of Shadows.

So, that should be Holmes is Home for the Holidays.

This time, Holmes has two problems on two fronts. His professional sidekick, Dr. Watson (Jude Law) is now a married man. Meanwhile, evil Professor Moriarity (Jared Harris) has taken up a career as a mad-bomber. So while Holmes risks going solo, he's also faced with Moriarity's scheme to start World War I 20 years early.

Fortunately, Sherlock Holmes ropes Watson back into service for this case. He also enlists older brother Mycroft (Stephen Fry) and a Gyspy named Simza (Noomi Rapace) to aid the counterattack against Professor M. But as the professor is as smart as he, Sherlock's got a lot of trouble now.

For his second Holmes adventure, director Guy Ritchie has made a much better film than first. It's a lot funnier, quicker and more thrilling than what was established the first time around. Anyone who hasn't seen the first Holmes won't be out of luck because this one stands out on its own.

Robert Downey Jr., who won a Golden Globe in the first film, is the star of the show. And it's not hard to see why. As Holmes, he is the most wonderfully eccentric, quick-witted hero currently on screen. His chemistry with Watson, and his delivery of more than a few lines, provide many of the best moments in the film. It's his Holmes that helps the film get over some slow spots.

Overall, Sherlock Holmes' new game makes for an entertaining ride for any price. And by any price, I mean matinee or full price, since this isn't a 3D film. So go see it before the rest of the holiday crowd comes to swamp it to death.

Arthur Christmas

Arthur Christmas. What is it? Who is it? Why is it?

To answer these questions, it happens to be one of the best animated films this year. To further elaborate, please read on.

The titular Arthur (James McAvoy) is the well-meaning clumsy younger son of Santa Claus (Jim Broadbent). While Santa delivers gifts in his spaceship "sleigh", Arthur answers letters from kids in the mail room. He loves his job, though, knowing that he's making many kids happy.

Meanwhile, thanks to a screw-up, a lone bicycle is misplaced and left undelivered. One English girl's Christmas won't be so merry in the morning. Arthur's brother Steve (Hugh Laurie) doesn't mind this, considering it's just one out of billions. Leave it to Arthur and his grandpa, Grandsanta (Bill Nighy) to take the old Santa sleigh and eight reindeer for a last minute mail delivery. But they should've gotten a map first.

It's a 3D computerized creation of Aardman Animations, known better for its clay animation efforts such as Wallace and Gromit. Free from the plasticine, the animators have much more liberty with their visuals here. Such visual highlights include the giant Santa ship, the flying reindeer and Santa's mission control. It's certain to amaze in 3D or flatscreen, that's for sure.

What's also amazing is the writing. Written by director Sarah Smith and Peter Baynham, the film has plenty of amusing gags and twists. Its characters are all incredibly likeable thanks to its emotional honesty and resonance. It somewhat drags a bit at times, but the overall sleigh ride is fun.

This is one animated film worth waiting for through out the year. It'll certainly make up for any disappointments along the way. Since it won't come out on DVD until this time next year, make sure to see it soon.

Green With Envy

Now for the latest romantic comedy.

Gary (Jason Segal) who lives with his brother Walter (Peter Linz) loves Mary (Amy Adams). They head to Los Angeles for a little sight-seeing. Mary wants Gary to be more than friends with her. Gary doesn't have a clue about it until it's too late. Only Kermit the Frog, Miss Piggy and their friends can help them out.

Wait, are there Muppets in this movie?

Yes, because it's called The Muppets.

It's not just a romantic comedy. It's a comedy that involves evil mogul Tex Richman's (Chris Cooper) scheme for the oil under the Muppet Studios. Yes, Oil. And only if the Muppets raise $10 million can they convince Richman to leave the studios alone. To do so, they have to get the Muppets back together again for a live show. Good luck with that Kermit!

It's a delightfully silly family film from the creators (co-writers Segal and Nicholas Stoller) of the family unfriendly Forgetting Sarah Marshall. The human actors, even Cooper, add to the fun by having fun with their characters. A few musical numbers and celebrity cameos are sure to amuse as well. It's in flatscreen only, but its damage to the fourth wall will already be felt.

Preceded by a new short staring the Toy Story cast, The Muppets takes the old and makes it fun again. Its only flaw is that it's perhaps too lighthearted at times. But then again, it's so hard to hate this film. So don't hesitate if you want to meet The Muppets because they're waiting.

Hugo

Should you go to Hugo? Why should you go to Hugo? Isn't it kind of early for me to be asking this? The answer to all three questions is yes.

For Martin Scorcese's first truly family friendly film, he and writer John Logan (The Aviator) have turned their attention to Brian Selznick's novel The Invention of Hugo Cabret. It's in 3D, yes, but those who choose the optional flatscreen will still be amazed.

The titular Hugo Cabret (Asa Butterfield) lives in the Paris Montparnasse station in the 1930's. He's supposed to be minding the clocks with his uncle (Ray Winstone), but with his uncle gone, Hugo has to mind himself as well. Hugo's father (Jude Law) was trying to fix an automaton when he died; Hugo's goal is to finish it.

One day, Hugo meets Isabelle (Chloë Grace Moretz), his first real friend. They then have an adventure as they set out to uncover the automaton's secret. Perhaps her godfather George (Ben Kingsley) has something to do with it.

Its greatest accomplishment is recreating Paris from 80 years ago. A combination of Dante Feretti's sets, Sandy Powell's costumes and the cinematography of Robert Richardson, old time Paris is a visual treat. One can't help but be amazed.

It helps knowing that the audience has capable actors as their guide. All of them give incredible performances that turn the story into a compelling history tour. Many revelations, including George's true identity, are all the more astonishing as a result.

It's one of the best films...actually, I'll say it's the best film I've seen this year. You won't be disappointed by going to Hugo, so see it while it's in theaters.

Happy Feet Two

We had a Cars sequel this year and now is the sequel to the film that beat back that film for the Oscar. It is Happy Feet I'm talking about, its sequel being Happy Feet Two.

Mumble the dancing penguin (Elijah Wood) and his mate Gloria (Pink, replacing the late Brittney Murphy) have a son named Erik (Ava Acres). Erik, like Mumble in the first film, has a lot of self-doubt. So dear old dad sets forth to make sure Erik stands strong.

But wait? Who should come along? Why, it's the plot!

Their Penguin Colony is sealed off by some errant icebergs. Only Mumble and Erik can get their fellow ice dwellers to join forces and dig the penguins free. Meanwhile, two Krill named Will and Bill (Brad Pitt and Matt Damon) decide to have their own misadventures while the Penguins do their thing.

Available as both a flatscreen and a 3D attraction, this sequel is once again supervised by director George Miller. Miller definitely made this with 3D in mind. The dancing penguins, swimming krill and some drifting snow provide some of the most visual of the visual highlights. For flatscreen goers, this translates into a nifty picture nevertheless.

But what about the plot? The initial story involving Erik is quite under-emphasized. It does start off good in the beginning, but several subplots later, it's just there. Among the subplots, we do have the Krill, who could've easily been the stars of their own film. At least the subplot with Sven (Hank Azaria), the "flying penguin," went somewhere good.

If there was some more cohesion, this'd be worthy of taking another Oscar. It's still memorable in its own right, but not as good as the first.

At least in either format, you'll get an amusing Sylvester and Tweety cartoon starring the late Mel Blanc. That was truly the best part of the movie.

J. Edgar

He was the first director of the FBI. He was the face of law enforcement for most of the 20th century. He had a bit of stuff on the side.

