Movie Review: "The Dark Knight Rises"/PG-13/Warner Bros./164 min./Dir. by Christopher Nolan

(Note: I have decided, after considerable thought, to write this review strictly as a critique of the film and not as a commentary about its association with the horrific events in Colorado.  While that tragedy will, unfortunately, forever be associated with this film, it should not define the way the film is seen.  My prayers, as have been yours, are with those dealing with the aftermath of those events.)

In 1997, director Joel Schumacher did the seemingly impossible....he killed Batman.  Not the character, but the franchise.  With the ridiculously campy "Batman and Robin", complete with armor nipples and an endless supply of ice related puns, Schumacher took one of the most profitable film series in motion picture history and (forgive me for this) gave it the deep freeze.  "B&R" isn't really a "so bad it's good" movie, it's just bad.  The acting, the set designs, the costumes, the music, the direction, every creative gene of the movie is vapid and insulting.  It is also the first film I've ever walked out of in the theater because of the film's stupidity.  I saw it later on home video and realized that my initial feelings were far from harsh.... the movie is really horrible.

However, considering the amount of money the Caped Crusader made for Warner Bros., it was only a matter of time before they tried to resurrect him on the big screen.  Hiring auteur Christopher Nolan for the job is one of the smartest decisions ever made in film history.  Joining forces with screenwriter David S. Goyer (Nolan clearly brings out the best in Goyer, as the "Dark Knight" trilogy is easily the best thing with which his name has been associated), Nolan not only set out to put his stamp on the series, but he set out to redefine the the boundaries of what a superhero film could be.

Where Tim Burton's Gotham was a clearly matte-painted take on the film "Metropolis", and Schumacher's was a day-glo colored, 24-hour rave party, Nolan made it a real city.  It's an amalgam of Chicago and New York, where the real villains are rarely the ones in costume.  

Given Nolan's new take on the tone and interpretation of the material, it was very wise to make it a pure reboot and start with a new origin story.  "Batman Begins" did a wonderful job setting up the situations, emotions, and motivations that led to the existence of the Batman.  However, "The Dark Knight" raised the realism and the stakes.  Lead by the iconic performance by Heath Ledger as The Joker, TDK was surprisingly dramatic and somber for a superhero movie, and that's because, at its heart, it wasn't one.  It was a gritty crime thriller, with far more in common with "The Departed" than with "Spider-Man".

Which, of course, brings us to "The Dark Knight Rises."  (Warning: There are spoilers for the first two Nolan/Dark Knight movies and light plot-based spoilers for "TDKR" ahead)  It's been eight years since Batman took the blame for the grief-driven murders committed by Harvey Dent, and Gotham has made Dent the martyr and the symbol of good in the city.  The "Dent Act", which was passed shortly after his death, has successfully rid the city of organized crime.  Gotham doesn't seem to need Batman anymore, which suits Bruce Wayne (Christian Bale) just fine.  After the events surrounding The Joker and Dent, his body is crippled and his spirit still mourns for the life he could've had with his fallen love, Rachel.

However, underneath the city in the sewer systems, a new threat to the city is building.  Rookie cop, John Blake (Joseph Gordon-Levitt) is slowly piecing together connections to smaller crimes that could be signs of something bigger brewing.  While the Chief of Police (Matthew Modine) thinks he's just a hot-headed kid, Comissioner Gordon (Gary Oldman) also is concerned about what may be coming.

It turns out that what's coming is Bane (Tom Hardy), a ruthless brick-wall of a villain who seems to be leading a social and economic revolution against the elite of the city, but whose end game is far more insidious.  Also added to the mix, for reasons that are unclear at first, is the slinky cat burglar Selina Kyle (Anne Hathaway).  As Bruce begins to investigate the brutal Bane and the mysterious Kyle, it becomes all the more apparent that the Bat has to come out of retirement, whether or not Wayne feels equal to the task.

That's a brief rundown of what's going on, but it can't begin to describe the twists and turns in the plot.  Once again, Nolan provides a script that is rich in atmosphere, emotion, and character.  Almost every character, no matter how seemingly unimportant, fits into the grand design of things.  The sole exception is Kyle's sidekick, Holly (Juno Temple), who could've easily been written out of the script and her absence would not have been noticed in the least.  Otherwise, Nolan has given every character a key role in the development of the plot.

