Mirror Mirror

Last November, that incomprehensible Greek Mythology film, Immortals, was released. Its director, Tarsem Singh, now has a new film out to make up for it. It's Mirror Mirror, the first of two Snow White films out this year.

Yes, there are two Snow White films. The similarities end there.

The Evil Queen (Julia Roberts) has run her peaceful kingdom to debt and beyond. Her stepdaughter Snow White (Lilly Collins) is supposed to be locked away in the tower. But thanks to kindly castle staff, she's able to go freely to her kingdom and see what's become of it.

And she's not happy with it.

She runs into the Seven Dwarves, who are named Half Pint, Grub, Grimm, Wolf, Chuckles, Butcher and Napoleon. They rob from the rich and give to themselves, but Snow White convinces them to give to the poor. They decide to help her get rid of the Queen, take back the Kingdom and also to win the dimwitted Prince Alcott (Armie Hammer).

As with Singh's previous films, the biggest star is...was costume designer Eiko Ishioka. She passed away in January, but her trademark extravagance at least got one more film to display it in. Together with the sets, her costumes succeed in providing eye candy for the masses.

The stars who wear that wardrobe provide capable performances for their roles. Especially with Roberts, who is both reliably humorous and nasty as the Evil Queen. Nathan Lane, as her yes-man Brighton, provided some good comic relief, as did Hammer as the Prince. And at least the story they were given was intelligible and straightforward, even if it felt too long at times.

For those seeking a good family time, this fairy tale will do just nicely. Just don't expect the same with Snow White and the Huntsman, a certainly "Grimm" film in every sense of the word.

Wrath of the Titans

Another week, another 3-D blockbuster has come to the screen. This week, it's Wrath of the Titans, sequel of my first reviewed film, Clash of the Titans. Now with an actual Titan. Amazing, isn't it?

Perseus (Sam Worthington), hero of the first film, is now a single dad ever since his wife, Io, died a probably horrific, but definitely off-screen death. He wants nothing to do with his father, the almighty Zeus (Liam Neeson). In fact, none of Greece wants anything to do with the Gods; without prayer, they die.

Meanwhile, the evil Hades (Ralph Fiennes) and his sinister nephew Ares (Edgar Ramirez) have teamed up to take over the world. To do so, they plan to release Kronos, the father of the Gods, from the depths of the Underworld. To do that, they plan to suck Zeus's energy dry. Already, their evil plan has caused monsters to come out of the Earth and kill people. So, Perseus must once again assemble a good crew to defeat Hades, save Zeus and destroy Kronos.

Unlike last year's Immortals, which was dreadfully confusing even to those familiar with the original myths, this film is pretty straightforward. By the end of the film, you'll know what the film's about, who the characters are and why they're here. It's a bare-bones story, but at least it's done right.

Its biggest drawback was the not so straightforward editing. Its action scenes would've been all impressive, except they're mostly cut so fast you can't tell what our heroes are fighting. It's a shame, really, because those were some cool monsters as their opponents.

There's one significant way this improves over the original and that's the effects. Its CGI backgrounds, monsters and Godly powers are all more extravagant this time around. Kronos, in particular, looks and feels like a purely molten nightmare once he starts moving. Still, these effects were at their best when the film was focused on them.

Come for the spectacle, if you want. It'll at least provide a serviceable matinee at the movies. But still, just don't expect too much out of it.

The Hunger Games

Since Hollywood'll run out of Twilight books this year, they've decided to go elsewhere on the book shelf for ideas. Hence, they've drawn out The Hunger Games, by Suzanne Collins. Even if you're not an avid fan of this franchise, you won't be disappointed with what's on screen.

Life stinks for Katniss Everdeen (Jennifer Lawrence), who lives in District 12 of Panem (formerly North America). Ever since a great revolt way back ago, the Districts have each been commanded to offer up a boy and girl for an annual competition. These are the eponymous Hunger Games, and there's one winner and 23 dead losers.