That was J. Edgar Hoover, and this is his movie, which is called J. Edgar.

In the latest Clint Eastwood picture, Leonardo DiCaprio is the famed lawman. On one hand, we see Hoover rise up from a lowly agent to the head of a gradually powerful organization. On another, old Hoover reflects on his life and sees history unfold in the sixties. In between, we see him relate to his secretary Helen Gandy (Naomi Watts) and Clyde Tolson (Armie Hammer), his number two man both professionally and personally.

Yes, J. Edgar Hoover kept secrets on everybody, yet had secrets of his own.

Clint and screenwriter Dustin Lance Black (Milk) have created an interesting, yet flawed story. Its most interesting aspect was how it showed Hoover's early history unfold. Yet, it leaps through time somewhat too quickly in both directions. And then there's the ending, or the few non-endings before the real thing. Still, seeing the history on screen makes both of those flaws seem minor.

The film's makeup effects are incredible due to how they render DiCaprio, Watts and especially Hammer unrecognizable. Also on the crew is cinematographer Tom Stern, who makes the film appropriately grey. Along with James Murakami's production design, these elements should get awards attention even if the top people don't.

As the lawman, DiCaprio perfectly plays Hoover as a well-intentioned, and sometimes petty extremist. His fellow leads also stand out especially when they're underneath the aforementioned aging makeup. Amongst the supporting cast, the best performance belongs to Judi Dench as Edgar's domineering mother.

It doesn't glamorize its subject; Tolson even calls out Hoover for doing that for himself in one scene. Naturally, it also doesn't villainize him. Whatever opinion you have of the man should be your own. That, I think, is the ultimate appeal of J. Edgar, a film we'll be hearing from for a few more months..

Immortals

As one may recall, my first film reviewed here was Clash of the Titans, a film that was all about the clashes and no Titans. This time, I'm reviewing Immortals, another 3D film about the clashes and this time, the Titans.

As John Hurt the narrator explains, the Titans were imprisoned in Mt. Tartarus after being defeated by the Olympian Gods. Years later, the evil King Hyperion (Mickey Rourke) decides to conquer the world by siccing the Titans on the Gods. To free them, he has to get the Epirus Bow, a magic bow that fires light arrows that pack a wallop.

Unfortunately for him, he decides to kill the peasant Aethra (Anne Day-Jones) in front of her son, Theseus (Henry Cavill). Taken prisoner, Theseus decides to lead some fellow escapees to Tartarus to find the bow and to keep Hyperion and the Titans from taking over. Meanwhile, the Gods wonder if they should get involved.

Director Tarsem Singh (The Cell, The Fall) certainly doesn't disappoint with the surreality. The sets, almost all of them real, are real marvels for this age. The costumes, by Oscar-winner Eiko Ishioka (Bram Stoker's Dracula), are reliably flashy. Meanwhile, the actual CGI stuff, such as teleportation effects and a tidal wive, are quite well-realized.

But it takes a special effort to figure out what's going on here. Some references to Ancient Greece are quite noticeable; other times, they're not because they were tossed in there. A few characters, such as some of the Gods, aren't distinguishable from one another for this reason. They're just there, and for some, I couldn't remember when they got there.

It kind of makes it hard to root for the good guys, doesn't it?

Maybe you can figure it out better than me. It's in 2D or 3D, but you'll have to act fast before it's drowned by the rest of the Holiday films coming this year.

Tower Heist

Once again, we have a film that explains itself with its title. It is called Tower Heist, which is the most fun I've had at seeing the news on screen.

Josh Kovacs (Ben Stiller) is the manager of a major Apartment Building where the corporate big wigs live. He has a nice relationship with one of his tenants, Arthur Shaw (Alan Alda), with whom he invested the staff's pension fund. That relationship turns justifiably sour when Shaw is busted for a Ponzi Scheme; amongst the lost funds are the pension fund.

Now under house arrest, Shaw won't tell Josh where the stolen funds are, so Josh decides to take them back. For the mission, Josh assembles some of the staff, a luckless ex-tenant named Fitzhugh (Matthew Broderick) and even his street smart neighbor Slide (Eddie Murphy). They plan to strike during the Macy's Thanksgiving Parade, but they have to work fast or else.

The swindler gets swindled. The one percent will wish they were with everyone else. Corporate thieves will meet the petty crooks. With director Brett Ratner's mix of action and comedy, these possibilities are fun to see on screen.

On the comedy side, Ben Stiller and his co-stars pull it off really well. It's so fun to see them play off each other, especially when it involves Murphy and Broderick's characters. Amongst the cast, Téa Leoni (as a sympathetic FBI Agent) and Gabourey Sidibe (as the maid turned safecracker) stand out perfectly. With this ensemble, the 99 percent has nothing to fear.

On the action side, there's plenty of that thanks to editor Mark Helfrich. His work here has given the action scenes a rapid pace that's perfectly exciting. Rather than swamp the actors, these scenes have allowed them more time to work together. Ultimately, what the editing's accomplished is that it's given the action scenes a tense unpredictability I've usually seen in action dramas.

In the end, Tower Heist is a great revenge fantasy for the swindled majority. If there was any holes in the plot, it surely drove through them because it was so fun. And that's what we need now. Oh yeah, and cheaper ticket prices.

Puss in Boots

While Shrek's finally hit retirement, one of his supporting stars hasn't. It just so happens to be Puss in Boots, the Zorro-esque kitty cat voiced for four films straight by Antonio Banderas. The fourth, also called Puss in Boots, is here and it's in 3D. And no, I didn't see it in 3D.

Long before meeting that ogre guy, Puss was a champion of the innocent. And then his adoptive brother Humpty Dumpty betrayed him, turning Puss into an outlaw. Years later, Puss is coerced by a fellow feline named Kitty Softpaws into working with her and Humpty. Their mission, which Puss accepts, is to go after the outlaws Jack and Jill, who hold some magic beans. Only with those magic beans can they reach the castle in the sky and the Golden Goose who lives there.

Sounds easy. Of course, it actually isn't.

This is what happens when a spin-off prequel film is done right. Not bound by its predecessors, this film has its own sense of humor and fun. Even the Zorro spoofing Puss does is fresh and original with this new adventure. Then again, Puss was the best part of the last Shrek film, Shrek Forever After.

Even without the 3D, the film's effects are quite good. Seeing the beanstalk grow, and how it grew, was simply the highlight of the flatscreen experience. Other standout scenes include Puss's rooftop dash and his "Dance Fight" with Kitty Softpaws. So, whether or not you want to see it in 3D once again depends on if you want to see it in 3D.

If the filmmakers keep the freshness, then Puss's likely next adventures'll be as fun as this one. It really is a good start to the Holiday film season. And it's good that the Holidays came early.

The Three Musketeers

A full decade after their now forgotten last cinema adventure, The Three Musketeers have once again made their way to movie screens. And this time, they're in 3D, which is how I viewed their Saturday Morning Serial escapades.

Once again, we have D'Artangan, the young heroic head out into the city to join the Musketeers. The Three Musketeers, who are Athos, Porthos and Aramis, have been forced to retire due to the scheming of the evil Cardinal Richelieu. Richelieu and his henchmen, Milady de Winter and the Duke of Buckingham scheme to take over France by getting it to war with England. And so, our heroes must take up arms to save the day.

Oh yeah, and there's also flying ships and plenty of dangerous traps to navigate through. Plenty of ways to use the 3D format.

Having previously started such film franchises as Resident Evil, director Paul W.S. Anderson hopes to start another one by way of this literary interpretation. It clearly sets up another one, so should you wait for it? Maybe.