The acting is superb across the board.  As the tortured Wayne, Bale gets to show so much more of his terrific acting chops as Wayne gets broken and reborn.  He wears the grief and anger from the events of the last film with such conviction that he truly rises above the often vanilla-bland characterization of Wayne in past interpretations of the character.  

Everyone knows that a superhero movie is only as good as its villain and Bane is a brutish success.  Part WWF wrestler, part Darth Vader, Hardy portrays Bane with a calm and ominous singularity of purpose.  A chill enters the theater whenever he appears.  

However, for me, the stand out performance was Anne Hathaway as Selina Kyle (she's never referred to as Catwoman in the film, although one newspaper headline does refer to her as "The Cat").  Near the beginning of the film, she seems to be playing her standard character....sweet, shy, and a little clumsy, but there is a moment early on when you see that facade drop and her cunning, street-wise seductress leaks through and from that moment on, Hathaway owns every scene she's in.  Riding the line of hero and villain throughout the movie, she is fantastic and the perfect person for the job.

Production values are pretty amazing throughout.  Nolan's go-to guy for cinematogrophy, Wally Pfister, brings the grit of the city to vibrant life and Hans Zimmer's musical score does a terrific job combining the darkness of the previous installments with the hopeful atmosphere required for this trilogy finale.  As would be expected, the special effects are jaw-dropping with n'er a seam to be seen.

There are two questions one may have about "The Dark Knight Rises":  Is it as good as "The Dark Knight?" and Is it as good as "The Avengers."  To answer the first, absolutely.  While it doesn't have a performance as surprising or buzz-worthy as Ledger's in "TDK", it also isn't dependent on one performance.  It couldn't have been a better or more fitting ending for the series.

Secondly, and I know I might get some flack for this, but I really think that "The Avengers" and "The Dark Knight Rises" are in the same league as far as quality.  However, comparing them is really unfair because they are really different genres.  "The Avengers" is a special-effects extravaganza, a wildly entertaining action-comedy.  "The Dark Knight Rises" is a crime drama/political thriller, with a palpable sense of dread and a potent sense of humor.  I supposed if pushed to it, I'd say "TDKR" is the better movie, but "The Avengers" is the one that'll get the more play on my blu-ray player, however, both are a great time at the movies.

In the end, I think my favorite thing about this film and the entire "Dark Knight" trilogy, is the idea of faith in the common man.  Nolan recently stated that he had developed elements of the entire trilogy around one line from the first film, spoken by Bruce Wayne's father:  "Why do we fall, Bruce?  To learn how to get back up."  I think this quote not only applies to Wayne's character, but to the entire populace of Gotham.  Nolan has shown many instances of a city willing to work together to fight the evils that threaten it and that is a hopeful and inspiring thing to see in film, especially a "superhero" film.  The idea of being protected by a hero is nice, but the idea of being your own hero is empowering and that is the idea I believe this film trilogy endorses.  It's a terrific ending to one of the greatest film trilogies of all time.

Final Grade: A

Movie Review: "Ice Age: Continental Drift" / Rated PG / 20th Century Fox / Dir. by Steve Martino and Mike Thurmeier / 94 min.

Is there any enduring franchise in motion picture history more inexplicably successful than the "Ice Age" films?  I'm not saying they're bad, I'm just saying that they're consistently, almost aggressively average.  Every plot, every character arc, almost every joke has been farmed out from other more creative movies.  You know what they remind me of?  Back in the 70's and 80's, Warner Bros. tried to find a way to re-market the old Looney Tunes shorts by making "new" Bugs Bunny movies, which were actually just the classic old shorts connected by new, more poorly animated filler material.  Films like "The Looney, Looney, Looney Bugs Bunny Movie" and "1001 Rabbit Tales" rigged up a serviceable plot that could somehow explain how all of these independently created shorts could work in a cohesive story.  In watching these movies, the viewer wades through the new stuff to get to the meat, which is the old Looney Tunes shorts.