Her little sis, Primrose (Willow Shields), gets called for the games unexpectedly, so Katniss immediately offers herself instead. The big wigs accept her offer, but now she has to compete against her pal Peeta Mellark (Josh Hutcherson). And it's all going to play out live on TV.

For a 2 1/2 hour film, this surely has one of the fastest screenplays I've seen. What I've summarized is just in the first twelve or so minutes, and it is some effective exposition. It continues to keep up the audience's interest by making its characters, even the doomed ones, interesting. This helps make its action scenes some of the most suspenseful this year.

What's also memorable is how the film uses color. In the wilderness, and in the 12 Districts, it's bleak and subdued. In Panem's capitol, the buildings, the clothes and the makeup are exercises in excess. That's all thanks to some incredible production work, who ought to get called out for Oscars next year.

Yeah, I know it's early, but as the past few years have shown, Oscar has a good memory.

Overall, it's greatest strength is that it's not excessively melodramatic or brutal. Instead, it finds the right balance with both and the result'll satisfy fans and non-fans alike. At least, until the sequel, Catching Fire, comes out around next year.

21 Jump Street

Best known as the breakout role of a young Johnny Depp, the 80s cop show 21 Jump Street has now been reborn into a Hollywood movie. What results on screen is a two-hour exercise of the best kind of stupidity this year.

When they were in High School, Morton Schmidt (Jonah Hill, also the co-writer) was the awkward nerd and Greg Jenko (Channing Tatum) was the dumb jock. Years later, when they join the police force, they still are. Because of their youthful good looks and their amazing incompetence, the higher brass transfers them to the titular address.

Their mission, that they quickly accept, is to go back to their old High School and locate the source of a new super drug. They have to stay out of trouble and resist the urge to go too undercover for it to work. But eventually, their polar opposite personalities are gonna give them much trouble.

It's a quite family unfriendly film from the directing duo (Phil Lord and Chris Miller) of the family friendly Cloudy with a Chance of Meatballs. It takes the absurdities of its source material, and the culture from which it emerged, and runs with them like mad. From a Peter Pan performance that goes awry, to a non-explosive running gag and the surprise reveal of a long advertised cameo, it's consistently amusing even when it gets crude and violent.

As the main mismatched duo, Hill and Tatum are amusing and appealing both together and apart. It's their chemistry together that helps make the silliness work so well. Amongst their co-stars, Ice Cube also stands out as their captain on Jump Street.

Overall, this big screen rehash is good that it's worth any number of viewings. You won't be disappointed, unless you're already not into this sort of thing.

John Carter

One Hundred years after his first literary appearance in A Princess of Mars, and some eighty years after his film rights were first acquired, Edgar Rice Burrough's pre-superman John Carter is now on movie screens.

During the Civil War, John Carter (Taylor Kitsch) served the Confederate Army. Years later, he's just mining his own business in Arizona when the army tries to recruit him. He turns down the offer and goes to his cave, where a mysterious man transports him to Barsoom, the planet also known as Mars.

On Mars, the gravity gives John super strength and jumping ability. He joins up with the warrior tribe of Green Martians, the Thark, and the Red Martian Princess Dejah Thoris (Lynn Collins). The Bad Guys are the eerie White Martians, the Thern, and the evil Prince Sab Than (Dominic West), who wants to marry Dejah.

It's the live-action debut of Pixar alumnus Andrew Stanton (Finding Nemo, Wall-E), who also co-wrote with Michael Chabon and Mark Andrews. It's a big, sprawling 3-D movie that will also wow its flatscreen audience. It's also terribly convoluted and tends to drag on more than it needs to. It maybe around 137 minutes, but it sure felt like a year or so.

But still, there were quite a few moments that made the film worth it. It has plenty of comedy from John's interactions with the Martians, including the giant lizard dog Woola. There's plenty of spectacular scenery to behold as John battles numerous villains and creatures. Those moments were when the film was most focused and help smooth John's silver screen landing.

If you have the patience, then the film is worth the trip to the multiplex. If not, then there's always DVD or Blu-Ray or whatever they come up with next.

The Lorax

Need a family film to see sometime this week or next?