Its highest point is that it's visually impressive. Costumes, sets (both real and digital) and of course, the visual effects are very well done. Even the 3D rendering is quite nice, which should be a welcome change if anyone's been to one too many slack-off 3D efforts.

Its lowest point, though, is that it throws so much at you, but not much sticks. In other words, it's another film that's great for a Saturday matinee, but for any other time, its strictly optional. Still, there are a few performances in the cast that are fun to watch. Among them are James Corden as the Musketeers' servant Planchet and Orlando Bloom as the supremely snide Duke of Buckingham. So, that afternoon isn't really wasted in the end.

Whether you choose to see it in 3D or flatscreen, that's your decision. Or if you want to use your afternoon some other way. But if you do see it, be prepared for a decent time at the movies.

The Ides of March

No, The Ides of March has nothing to do with Julius Caesar, the person or the Shakespeare play. Speaking of Shakespeare, he's the focus of Anonymous, but that's later this month and The Ides of March is now.

I know, it's October, but still...

In his fourth time as director, George Clooney's joined forces with co-writer Grant Heslov and playwright Beau Willimon in turning the latter's play Farragut North into a cinema piece.

Clooney is also Mike Morris, governor of Pennsylvania running to be the Democratic Candidate for President. Helping to run the campaign is Stephen Meyers (Ryan Gosling). Meyers believes he can run a fair, clean campaign because Morris is fair and clean. Tom Duffy (Paul Giamatti), the other guy's campaign manager, offers Meyers a spot on that campaign. This sets off a chain of events that will kill Meyers' optimism.

So class, what do we learn in this civics class? Well, it does say that fair, clean politics are not only dead, but have never existed. But I bet you knew that. It's on the news every night.

But then again, it's the cast that makes this hard lesson fresh. Together, they make up an impressive ensemble of characters neither shady nor honest. As Meyers, Gosling's performance capably guides the audience through the story as his optimism cracks. He and his co-stars perform so well that this doesn't stand out as a stage play on film.

It starts off slow, but once The Ides of March roll in, it can get capably tense. This is one Civics Class that you'd want to keep attention to.

Real Steel

Because plain old Steel apparently wouldn't cut it, the semi-film version of Richard Matheson's short story of the same name is Real Steel. This is a film that cuts it.

About a decade into the future, human boxers are now extinct. These days, prize fights are waged by super duper robots. Charlie (Hugh Jackman), a one time boxer, now makes a living maintaining his own Rock'em Sock'em robot. But he can't really maintain a decent relationship with his son Max (Dakota Goyo), who's now in his custody.

After his best bot Ambush and then his replacement Noisy Boy fall in battle, Charlie's left without a living. So Charlie and Max go to the scrap yard to find a replacement. They find Atom, a robot that fights by shadowboxing. After much persuasion, Charlie lets Max take Atom on the Robot Fighting Circuit against the biggest bruisers ever built. But how long until they really get in over their heads?

Yes, there's fighting robots, but there's also people here. Among them there's Jackman and Goyo, who are perfectly abrasive and still likeable. And then there's Kevin Durand, who plays the perfectly unlikeable human villain Ricky. These humans do some fine work here because they aren't swamped by the visual effects.

Then again, the visual effects are still great. Particularly because these robots are part motion capture, part animatronic and both versions blend into the environment. When these robots fight, it's just as exciting and comprehensible as any boxing film.

It's fun all the way, even if it slightly drags to just over two hours. Still, it's better than pushing three and that's a plus in its corner. And in its corner is a winner.

Drive

Unlike some other book-to-screen adaptations I've covered, Drive, originally by James Sallis, kept its name in transition. What else should we talk about?

Well, Ryan Gosling is the hero, known only by his profession ("The Driver"). By day, he's a stunt driver for the movies; by night, he's a getaway driver for common thugs. Even though he associates with them, he's not really a crook at heart.

His friend and boss Shannon (Bryan Cranston) gets him acquainted with two crime bosses named Bernie (Albert Brooks) and Nino (Ron Perlman). He also gets acquainted with Irene (Carey Mulligan), whose husband Standard (Oscar Isaac) is newly paroled. Standard owes money to some really bad guys and he surely needs a driver's help to get out of trouble.

Sure, Driver, get a friend out of trouble will you? That'll just get you into trouble.

As the Driver, Ryan Gosling's performance keeps the film going. He maybe an aloof professional, but he still has decency in him. That's what makes him appealing, even when the film enrolls in The Art of Creative Dismemberments 101 halfway through.

Of the crew assembled by director Nicolas Winding Refn, the sound designers stand out. It's because of them that the film's action scenes sound just right. One in particular relies on no sound as its set-up; the payoff is perfectly brutal.

It also helps that editor Matthew Newman and screenwriter Hossein Amini have also done well here. What they've done is create a story that wisely positions its violence rather than swim in blood. As I've probably said before, this is how to make an action film.

But still, this isn't for the faint of heart. For those who prefer ultraviolence, this is the best use of it out in theaters so far.

Moneyball

And now for an inspirational sports movie about a baseball team that doesn't win. Uh, yay? No, read on.

It's Moneyball, whose story is taken from Michael Lewis's non-fiction book of the same name. Said story was written by Steve Zaillian and Aaron Sorkin and realized by director Bennett Miller (Capote).

In 2001, Oakland Athletics GM Billy Beane (Brad Pitt) saw his team lose a spot in the Series to the Yankees. When next season rolls along, Billy finds himself forced to get a winning team together. But the Oakland A's don't have the financial luxury of the Yankees, so how will Billy do it?

A recent Yale Grad named Peter Brand (Jonah Hill) comes to Billy with a mathematical answer. He points out some promising statistics from unpromising players, an actual "island of misfit toys." But with the right training, these toys'll work good as new. And so Billy sets out to prove these theories, even if it does cost him some personal and professional relationships.

Although Baseball's a team sport, this is Brad Pitt's movie. As Billy Beane, he's likeable in spite of some tragic overconfidence because he's charmingly over-confident. He's practically in every scene, so his dominance is very much assured. When Billy falters, both in the game and off, the audience'll feel his frustrations for sure.

It helps knowing that the writing was in good hands to begin with. As he did in The Social Network, co-writer Sorkin has made a "geeky" subject accessible to the "average" filmgoer. Together, Sorkin and Zaillian highlight the managerial dealings behind the sport and why, for them, this sport is serious business.

Does it hit one out of the ball park? No, because it goes on for a bit longer than it should've. But still, it's a homerun and definitely one to watch out for this January.

Warrior

How many inspirational sports movies are there? Well, let's name a few examples.

Boxing has had Rocky, Baseball has had The Natural and Hockey has had Miracle. And now, Gavin O'Conner, director of the last mentioned film, has an inspirational film for Mixed-Martial Arts out called Warrior.

Brendan Conlon (Joel Edgerton) "used to be one of those animals" duking it out in MMA rings. Now, he's a physics teacher in serious debt. His brother Tommy (Tom Hardy) has also fallen on hard times after a stint in the marines. All he wants is to support the family of a fallen compatriot. There's an MMA tournament in Atlantic City with a $5 Million Grand Prize. Perhaps that's the solution to their problems.

Well, it's not that easy. Not just for them, but the audience.

The script, co-written by O'Conner, makes both brothers perfectly valid protagonist. There's no obvious bad guy here except for the brothers' personal demons. They both have good intentions but they have bad blood between them. Now, how'll the audience cheer for one when the other loses?

Not helping matters is the great performances of both on-screen brothers. They looked so much like brothers that at some points, I lost track of who was who. Seriously.