In the case of the "Ice Age" movies, the good stuff usually involves Scrat, the pine cone obsessed rodent whose dogged pursuit of his desire leaves the world crumbling in his wake.  The filler material (which makes up the bulk of the movies) involves the unusual herd created in the first film: Manny, the grumpy, yet lovable mammoth (Ray Romano, basically playing himself), Diego, the grumpy, yet lovable sabertooth tiger (Denis Leary, also basically playing himself), and Sid, the stupid, yet lovable sloth (John Leguizamo, hopefully not playing himself).  These three have the same character arc in each movie.  The two grumps learn to be softer and more understanding and the dopey one saves the day with his fearless loyalty, gaining the begrudging respect of the other two.  It's been the same basic outline for each and every one of the movies.  Granted, they've added more characters to try and disguise the stale plots.  Manny has gained a wife (Queen Latifah) and a daughter (Keke Palmer), as well as a couple of possum brothers-in-law (Seann William Scott and Josh Peck), which have given him the opportunity to demonstrate paternal grumpiness through all the stages of family, from worrying about his pregnant wife to battling with his belligerent teenage daughter, but the movies never deal with these issues on a level higher than a "Full House"-style sitcom.

This time, the hilarious Scrat accidentally falls to the center of the Earth and chases a pinecone around on the Earth's core, which leads to the destruction of the central land mass and the creation of the continents (the scientific logic is infallible, no?)  As a result, the central three characters get separated from the rest of their herd and must find their way back, but not before encountering a group of prehistoric pirates, led by the villainous Captain Gutt (voiced extremely well by Peter Dinklage).  This gives us an antagonist (I mean one other than the shifting land masses) and also gives the ever crotchety Diego a love interest in the form of a sabertooth pirate named Shirah (Jennifer Lopez).  Will everyone end up safe and in love?  Of course.  Will they learn that family is important?  Yep.  Will they learn that it's always best to be yourself? (the most overplayed moral in all of modern family entertainment)  Most indubitably.

As I said before, the plot for the "Ice Age" films feel secondary.  The morals, the heart, the action....it all feels merely like a Scrat delivery system.  These are the sequences when the movies come to life.  Unfortunately, if you've seen the previews for this movie, you've seen almost 3/4ths of the Scrat segments.  Seriously.  The first teaser trailer for "Continental Drift" was all of the first three Scrat segments stitched together, which gives the movie an even more "been there, seen that" feel.

Granted, not everything in the movie feels entirely played out.  The animation is beautiful.  I recently saw the first "Ice Age" and the improvement in animation quality from film to film has been truly impressive.  There are a few laugh-out-loud and honestly creative segments, including a bit involving prehistoric sirens and some of the personality quirks of the band of pirates.  Also, the musical score by the always fantastic John Powell, is exciting and involving.

Yes, these aren't bad movies.  They're merely adequate.  So the real question is, how did we get to the point that 20th Century Fox felt it necessary to make four of them?  The answer, my friends, is found in three simple words:  Foreign....box....office.  You see, while each of the "Ice Age" movies have made roughly the same amount in the U.S.(between $176 and $196 million), they've grown in box-office in the world market in staggering amounts.  In fact, here's a little of nugget of info to let sink in:  "Ice Age: Dawn of the Dinosaurs" (a.k.a. Ice Age 3) is the highest grossing animated film of ALL TIME overseas.  It's a fact.  Bigger than "Shrek", bigger than "Toy Story", bigger than "The Lion King".  So, as long as the foreign market goes insane for the franchise, they'll keep cranking out harmless, yet uninspired movies.

Oh, by the way, the best thing about the movie happens before the opening credits.  There's a new "Simpsons" short film entitled "The Longest Daycare" that appears before "Ice Age".  It's quite funny, with a lot of jokes that only adults will get (especially because they are written and they zip past the audience quickly), but the thing that surprised me about it was the poignancy in which it ended.  The last few moments had the warmth of some of the Pixar shorts, which was the last thing I was expecting from Groening and Co. It was really quite delightful.

So, the final word is this.  If you've seen an "Ice Age" movie, you know exactly what you're getting.  If you love or even like them, you'll probably feel the same about this one.  If you didn't care for them, but want something good and entertaining for the family, go see "Brave" or "Madagascar 3".  Both of these films are considerably better than "Continental Drift".  However, if you do decide to see the latest adventure of Manny and friends, be sure to get there in time to see Maggie Simpson in her charming (and, by the way, wordless) short.