Then go see The Lorax, a 3-D take on Dr. Seuss's text.

In the plastic town of Thneedville, there's Ted who likes Audrey.

All Audrey would like is to see just one living tree.

The only one who can help that happen is named Once-ler.

So Ted goes to visit his wasteland home with one tiny scooter.

It was the Once-ler whose Thneed killed the trees.

It was so good, it brought the eco-system on its knees.

Not even The Lorax could change his greedy ways.

Now he'll regret it for the rest of his days.

But in Thneedville, there's the evil O'Hare.

He rules the town with his monopoly on air.

And for Ted to see reality is something he can't stand.

And he'll go so low to keep everything so bland.

That's all the story that's told in so little time.

To express my opinions, I'll switch out of rhyme.

Anyway, this Seussical extravaganza is light and fun. It has plenty of comical relief from its animal background characters and from The Lorax himself. Its 3-D imagery provides plenty of splendor even in flatscreen. Unfortunately, its musical numbers are mostly forgettable. In fact, they're forgettable even after they're just finished. Its a shame really, because I still like animated musicals.

As it's only under ninety minutes long, The Lorax gets to its points rather well. It doesn't rely on immature humor, so it should provide an easy matinee at the movies for all ages. If you want to see it beyond that matinee, or even on flatscreen or 3-D, then it's up to you.

The Secret World of Arrietty

The revered Japanese Anime studio Ghibli have once again proven their artistic finesse with The Secret World of Arrietty, which is their version of The Borrowers. It's much more memorable than the 1998 version even if some viewers might find it slow paced.

The Borrowers are the little people who live under the floorboards of a human house. They take only what they need and what human "beans" won't miss. Among them are Arrietty, her papa Pod and mama Homily. They've been living fine in their establishment, unseen by its occupants Jessica and housekeeper Hara.

And then, by complete accident, Arrietty is seen by a bean named Shawn, Jessica's visiting nephew. The adult Borrowers see this as a sign to move out before human curiosity kills them. But Shawn's just fascinated with the little people, and with Arrietty; can they change their minds?

The only thing I remember about the earlier Borrowers film is that I saw it in the theater. That's it.

What I remember about this version is actually worth remembering. There's the colorful hand-drawn scenery and animation supervised by animator turned director Hiromasa Yonebayashi. There's also the serene musical score by first-time film composer Cecile Corbel. And among the American cast, Carol Burnett as Hara makes her character a perfectly comical villain.

Because this actually came out in 2010, it's automatically disqualified from Oscars next year. That's a shame. Really.

Anyway, the film moves quite slowly and gently for a 95 minute film. But overall, it's a family film worth seeing with the kids beyond a matinee showtime. It's a gentle breeze of fresh air.

The Iron Lady

The whole point of The Iron Lady, it seems, is to show that beneath the iron-clad image of its subject, there are dents. Unfortunately, the way it's presented, this film is also dented.

Its subject, of course, is Margaret Thatcher (Meryl Streep), the infamous former British Prime Minister and the only woman in that position. Rising from obscurity, Mrs. Thatcher earned a spot in Finchley's Parliament in 1959. And then, twenty years later, she began her eleven year reign as the Prime Minister. During which, her policies divided and slashed her country in half.

But for most of the film, we have an elderly, senile Thatcher conversing with the ghost of her dead husband, Denis (Jim Broadbent). Sounds like an interesting film could've been made out of that. But for now, let's focus on this film.

The film's real standouts are its Oscar-nominated makeup men, J. Roy Helland and Mark Coulier. Along with Marese Langan, their rendering of Streep and Broadbent across the ages is a striking feet. Its especially so in their characters' later years, when the prostheses renders them unrecognizable.

At first, I found some interest in Streep's performance as the senile Thatcher. What clenched it for me was the well-executed scene when we find out she talks to Denis as though he was there. But as it went on, and the film glossed over Thatcher's accomplishments, my reaction was "so what?" Ultimately, the film's treatment of its subject can be summed up as good intentioned indifference.

Why should anyone see The Iron Lady? Just so that they could say they did. Still, it's not that bad, but let's try not to imagine how it could've been worst.