And then there's Nick Nolte as the brothers' sober wreck of a father and Tommy's trainer Paddy. His performance was on equal footing with his on-screen sons. It's truly the best of the supporting cast and a name to remember in a few months.

Surely, there were the usual cliches of the format. But in this film, they felt more natural than artificial. It's an awesome film overall and it wins on the first round.

Contagion

CAUTION: Symptoms of the new movie Contagion may include stuff I'll talk about later on. Sneezing or Coughing during the movie is not advised. You don't want to jynx it.

With that fake health warning out of the way, we should get on to describe the film.

Beth Emhoff (Gwyneth Paltrow) comes back from Hong Kong on Thanksgiving Week to her husband Mitch (Matt Damon) and her little son. Five minutes into the film, she is dead from a nasty new superbug sweeping the world. It's spreading faster than Dr. Ellis (Laurence Fishburne) and his CDC colleagues can come up with a cure. But obviously, they're going to have to.

And somehow, Mitch is immune from the superbug. Why him? For reasons of plot, of course! Meanwhile, society starts to collapse and everyone's Christmas becomes not so Merry.

It's biggest problem is that for a thriller, it's quite restrained. For instance, the characters were somewhat involving, keyword being somewhat. It was thus quite hard initially to get involved with their plights. But what does elevate this from a "meh" to an "OK" is that gradually, this situation reverses itself.

What also saves the film is director and cinematographer Steven Soderbergh's photography. The empty scenery shots are great realizations of this nightmare scenario. Another scene, where Mitch drives off robbers from his neighbors' house, stands out amongst them all.

For those who like scientific knowledge unsensationalized, this is the right film for you. Who knows, it might just change your habits once you leave the theater.

JETHRO'S NOTE: I did not cough during the whole movie.

The Debt

Funny how a movie called The Debt was made by a studio in debt.

It was supposed to be one of last fall's big Oscar contenders, but due to Miramax's financial burdens, it's now one of this year's big Oscar contenders. With Focus Features now taking charge, let's see how it'll do.

Directed by John Madden, best known for Shakespere in Love, this is a remake of the same-named Israeli thriller from 2007 (in Hebrew, it's HaHov). It goes back in forth in time to tell its story of Rachel (Jessica Chastain/Helen Mirren), David (Sam Worthington/Ciaran Hinds) and Stefan (Martin Csokas/Tom Wilkinson). They're young, in love and in Mossad.

The trio was sent in 1965 to find and apprehend Dieter Vogel (Jesper Christinsen), the infamous Nazi scientist. By 1997, everyone remembers their mission which ended in Vogel dead and gone.

But no one except them know that the official story wasn't the real story. And that has taken a terrible price on the trio.

Both sets of actors, highlighted by Worthington and Mirren, give some great performances. The script, co-written by Matthew Vaughn, is intriguing save for some spots near the end. These spots are the kind that make one say "OK, we get it, move!" Yet, these spots detract from the film only in the slightest.

Put together by editor Alexander Berner, the majority of the film is perfectly tense and exciting. Ben Davis, Matthew Vaughn's frequent cinematographer, is appropriate for its dark subject matter. Both have never been up for Oscars before; hopefully, this film'll change that.

What twists have I been keeping from you? You'll just have to find out for yourselves. It's not an appealing subject, but it's still an appealing thriller.

These Amazing Shadows

There are a lot of big stars in the documentary These Amazing Shadows. And they all appear in big films deemed "culturally, historically, or aesthetically significant" by the National Film Registry. And you'll have fun knowing why the organization was created.

Created in 1989, the National Film Registry preserves select films for future generations. Unlike the Oscars, plenty of films'll get the honor. The only question is when they'll get it.

The film's best moments came from explaining why certain films were chosen. Not just the obvious choices such as Gone with the Wind, but the more eccentric choices such as The Rocky Horror Picture Show. Seeing the interviewed guest stars explain these films' unique significances was immersive and rewarding.

It also explains how average viewers, not just stuffy suits, can vote for certain films. It even explains how they alone can help their favorites get chosen, case in point Blazing Saddles. I didn't even know this was even possible and to learn something new is just great.

For anyone who likes movies, this is a must see. Unfortunately, it's in very limited release now, but last I heard, it'll play on PBS this fall. If it's not playing near you, do see it on TV the first chance you get. It's the most fun you'll have learning about the movies.

Conan the Barbarian

Still remembered after 80 some years, Conan the Barbarian is the star of one of three 3D films coming out this weekend. Yeah, Conan; here's a guy who's also been called Conqueror, Destroyer and Philanderer.

Wait, no to the last one.

Conan (Jason Mamoa) has a simple name and a simple quest. Years earlier, his fellow villagers, including his father Corin (Ron Perlman) were slaughtered by the evil Khalar Zym (Stephen Lang) and his minions. Zym has a magic mask that lets its wearer use supreme dark magic, but only if it's given "pure blood." Naturally, Zym wants to use the mask to conquer the world. Meanwhile, our barbarian hero wants his father's stolen sword and the chance to use it on Zym. And he gets a love interest, Tamara (Rachel Nichols), the very pure blood sought by Zym.

Sounds confusing, no? Maybe if Morgan Freeman were here to narrate. Oh wait, guess who is the narrator here?

This Conan certainly excels in the art of creative dismemberments 101. Melted by molten iron, bashed against a rock, getting a nose sliced off...you get the picture. What it fails in is making its hero anymore than a growling barbarian stereotype. So much so that his victory was more "meh" than "yeah!" A few scenes between him and Tamara were humorous, but few. A few times throughout, I wondered if this should've been a parody.

But Conan gets some points for its work behind the scenes. The most awards notice, if it gets some at all, should be for its makeup work on Rose McGowan. As Zym's evil daughter Marique, she was completely unrecognizable and so distinctive. Another few points go to the sound mixers for making the battles quite complex. And the last few points go to the interesting costume and set designs.

It may have been a "meh," but it was less of a "meh" than The Expendables from last summer. For those who don't like blood, stay away. For those who do, this'll do nicely. It could've been worst, could've been better, but it's still watchable.

The Help

One of the few summer Oscar films has shown itself. It's called The Help, a film based on a novel has been admiringly compared to To Kill a Mockingbird. So, this film version has a lot to live up to.

Aibileen (Viola Davis) and Minny (Octavia Spencer) are black women in 1960's Jackson, Mississipi. They don't get much opportunities except being housekeepers for white families (or as the Southern folks call 'em, The Help). Their lives have been tough and nasty priss Hilly Holbrook (Bryce Dallas Howard), social leader of Jackson and Minny's ex-employer, plans to make them tougher.

Meanwhile, "Skeeter" Phelan (Emma Stone) has just got her first job at the Jackson Journal. Inspired by the abrupt retirement of her own longtime Help Constantine (Cicely Tyson), she decides to write a book "from the point-of-view of The Help." For this, she meets Aibileen and Minny and others willing to cross the line to get their views across.

Written and directed by first-timer Tate Taylor (an actor who recently starred in Winter's Bone), The Help is a greatly done dramedy. It avoids all the potential preechiness of Oscar-Bait melodrama while it doesn't let a few crude jokes pull it down. Yes, a few jokes were crude, but amazingly they were still funny.

What makes it work in its favor is its ensemble cast. As the leads, Davis, Spencer and Stone guide the film perfectly all the way through. The supporting actors are well-cast too, especially Sissy Spacek as Hilly's more liberal mother.

It's a film that'll definitely connect with older folks than with younger ones. But at least give it a try and hope you can get a good seat for the action.