Final grade: C

Movie Review:  "The Amazing Spider-Man"/Rated PG-13 (for sequences of action and violence)/Dir. by Marc Webb/136 min.

Let us, for a moment, imagine a parallel universe.  One in which Sam Raimi passed on directing "Spider-Man" and Tobey Maguire never donned the red and blue tights.  In this universe, the web-slinger movie stayed in the same development wasteland currently occupied by the long-in-development Wonder Woman and Flash movies.  However, in 2010, a Spidey movie finally got green-lit and the reins of the potential franchise were handed to a young independent director named Marc Webb.  Previously best known for the anti-romantic comedy "(500) Days of Summer", Webb seems an unusual, but canny choice (not only will the movie focus on the relationships, but his last name is Webb for heaven's sake!).  In this parallel universe, the film called "The Amazing Spider-Man" that is currently in theaters would be universally recognized as a well paced, naturally acted, inventively directed, humanistic, and entertaining summer popcorn movie, and rightfully take its place among the best of the comic-book movies.

However, we don't live in that universe.  Raimi's "Spider-Man" not only existed, but it thrived.  Even it's weakest entry, the overstuffed "Spider-Man 3" received mostly positive reviews and made over $890 million dollars worldwide.  Therefore, the question on most people's minds isn't "Is it good?", it's "Is it necessary?", and unfortunately, the answer is no.   I'll get more to the question of quality later, but for a moment, let me address the question of necessity.  Unlike the recent successful reboots of "Batman", "Star Trek", and "James Bond", this movie isn't saving the franchise from artistic stagnancy or disappointing box-office returns.  It's here to save skittish movie executives from the only enemy they could not destroy themselves:  copyright law.

Allow me to explain.  Sony pictures was a little gun-shy about bringing Raimi back for a "Spider-Man 4" after his mishandling of the Venom story line in the 3rd Spidey movie (one of the biggest flaws in an imperfect, but still entertaining movie.)  However, they still asked Raimi to come up with a treatment for a 4th movie involving Dr. Curt Connors (played in the original trilogy by outstanding character actor Dylan Baker) and his transformation to the villainous "Lizard".  Apparently, the studio wasn't thrilled with his ideas and Raimi left the franchise and Tobey Maguire decided to leave with him.  However, Sony needed to get a new Spider-Man in theaters by 2012 or, according to their original agreement with Marvel Studios, they would lose the movie rights to the character, something that Marvel has been chomping at the bit to happen, because that means the teenage web-slinger could then slip into the Marvel Movie Universe.  (I have to admit that a Spidey-centric "Avengers" movie makes my inner geek get a little drooly)

However, rather than just recast and continue with the franchise, Sony pictures got reboot fever thanks to the enormous success of "The Dark Knight".  Unfortunately, rebooting the Spider-Man franchise feels a little like using a defibrillator to resuscitate a perfectly healthy person.

For the first hour of "The Amazing Spider-Man", the sense of deja vu hovering over the film is inescapable.  (WARNING:  from here on out, there are minor spoilers)  High school misfit - check.  Cute, seemingly unattainable girl - check.  Radioactive spider bite - check.  Fun discovery of new powers - check.  Empowering conflict with school bully - check.  Death of Uncle Ben that inspires Peter to use his powers to help people - check.  It's all done in an interesting and emotionally resonant way, but the plot points during this section feel more like a connect the dots version of the original, in spite of the noblest efforts of all involved (among which include an attempt to cloud the disappearance and death of Peter's parents in mystery and intrigue).

Thankfully, once we get passed all of that exposition, the movie begins to transform into a more unique and surprising entertainment.  Webb's previous experience with relationship-focused indie films serves him well as the relationship between Peter (a very likable Andrew Garfield) and the genius in knee-high socks, Gwen Stacy (the terrific Emma Stone) feels much more natural than the central relationship in the original.  Plus, it doesn't hurt that Garfield and Stone have more chemistry than did Maguire and Kirstin Dunst.  

The movie mentions the comic-book's biggest baddie, Norman Osborn, but the central antagonist here is the aforementioned Dr. Curt Connors, now played with great empathy by Rhys Ifans.  Connors is a biochemist studying the possibilities of cross-species mutation to cure human maladies, including his missing right arm.  When Peter finds a key algorithm among his fathers papers and shares it with Dr. Connors, the good doctor begins to combine human and lizard DNA in an effort to replicate the regenerative abilities of the cold-blooded.  As is prone to happen when movie scientists start tinkering with genetics, things go awry.