The Descendants

Seven long years after winning an Oscar for co-writing Sideways, director Alexander Payne has returned to the screen with The Descendants. It's sure to sway some Oscar voters, but what about me?

Matt King (George Clooney) is an Honolulu Lawyer and the sole trustee of 25,000 acres of Kaua'i. The land has been owned for years by his family, whose lineage goes back to King Kamehameha. But in desperate financial times, he needs to sell the land to some rich folks.

Matt is also the "back-up parent" to two troublesome girls, Alex (Shailene Woodley) and Scottie (Amara Miller). But now that his wife, Elizabeth, is in a permanent coma after a boating accident, Matt's the only parent.

Thanks to Alex, Matt learns that Elizabeth was seeing someone behind his back. And now, he decides to find this someone, just to let him have the chance to say farewell to her. Yes, it's that awkward.

Originally a novel by Kaui Hart Hemmings, Payne co-wrote the script along with Jim Rash and Nat Fraxon. What they've realized on-screen is an entertaining family dramedy. It's not overdone for the Academy's attention, nor is it completely silly. Instead, it's just between its two components and that means it's just right.

In the center of it all is George Clooney, whose performance is tops. As Matt, he's the ultimate failed family man and he knows it and hates it. Even in his most amusing interpersonal moments, we can feel certain pathos for his character. He may not be loud, but he's incredibly close to his audience, as his deadpan narration to Elizabeth can affirm.

For those not interested in the dramedy, there's some fine shots of Hawaii photographed by Phedon Papamichael. But overall, it's the balance of comedy and drama that is this film's greatest asset. And that's why I found it not only worth seeing, but to wait to see it.

Extremely Loud and Incredibly Close

It turns out that I'm not done yet seeing this year's Oscar nominated films. Among the nominees for Best Picture is a film called Extremely Loud and Incredibly Close. Unfortunately, it's a title that fits the film for the wrong reason.

Young Oskar Schell (Thomas Horn) and his jeweler father Thomas (Tom Hanks) used to explore the geographic wonders of New York. But then his father dies in the World Trade Center on 9/11 (aka "The Worst Day"). His relationship with his mother Linda (Sandra Bullock), like all other of his relationships, is quite difficult.

And then, a year later, Oskar finds an envelope with the word "Black" on it and a key inside. But where exactly does the key go? To find the answer, Oskar has to search all of New York and meet and greet a whole bunch of people.

It sounds great on paper, where its story originated thanks to Jonathan Safran Foer's novel. But on screen, realized by director Stephen Daldry, there's a problem. Its problem is that it frequently goes overboard on emotional moments and its portrayal of Oskar's eccentricities. On a big screen, these moments are indeed Extremely Loud and Incredibly Close. And that equals too much.

However, it's the presence of two veteran stars that eases things a bit. One of them is Tom Hanks, who plays the perfectly fatherly figure. The other is the film's Oscar-nominated cast member, Max von Sydow, who plays Oskar's mysterious mute neighbor. Even if his identity is far too obvious the moment it is hinted, von Sydow's scenes were also the most honest.

There are parts in the story which could've made the film better if they were better executed. And it's this potential that makes me place Extremely Loud and Incredibly Close down in the middle instead of the bottom. Perhaps you could find it a lot better than me if you see it yourself.

Red Tails

In World War II, the famous African American fighter unit, the Tuskegee Airmen, took to the skies in their Red Tailed fighter planes. Their resounding successes helped integrate the U.S. Army, thereby denting the racism of their time. And now, with the financial support of producer George Lucas, their story now has a theatrical film called Red Tails.

In this true life story, the heroes are named Martin/Easy (Nate Parker), Joe/Lightning (David Oyelowo), Samuel/Joker (Elijah Kelley) and Ray/Ray Gun (Tristan Wilds). While war is hell for their white counterparts, they find it "boring as hell." It's especially boring considering that the Man won't give them a decent fighter mission.