Jethro's Note: My theater was PACKED. I had to sit near the bottom.

Rise of the Planet of the Apes

After a wave of big pounding blockbusters, here comes a blockbuster that's less on the pounding but still big. It's Rise of the Planet of the Apes, the seventh time that Fox has gone ape on the big screen.

Will Rodman (James Franco) has just come up with ALZ-112, a brain-booster intended to cure Alzheimer’s. A lab chimp goes berserk and Will finds himself caring for her son Caesar (Andy Serkis via motion-capture). All goes well for them until Caesar violently attacks a grouchy neighbor. Caesar gets moved to an Animal Shelter where a sadistic guard runs free.

But thanks to momma, it turns out Caesar was born a smart ape. An ape who can lead his fellow primates against the humans. All he needs is a way to get them to follow; perhaps Will's new version of the brain-booster will do.

It's a film that works on two great pairings.

Its story and visual effects work in tandem to thrill its audience. The big action scenes are built up from suspense, rather than script obligations. Needless to say, they feel much different than the action scenes of, let's say, Transformers.

Through motion-capture, actor and CGI have created some very convincing apes. The apes not only look real, but act real. So much so that they especially outshine their human counterparts.

Yes, the apes do rise, but not in the way you expect. What exactly it involves you'll have to see. Believe me, it's worth it.

Cowboys and Aliens

In the proud tradition of Snakes on a Plane and The Assassination of Jesse James by the Coward Robert Ford comes another film where the title says all. And this one is called Cowboys and Aliens.

Jake Lonegran (Daniel Craig) has a problem: he doesn't know who he is. Or why there's a strange gizmo on his wrist. He finds himself in the town of Absolution, where corrupt cattleman Dollarhyde (Harrison Ford) and his son Percy (Paul Dano) walk untouched. Jake, as it turns out, is a dangerous outlaw and won't be intimidated by those two.

Meanwhile, evil aliens show up and round up some townsfolk, including Percy. Jake and his gizmo give the townsfolk an edge against the invaders. And so, whether they like it or not, Jake and Dollarhyde have to lead the resistance against the creepy creatures and their flying machines.

It's another comic book turned feature supervised by director Jon Favreau (Iron Man 1 and 2). As with those films, there's plenty of CGI and practical effects that blend well together. The switchover between the two won't stick out like a sore thumb.

As a period piece, it's finely realized by its crew. The most notice should go to cinematographer Matthew Libatique and production designer Scott Chambliss. It's these two that help give the film its unique look and feel. Also included is editor Dan Lebental, who made the scenes with both humans and aliens perfectly tense.

It's premise should hold some audience interest even if it was fine-tuned by six writers. Having two big stars who know what they're doing also helps. And that makes Cowboys and Aliens a good blend of two classic B-movie genres.

Jethro's Note: And there's no 3D.

Midnight in Paris

As opposed to Terrence Malik, Woody Allen's been making films almost every year for over forty years. His latest, Midnight in Paris, is the film I'm reviewing now.

Gil Pender (Owen Wilson) is a writer in Paris who wants to live there since that's where all the good artists lived. His latest project is a novel about a guy who sells old memorabilia. His fiancee Inez (Rachel McAdams) think his past obsession is nuts, while her Tea-Party parents don't like his political views.

And then at the stroke of Midnight, Gil finds himself in Paris of the '20s. Soon, he's chatting with F. Scott and Zelda Fitzgerald, Ernest Hemingway, Gertrude Stein and Pablo Picasso, among others. Gil's trips to the past give him a shock: longing for the past is nothing new.

As Gil, Owen Wilson made for a likeable protagonist. His role would've fit right in for Allen, but Wilson gives it his touch. The numerous supporting stars, such as Kathy Bates as Stein and Corey Stoll as Hemingway, are finely cast. My favorite of the supporting cast was Adrien Brody, as the whimsical Salvador Dali.

It's charming, funny and finely written, a good antidote for the big, dumb blockbusters crowding the cineplex. For the historical-savvy, this film is a treat. For everyone else, it's still a good time. At least you'll get to see Paris for free.

The Smurfs

Smurf this out. It's The Smurfs, the creation of Belgian artist Peyo, as a smurf-screen feature film. It's in 3D, as are a smurf of other films these smurfing days. Did that make smurfing sense to you? No, but it smurfing does to a Smurf.

Anyway, the Smurfs are still blue, small and live in 'shrooms. One day, their secret Smurf village is discovered by the evil Gargamel (Hank Azaria). Papa Smurf (Jonathan Winters) and five of his fellow Smurfs are chased into a portal in a waterfall. On the other side is a strange place called Central Park. They find themselves house guests of ad-man Patrick (Neil Patrick Harris) and his wife Grace (Jayma Mays).

The Smurfs need the magic of a blue moon (an actual blue moon) to open the portal again. Gargamel wants The Smurfs for their magical essence. Sounds like a conflict.

It's directed by Raja Gosnell, previously of the Scooby-Doo films. So expect a few jokes that Hanna-Barbera wouldn't have approved of. Does this mean an embarrassing day at the movies for adult audience members? Hopefully, not at all.

As Gargamel, Azaria was truly the scene-stealer of the cast. His chemistry with Azrael, and his over-the-top villainy, was truly funny. There were a few dirty jokes involving him, but they don't detract from the performance that much.

What about the 3D effects? I didn't see it in 3D, so I can't comment. I can comment on the smurf effects, and I can say they're quite good. Even if you don't see it in 3D, a few scenes feel 3D anyway. A nice opening shot of The Smurfs traveling by bird is a highlight.

For kids, this'll be a memorable film on an afternoon matinee. For me, at least, this was only a decent afternoon film. But it's still a smurf of a time. And that's smurf enough.

The Tree of Life

If I can describe The Tree of Life, director Terrence Malik's fifth film of his forty-year career in two words, it would be “um, what?”

Believe me, if you saw this film, you'd ask the same question.

What story there is concerns a Texas family, the father being played by Brad Pitt. A son dies in 'Nam, but that's not important. Kids play around as DDT gets sprayed from trucks. Again, that's not important. There's also some guys getting arrested. Guess what? It's not important.

What is important is the out-of-order history of not just the family, but of the entire world. Along the way, the family's eldest son (Sean Penn as an adult) and others ask existential questions in the narration. And neither they nor the audience get clear cut answers thrown at them.

What Malik has created is 2001: A Space Odyssey in the real-life year 2011. As with the older film, this film's visual effects are supervised by the revered Douglas Trumbull. This is his first film since Blade Runner; the effects he's created are perfectly surreal.

Rather than use surreality to bludgeon its audience, the film uses it to soothe them. It takes off slowly, and lets the cinematography by Emanuel Lubezki do much of the talking. Its five editors, headed by Mark Yoshikawa, make human life itself as surreal as the big bang. While it is definitely confusing, it's definitely the good kind of confusing.

And in the midst of all the scenery, Brad Pitt gets the best performance. A nice man one minute, an utter tyrant the next. Believable all the way.

It's not the kind of movie that you can "get" in a day. You might not get it all. But don't worry if you don't get it. I think that's the whole point; for that, Malik's film works.

Captain America: The First Avenger

Ironically enough, the last of Marvel's feature length previews for its upcoming The Avengers is also chronologically the first. Well, that probably explains why its latest feature is Captain America: The First Avenger.