Add to this conflict the fact that Peter's new girlfriend's father is the chief of police (Denis Leary) who is desperately trying to find and apprehend the vigilante currently attacking criminals in a red and blue unitard and restraining them with an odd, web-like netting.  This makes the traditional boyfriend/girl's dad tension even more palpable and any resolution of that tension offered more gratifying.

"The Amazing Spider-Man" does one thing the original Spider-Man never did.  It allows almost every main character an opportunity to be heroic, even the villains.  Some of the most moving sacrifices and daring deeds are done by regular, ordinary, non-tights-wearing people.  It reminded me a bit of the ferry scene in "The Dark Knight."  It's nice to see a film buck Hollywood's current pessimism about human nature and give even more selfish and adversarial characters the chance to show their true colors.

Lest you think this movie is all romance and commentaries on the nature of man, "The Amazing Spider-Man" has some pretty eye-popping action sequences.  The action is fact-paced and, at times, surprising (especially in 3D), but also coherent and character-motivated, which means they're not merely fun to watch, but they propel the plot and the relationships contained therein.

So, the final word is that "The Amazing Spider-Man" is an entertaining and thoughtful popcorn movie, but it's still just another Spidey origin movie.  While I enjoyed it, I'm more looking forward to where Webb takes the series now that all the messy and unnecessary rebooting it done.

Grade: B

Addendum:  In regards to the events leading to the demise of a "Spider-Man 4", I have recently read information that slightly conflicts with what I had previously read.  I have read that Columbia pictures was actually keen to move on with Raimi, however, he wasn't pleased with the script and that led to the split.  However, "The Amazing Spider-Man" was, by all accounts, rushed into production in order to beat the copyright deadline.

 Movie Review: "Brave"/Disney-Pixar/100 min./Rated PG

When Disney bought Pixar Animation Studios in January of 2006 for a staggering $7.4 billion, much was made about the potential Disney-fication of Pixar's unique storytelling style. Those concerns were echoed in the summer of that year when "Cars" was released to huge profits and the worst critical response to any Pixar film to that point.  Of course, Pixar blew the pundits out of the water with their next string of films. "Ratatouille", "WALL-E", "Up" and "Toy Story 3" were each the most critically acclaimed film of their year and are among the most acclaimed movies of all-time. In fact, their rapturous reception by critics was one of the reasons that the Motion Picture Academy expanded the number of Best Picture nominees to ten (along with the continued Academy neglect of other pop hits like "The Dark Knight").

Last year things got iffy for Pixar with the release of "Cars 2". I honestly think that "Cars 2" is an entertaining movie, but the single element that it is most lacking is passion. Every other Pixar film is born out of a truly unique idea, spurred on by the passion of the filmmaker. "Cars 2" genuinely seems born out of corporate greed and, while I think Pixar did an admirable job of trying to make something out of it, it still ranks as their weakest film, creatively and commercially (not counting the billions it made from toys).

So, now Pixar releases "Brave", their first non-sequel in three years. It's also their first film directed by a woman (story-writer and co-director Brenda Chapman) and featuring a female central protagonist, which is all the better for the company. In fact, making a big budget computer-animated film that is a tribute to the mother/daughter relationship is borderline revolutionary in this boy-centric art form and very much in keeping with Pixar's M.O. They're risk takers. They're the one's that made a worldwide box-office smash out of a story about a rat obsessed with French cooking for heaven's sake! It only makes sense that they would see the need for this kind of a story. As long of the movie sticks to the family relationships, "Brave" is stellar.

It starts off startlingly well, with scenes that take the traditional fairy-tale elements of the story and infuse them with trademark Pixarian humor, rhythm and heart. It doesn't feel like any Princess movie you've ever seen before. The central protagonist, Merida (voice of Kelly McDonald), is a head-strong teenager who's never happier than when she can ride through the woods on her loyal horse, firing arrows into pre-placed targets on her way. Her "non-feminine" interests confuse and worry her mother (voiced by Emma Thompson), who sees it as her job to raise the perfect Princess and is thwarted at every turn by her wild-haired daughter. (Merida's hair is not only symbolic of her wild nature, but it is almost a character in itself) I want to leave the plot elements unspoiled, but this is a fairy tale, so it's not spoiler-y to say that there's a magic spell and a frantic race to set things right, but the plot is, as Roger Ebert once said, the percussion, not the melody. The plot is a means to telling the story, but point of the story is held in the relationship between Merida and her mother. Both are convinced that they could explain their view point if the other person would just listen, unfortunately, they're both too focused on that to ever listen to each other. That is until the situations force them to listen.