However, thanks to Col. Bullard (Terrence Howard), the Tuskegee Airmen now have front line duties. Specifically, they've now become escorts for American Bombers plowing to Axis bases. But still, even if they do swat away Nazi planes, there's still the racism on the ground.

Anthony Hemingway, who previously directed episodes for such shows as The Wire and CSI: NY, transitions to film here. What Hemingway has realized is a story filled with old-fashioned cliches. But these cliches aren't intrusive, especially not in a film that's this impressive.

Armed with impressive visuals, sound and editing, the film's dogfights succeed in their aim of amazement. On the ground, the editing also suits the film in its dramatic moments. Even the screenplay, as old-fashioned as it may seem, contains some impressive lines. Add in there some fine performances for these "basic" characters, and you have the year's first summer blockbuster.

Don't come here if you want to know history. Come here, instead, to see some amazing planes in action. That's what Red Tails aims to deliver, and on that end, it succeeds.

Tinker, Tailor, Soldier, Spy

And now it's time to play Whac-a-mole. Today, it's a competitive game called Tinker, Tailor, Soldier, Spy. Our opposite player is George Smiley, John le Carré's renowned spy hero. Can you, the player, whack the mole before he does?

Yay, I found the mole! Whack! On to the review!

It's 1973, and Smiley (Gary Oldman) used to be at the top of The Circus (aka the SIS). Now retired, he's called to unretirement after the death of his longtime employer, Control (John Hurt). It seems that one of Control's inner-circle is a Soviet mole. And that mole is in need of whacking.

The five suspected "spies" are Percy/Tinker (Toby Jones), Bill/Tailor (Colin Firth), Roy/Soldier (Ciarán Hinds), Toby/Poorman (David Dencik) and George/Beggarman. And naturally, it's up to George to whack the mole.

Be careful, because this film punishes low-attention spans. The screenplay, by Bridget O'Connor and Peter Straughan, unfolds slowly, introduces plenty of characters and frequently goes back and forth in time. The end result can make for a murky mystery.

Amongst its merits, there's some genuine suspense built up by editor Dino Jonsäter. Even if the combined sum is still foggy, individual scenes can still leave the audience on edge. It also helps to have Alberto Iglesias's moody score to enhance the mood.

As for the cast, the best performance is actually that of John Hurt. As Control, Hurt perfectly portrays him as a wise, yet bitter old man Also of note are Tom Hardy and Mark Strong, who play two other agents central to the mole mystery. Meanwhile, Oldman's performance reflects the film itself; it's so murky that an average viewer might see him as a supporting character in his own film.

It's just one of those films that requires multiple viewings. Fortunately, I found it to be one you could understand partway through the second viewing. But if you can understand Tinker, Tailor, Soldier, Spy in one viewing, then give yourself a prize.

The Artist

Almost certain to make an impact at next month's Oscars is a film that could easily fit in with its earliest nominees. It's a modern day silent film called The Artist, and after seeing it, it's not hard to see why it's so praised.

Suave George Valentin (Jean Dujardin) is one of the biggest stars in Hollywood. After the premiere of his latest flick, A Russian Affair, George bumps into aspiring starlet Peppy Miller (Bérénice Bejo). George gives Peppy her big break in his next film and her star is born.

Meanwhile, Hollywood begins to embrace the idea of putting sound and pictures together. George thinks this is just a fad, but he's in for a rude awakening. In times like these, the most reliable person George can turn to is his dog (Uggie).

Created by Writer, Director and Co-Editor Michel Hazanavicius, The Artist's old-fashioned style results in a fresh film. Photographed by Guillaume Schiffman, its images give quick and easy exposition. Composer Ludovic Bource punctuates these images with a lively score. And while it is a silent movie, a few key scenes actually do have sound. And when the film speaks, you listen.

On a more visible level, The Artist also triumphs. Its actors make up one of this year's most likable cinema ensembles. Its writing, expressed through intertitles, is delightfully aware of its medium. When combined with its technical elements, these aspects put the film's powers of expression on par with the latest talkies.

In other words, The Artist is fun all the way through. And for that reason, it earns its praise as one of the past year's best films.

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.