Steve Rogers (Chris Evans) is the puniest of the puny who really wants to serve his country in World War II. Unfortunately, no matter how much he tries, he's still 4F. During a trip to the World's Fair, Allied scientist Dr. Erskine (Stanley Tucci) notices Steve and gets him enlisted. The Allies are looking for a few good men to become Super-Soldiers and Steve's to be "the first of many." Soon enough, the puny runt becomes a man among men.

But thanks to a spy from Hydra, Hitler's R&D department, Steve's now the Allies' only Super Soldier. Now Captain America, Steve's number one mission is to provide moral support at USO shows. Meanwhile, Hydra and their evil leader Red Skull (Hugo Weaving) have just acquired the mysterious Tesserect (introduced at the end of Thor). They plan to use its awesome powers to overthrow Hitler himself, and then the world. Not unless Captain America has anything to say about it.

It's essentially a modern-day serial with a bigger budget and optional 3D viewing. It's directed by Joe Johnston, who's directed one already (The Rocketeer) and won an Oscar for the Visual Effects of another (Raiders of the Lost Ark). He knows what he's doing here; it's purpose is to entertain and nothing more. It succeeds thanks to some good supporting actors and nice action scenes.

Asides from all the action effects, the best effect concerns the pre-Captain Steve. With some good CGI work, Chris Evans is perfectly reduced into the epitome of puny. It's this kind of effect that makes CGI effects worth it.

Those who stay through the end credits will see a preview of The Avengers. This first glimpse makes it worth staying through; the film itself makes it worth the effort to watch the credits.

Winnie the Pooh

Oh, bother. Do we really need another 3D-less cartoon feature drawn by human hands and only colored by computer? Yes, yes we do and Winnie the Pooh is a surprising step in that direction.

Pooh, A.A. Milne's world famous stuffed bear, still likes honey and still hangs around Piglet and Tigger and Christopher Robbin and the others. Eeyore still needs a tail, so all of the Hundred-Acre Wood pitches in to help. Everything's fine until Pooh finds a letter on Christopher Robbin's door saying "Go Out Bizy Back Soon."

Owl wrongly concludes that the "fierce" monster Backson has caught their human friend. So, the intrepid animals team up to save him. Comical misunderstandings ensue.

It's extremely harmless and quiet, unlike some other summer debuts I previously reviewed. So, why recomend it? Because it's delightfully silly not just for kids, but for their parents as well. The antics of Pooh and Co. are charming, not annoying, even if they're too familiar.

The film also has some catchy songs composed by Robert Lopez and his wife Kristen (also the voice of Kanga here). Actress Zooey Deschanel even performs a few songs, including the Sherman Brothers' theme to the original shorts and her own composition, "So Long."

It's an incredibly short film that runs for about 70 minutes. To pad some time, Pooh runs with a short toon called The Ballad of Nessie, a quick take on the origins of Loch Ness and it's monster. The toon, narrated by Billy Connolly, is a whimsical, sweet tale that compliments the feature attraction.

If Harry Potter's not on the list this weekend, you can see this instead. Its animation is easy on the eyes, and its magic isn't scary in the least. Hopefully, you won't regret it if and when you go.

Stay tuned for the credits for a surprise appearance.

Harry Potter and the Deathly Hallows: Part 2

Back in December, I reviewed Harry Potter and the Deathly Hallows: Part One, the film which was half a book and thus, half a movie. And now, the other half, Deathly Hallows: Part Two, is finally here.

It's all a straightforward plot this time. Evil Voldemort's taken over Hogwarts and can only be killed if the Horcruxes containing his soul are destroyed. Intrepid boy hero Harry and his friends set out to do just that. Things change for the heroes once they find out who the last Horcrux is. Oh yeah, and a lot of people bite it.

This last Potter is presented in optional 3D showings, the kind that Part One was supposed to get before Warner Bros. bailed. And that's all I'm going to say about it.

What I am going to say more about is what Director David Yates, and the cast and crew mostly first assembled by Chris Columbus have done now. They've just made the split-up of the last book very much worth it.

Easily the shortest of the franchise, the film devotes much of its time to battle scenes. These scenes are aided by great visual effects depicting such aspects as magic spells, giant trolls and even Voldemort's face. In fact, I'm forced to consider the last mentioned as the best effect because it's the least obvious.

There's much fun to be had from seeing the cast at work. The who's who of British cinema are fun to watch, as are the younger actors first made famous by this franchise. They know what to do with their characters and seeing them together on screen makes it all the more fulfilling.

The end result is that the film is thrilling, amusing and moving at once. And it makes it all the more satisfying to see good triumph over evil on screen.

The End.

Jethro's Note: Rather than put makeup on actor Ralph Fienne's face, his face is sculpted into Voldemort's on the computer.

Transformers: Dark of the Moon

That's one small step for man. One giant robot leaping over my head.

Don't worry, my twisting of Neil Armstrong's famous proclamation will make sense once you read my review of Transformers: Dark of the Moon. It's the third film for the toy franchise, and the first to be shot largely in 3D.

Without the Decepticons running about, the heroic Autobots devote their time to quashing the schemes of human villains. On a trip to Chernobyl, they find a piece of The Ark, flagship of their former leader Sentinel Prime (Leonard Nimoy). Its arrival on the moon started the space race, especially the Apollo missions. On it is the means to build a "space bridge" between Earth and the Transformers' dead world of Cybertron. To get the bridge going, the Autobots bring the older Prime back to Earth.

Sentinel gets the bridge going all right, but for the Decepticons instead! When it's all said and done, the Autobots will wish they hadn't made Sentinel Prime again. Pun intended.

While the last film Revenge of the Fallen was swamped by too much of a good thing, director Michael Bay balanced everything out this time around. What does that mean? While the franchise's traditional robot smashdowns are present, they won't make the audience beg "enough, OK!" They'll just look at the film's marvelous visual effects and just go "wow, yeah!"

Aside from the effects, the cast gives in some fun performances. Cast newcomer John Malkovich and series veteran John Turturro both steal their scenes with ease. Patrick Dempsey, as the human villain Dylan Gould, makes for a perfectly despicable character. Point being, the cast has kept itself from letting the robots delegate them to background noise.

Instead of letting you decide whether to see it in 3D or on Flatscreen, I'll just say bluntly that Transformers: Dark of the Moon needs to be seen on a big screen first. That's how amazing it is.

Jethro's Note: To describe a few choice visual effects moments would take up too much time. Let's just say there's a lot.

Cars 2

Oh noes! The world's ending! Pixar's finally made a stinker! It's called Cars 2, the sequel to the film once regarded as Pixar's biggest stinker! And it has run out of gas at the starting gate! At least, that's what professional critics have made it out to be. By Jethro's point-of-view, it's still a fun day at the races.

Everyone remembers Lightning McQueen (Owen Wilson), the rookie race car whose exploits were told in the first film. Well, Lightning's taken a pit stop and allowed his tow truck buddy, Tow Mater (Larry the Cable Guy) to take the spotlight.

In Tokyo to help Lightning with a worldwide race, Mater bumps into super-spy Torque Redline (Bruce Campbell). Torque's supposed to meet with his British counterpart, Finn McMissile (Michael Caine), but it's Mater who accidentally takes his place. The agents have discovered a plot by a gang of lemon cars to discredit a new alternative fuel and they need Mater to help stop them. That's all fine with Mater, until he realizes how his antics have gotten to everybody, especially Lightning.

Available in both 3D and Flatscreen formats, the film still gives you a wild ride even without 3D. The film's action scenes, especially the racing scenes, are well edited and animated. They're so fun that they'll easily keep one's attention off their watch and on to the screen. Now only if some other action movies can learn from them.

Amongst the new characters to the cast, the best one is the Italian F-1 Francesco Bernoulli (John Turturro). He maybe a jerk, but he's a jerk in an entertaining way. Fillmore the Bus (Lloyd Sherr, replacing the late George Carlin) makes for the best of the returning supporting characters. The rest of the old cast also have their good moments, even if they don't speak.

Whereas last year's Toy Story 3's story stuck with its audience for a long while, Cars 2's story sticks with its audience for the afternoon. But at least the old car's still working, and that's important. Besides, with a new hilarious short staring the Toy Story characters, it's got something that makes it worthwhile for that afternoon.

Mr. Popper's Penguins

Who needs complicated plots made more complicated by big action scenes? Director Mark Waters' (The Spiderwick Chronicles) latest film, Mr. Popper's Penguins, doesn't need them. As a result, it's a perfectly silly family film.

Tom Popper (Jim Carrey) is a divorced realtor who's more concerned with acquiring the Tavern on the Green than with connecting with his own kids. The elderly owner, Mrs. Van Gundy (Angela Lansbury) won't just sell it to anyone, even if this anyone's father was a world class explorer. When old Tom Sr. dies, Tom Jr. is left with a little "souvenir."

It's a crate with a penguin. A live penguin. Another crate follows with five more penguins. All of them have their own little quirk. His kids decide he's the coolest dad ever, especially after he turns his penthouse into an ice box. Only zookeeper Mr. Jones (Clark Gregg) is not convinced that him keeping penguins is a bright idea. But how'll Tom convince the world that these flippered folks are much more than mere pets?

If the name sounds familiar, then it's because the basic premise was milked from the Atwaters' Newbery Honor Book. Somewhere, I imagine a few purists overcome with murderous rage over what Hollywood's done to it. It's an overreaction, really, to what is a good-natured film. I mean, one of the penguins is named Stinky, but the jokes for this penguin aren't that crude at all.

Speaking of the penguins, they're the real stars here. They're quirky enough to delight kids and some adults with their antics, especially the one named Nimrod. The filmmakers used real penguins along with CGI penguins and it's an accomplishment that the digital birds don't stand out like a sore thumb.

As the human star of the show, Jim Carrey made a good Mr. Popper. Even without being manic, Carrey was still an amusing character. His assistant, Pippi (Ophelia Lovibond), was also a fun asset to the cast. It was also a surprise to see Angela Lansbury here; it was a delightful surprise because she still knows how to steal a few scenes.

It's fortunately not in 3D, although a few scenes would fit nicely with the format. With that out of the way, Mr. Popper's Penguins finely balances silliness and heart. It's a good time to be had for a nice afternoon. And for those who want to see the Scrat cartoon that came with Rio, you now get another chance.

Green Lantern

After multiple blockbusters staring Superman and Batman, another DC Comics star got his own adventure greenlit. Yes, I do mean greenlit, because this guy's named Green Lantern.

Hal Jordan (Ryan Reynolds) is a test pilot whose idea of a test flight is to turn it into an actual dog fight. This gets on everybody's nerves, including the boss's daughter Carol (Blake Lively). And then, he's summoned to meet the dying Abin Sur (Temuera Morrison).

Abin Sur is a Green Lantern, one of 3,600 space cops armed with a magic ring powered by willpower and imagination. They're employed by little blue men called “The Guardians of the Universe” and one of them, Parallax, has now become an ugly yellow mass powered by fear. Hal inherits the alien's place in the Lanterns, but he's not the most popular of the bunch, especially with chief Lantern Sinestro (Mark Strong). To prove them wrong, Hal must beat Parallax and his minion, the human scientist Dr. Hammond (Peter Sarsgaard).

As Hal, Reynolds does his best and gets a few laughs. Unfortunately, he's restrained by a big story that itself is a bit restrained. The end results seem more like "uhh...OK" than "ooo...ahh!"

But what about the obligatory blockbuster effects?

The obligatory blockbuster effects range from great to adjust over time. The best effects were for Parallax, the wildly diverse background Lanterns, and their ring power constructs. The effects that need time to adjust to are the digital suits worn by Reynolds, Strong and Morrison. Sometimes, they clash badly with their human heads; mostly, though, they fit like a digital glove.

It's still a watchable film, although it might not be the one you'd expect. Let's hope with the exposition out of the way, Green Lantern's next big screen adventure will shine brighter.

Jethro's Note: Oh yeah. And it's also in 3D.

Super 8

Back when Iron Man 2 was out, there was this trailer for a film called Super 8. It involved a train crash, something busting out of a train car and not much else relevant to what the film was about.

Well, flash forward a year, and now you'll know what it's all about.

It's 1979, and Joe's (Joel Courtney) been crushed by his mother's death in a steel mill accident. He spends his time hanging out with his friends filming a cheesy zombie pic. One night, the group assembles at a train depot for a big scene. They think they've struck big when a train passes by. Just as they start filming, the train flies wildly off the tracks thanks to one tough pickup.

At the wheel is their still alive science teacher, Dr. Woodward (Glynn Turman). Why would he do a thing like that? Perhaps it has to do with something the train's been carrying. Something that's been making people and appliances vanish. And something so big that the military's come to town. It's up to the kids to find out the answers.

Conceived by J.J. Abrams, it's intended to emulate the works of its producer, Steven Spielberg. Anyone who's seen The Goonies and E.T: The Extra-Terrestrial should know what to expect.
Those who haven't should try to see at least one of those films.

Instead of a lifeless zombie, this is a lively...well, not a zombie. Its life comes from its ensemble, both kids and adults. The kids, in particular, act like kids and not the products of clueless adults. The adults initially come across as harsh, but when they reveal themselves, the audience can perfectly emphasize with them.

As with Jaws, the nameless alien is actually half-effects and half-camera work. Initially obscured by cinematographer Larry Fong, and enhanced by the two editors, the monster is perfectly scary. When it finally shows up in full force, the tension is not lost. It certainly isn't.

If made in the 1980's, this would've fit right in. But now, it's nice to know that an excellent film such as this can still be made for $50 million. When the no-budget pic finally debuts in the end credits, it makes the experience well worth it.

X-Men: First Class

Jethro's Note: What's this? A summer blockbuster with no 3D? Shocking.
Actually, it's not that shocking. But, that's a story for another day.

For its latest entry in the X-Men franchise, Fox decided to go back to where it all began. Literally.

As with 2000's X-Men, the new X-Men: First Class opens in Auschwitz when a young prisoner magnetically bends a gate. This is Erik, later Magneto, whom sinister Dr. Schmidt (Kevin Bacon) has nasty plans for.

Years later, now played by Michael Fassbender, Erik searches for the doctor, now named Sebastian Shaw. Shaw and his associates plot to escalate the Cold War into a Nuclear War so mutants can take over. Because of this, the CIA wants to catch Shaw too, and they've recruited Charles Xavier (James MacAvoy) to help them. They then recruit a few young mutants, the first X-Men, to help in the fight.

Of course, those familiar with Marvel Comic knows what happens next (sort of). But with director Matthew Vaughn ("Kick-Ass") calling the shots, how it happens is the good part.

What makes it good is the ensemble cast. They have great chemistry together and know how to stand out. Amongst the X-Men, the goofy Banshee (Caleb Landry Jones) and the brainy Beast (Nicholas Hoult) are highlights; meanwhile, the evil Azazel (Jason Flemyng) makes a formidable villain. But the best of them is a hilarious one-scene, one-line cameo from a certain clawed mutant.

With nice effects enhancing its action scenes, this prequel firmly passes the entertainment test well. This is a class worth taking. 'Nuff said.

Kung Fu Panda 2

Another week, another 3D cinema flick. This time, it's Kung Fu Panda 2, the first of this year's threesome of animated twoquels (to soon be followed by 2nd outings for Cars and Happy Feet).

In the last film, Po the Panda (Jack Black) defied all expectations to prove himself as the heroic Dragon Warrior. Now, he and his kung fu comrades, the Furious Five, spend their time training with Master Shifu (Dustin Hoffman) and fighting the most evil of villains.

Among the most evil villains is the white peacock Lord Shen (Gary Oldman). He and his army of wolves have just invented the cannon and will use it to take over the world. Unbeknownst to Po, Shen has already figured into his fuzzy childhood and the only way Po can stop him is by finding his inner peace.

Its animated cinematography has greatly improved from the original even without the 3D. It shows it off greatly in its flashbacks to Po's past by telling them in stylish cel-shaded animation. Its fight scenes have also gotten bigger for the better; among the highlights are the heroes' ingenious espionage into Shen's stronghold by dragon costume.

Amongst the animated cast, the best one is the goat Soothsayer (Michelle Yeoh). Her unique sense of humor makes her interactions with the deathly serious Shen fun to watch. Returning cast member Mr. Ping (James Hong) is also a highlight, as is his adopted son Po himself. And Shen, meanwhile, makes for a formidable sequel adversary.

If there's any flaw here, it's that its 90-minute plot runs a bit too fast. But since it's still comprehensible, its not much of an issue for me. Overall, Kung Fu Panda 2 is a sequel that's definitely worth the wait.

Pirates of the Caribbean: On Stranger Tides

Just when you thought that Johnny Depp's alter-ego Captain Jack Sparrow had sailed for the last time, it turns out he hadn't. With new director Rob Marshall, the wily rogue has returned for a new Pirates of the Caribbean adventure, subtitled On Stranger Tides, which is the first of them to be in 3D.

This time, Captain Jack's eye has turned towards the Fountain of Youth. He has a map to it, which is why King George wanted him to guide a royal expedition. He evades conscripment, but he gets unwillingly inducted into the crew of the infamous Blackbeard (Ian McShane). His daughter Angelica (Penelope Cruz) used to be real close to Captain Jack, and probably still is now. Whether Captain Jack likes it or not, they too want him to guide them to the Fountain before anyone else finds it.

At 137 minutes, this is significantly shorter than the last entry, At Worlds End. Yet, this entry doesn't stand out that much amongst its predecessors. Its action scenes are nice, but nothing special, and the plot around them is a tad too convoluted. The bright spot here was that I saw the flatscreen version.

The makeup department, meanwhile, deserves the most attention for the Oscars. They've put in so much effort in making the actors into such characters as the pirates, nobles, and zombie ship-hands. Their work is so good it's even allowed Judi Dench to slip by unnoticed in an amusing cameo.

If not for Captain Jack being reliably quirky, this installment would've sunk badly. Instead, this should make for an OK time-waster for a matinee at the movies.

Thor

Next summer, Marvel will bring a bunch of its heroes together for a cinematic adventure called The Avengers. This summer, one of The Avengers, Thor, gets to have his own cinematic adventure.

It starts by explaining how Odin (Anthony Hopkins) and his fellow warriors of Asgard vanquished the evil Frost Giants back to their home realm of Jotunheim. Years later, Odin is about to make his son Thor (Chris Hemsworth) the new king of Asgard when some Frost Giants are caught sneaking in. Against Odin's orders, Thor picks a fight with the Giants.

Since this has struck a blow against Giant/Asgard relations, Odin takes away Thor's godhood and sends him to New Mexico. There, an intrepid trio of scientists, led by Jane Foster (Natalie Portman), makes Thor their new friend. Thor eventually adjusts to Earth, but he has to get his powers back so he can thwart the scheming of his evil brother, Loki (Tom Hiddleston).

Available as both a 3D and a flatscreen attraction, Thor is simply a fun blockbuster. As Thor, Chris Hemsworth makes for a perfect boisterous bruiser brought down to Earth. Thor's Asgardian sidekicks, led by Joshua Dallas and Ray Stevenson, provide the film with many humorous moments. Plenty of cool visual moments, such as the Asgardian sentry The Destroyer, highlight the film.

Under the direction of Kenneth Branagh, both spectacle and story have found a good balance. It neither drowns in a sea of CGI, nor does it waste time preparing for The Avengers. For those unfamiliar with Marvel's take on Norse Mythology, Thor's a good place to start.

Fast Five

For my fifth review this month, I've picked a film called Fast Five. It's the fifth film in The Fast and The Furious franchise which involves cars that are fast and furious. For further analysis, read on.

In the end of the last film, Fast and Furious, illegal street racer and thief Dom Toretto (Vin Diesel) found himself on a bus to prison. As this one opens, his motley crew stages an elaborate stunt to bust him out. Sometime later, they're back in business staging a car heist aboard a train in Rio de Janeiro.
They find out the hard way that the cars actually belong to crooked businessman Herman Reyes (Joaquim de Almeida). His minions peg them for murdering a few federal agents, which results in lawman Hobbs (Dwayne Johnson) coming after them. To get back at Reyes, Dom decides to swipe all of his assets and retire early. This plan involves cars, a few alumni from the previous films, and an assault on a police station.

What the franchise is best known for is staging big stunts with fast cars. There's plenty of stunts in Fast Five, up to and including the wild ride of a steel vault down Rio. These scenes, staged by director Justin Lin, turn the film into an entertainingly over-the-top spectacle.

Not lost in the confusion is any semblance of plot. Aside from the chases, the film's story is actually comprehensive. Some familiarity with past events is recommended, but fortunately, screenwriter Chris Morgan doesn't leave franchise neophytes wholly in the dark. The only real flaw is that it finishes at an unusual over-length of 130 minutes.

But still, Fast Five is the film that's supposed to signal the arrival of summer. In that regard, it has surely crossed the finish line in flying colors.

Water for Elephants

Legendary Circus man P.T. Barnum never said “there’s a sucker born every minute.” Another circus man, August Rosenbluth, verifiably philosophized that “the world’s run on tricks. Everyone plays.”

Rosenbluth and his circus, the Benzini Bros., are actually fictional. They are all part of Sara Gruen’s novel, and now film, Water for Elephants.

In 1931, Jacob Jankowski (Robert Pattinson) was studying at Cornell University’s veterinary school until his parents died in a crash. Left with nothing, Jacob left college behind and hit the road. He finds a train to hop on that turns out to be that of the Benzini Bros.

August (Christoph Waltz) likes to see nuisances, including stowaways, flung out of the train at first opportunity. But Jacob’s background impresses him, and he appoints him the circus vet. Jacob has no problem making friends with the troupe, which also includes August’s wife and top star Marlena (Reese Witherspoon). But the unhinged August does have a problem with Jacob when he notices him getting too close to Marlena.

Of the leads, Waltz gives the best performance. Charming one minute, and brutal the next, he makes August into an unpredictably scary villain. His supporting cast is made up of a well-played ensemble of likable characters such as the drunkard Camel (Jim Norton) and dog trainer Walter (Mark Povinelli).

Its production and costume designs are perfectly suited for the time period. Also helping the film are James Newton Howard's score and Rodrigo Prieto's cinematography. Brought together by director Francis Lawrence, these production values give the film a majestic quality. It really is a film that's great to look at.

Water for Elephants is a film that easily lets its audience under the big top. It won't be around forever, so try to see it before it packs up and goes.