As I mentioned previously, when the focus is on this relationship, "Brave" is delightful. It's that central relationship that inspired Chapman when she wrote the story. However, part of the way into the production of "Brave", Chapman was replaced as director (she's credited as co-director on the final film) by Mark Andrews. Unlike other director replacements in Pixar's films (it's a more common occurrence than you'd think), this one seemed to be for commercial, rather than creative reasons. There have been reports that Andrews was brought in to make it more appealing to boys and to beef up the comedy. Unfortunately, when the humor goes crude and/or unoriginal, the magic of the central relationship is lost. For me, it's these moments that keep it from being counted among Pixar's best films, although it's a wonderful step up from the soulless, though entertaining, "Cars 2".

The animation in "Brave" is nothing short of amazing. The lushness of the Scottish highlands, the richness of the character animation, the wild beauty of Merida's aforementioned mane, it's all wonderful eye-candy. The musical score by Patrick Doyle has some lovely Scottish-themed flourishes and the voice-over work is universally excellent (Billy Connolly as King Fergus does a particularly hilarious impersonation of his teenage daughter)

 All told, "Brave" is definitely worth the price of admission and is a movie that children will love. It's wonderful to have a big-budget film sincerely address the tender and deep emotions associated with the mother/daughter relationship, I just wish the screenwriters and filmmakers would have had the courage to let that relationship inform all of the humor without letting more "hip" jabs a humor sneak in to the texture.

By the way, if you have very young children, be aware that there are moments of intense animal attacks, comparable to the Barracuda attack in "Finding Nemo". Plus, the crude moments of humor that I mentioned include some animated backsides played up for laughs and a rather surprising close up of a buxom woman's chest. These moments are short and certainly not telling of the general tone of the movie, but you should know they're there.

Also, get to the theater on time because the animated short, "La Luna", which shows before "Brave" is quite simply one of the most beautiful pieces of animation ever made. It's warm, surprising, creative and moving. In other words, it's vintage Pixar.

Overall grade for "Brave" - B+ / for "La Luna" - A+

Preview of Summer 2012....one month into it.

It’s been way too long since I’ve written in this blog, especially considering the fact that not only has the summer movie season been going for a full month, but it also contained the biggest summer movie OF ALL TIME (well, not if you adjust for inflation, then it’s just the 11th biggest summer movie of all time, but that’s still pretty darn big!) Of course, a large part of the reason for this delay is my day job(s). In the last six months I’ve conducted or performed in 14 different concerts, written and directed a musical and been in charge of several after-school hours student council activities at the school, in addition to my regular teaching and private studio schedule, so it’s been a bit busy. However, on this wonderfully beautiful Sunday afternoon, I’m going to take a breath and look forward to a somewhat less hectic summer schedule. Not that I haven’t seen any movies. I haven’t seen as many as I’d like (curse the fact that I’m not paid as a film critic), but I’ve seen the important ones. Interestingly, there are fewer movies that I’m looking forward to this summer. While there’s usually at least one film a week during the season that I’m at least moderately interested in, this year’s schedule looks a little more barren. However, the ones that look good look REALLY good, so maybe that makes up for it. However, before I get into it, let’s look at what happened in the first month. Of course, the summer started gently with a small little art house film called “The Avengers”. This intimate little costume drama somehow defied the odds and made over 570 million dollars and counting, looking to end up north of 600 million and at number 3 on the list of all-time grossers (behind only “Titanic” and “Avatar”). All sarcasm aside, “The Avengers” was awesome. A movie that by all means could’ve been a huge disaster, but somehow became one of the most ridiculously entertaining movies of the last decade. I’ve seen it three times in the theater and it’s not enough. So…..much…..awesomeness! I love how wise Marvel Studios has been in choosing directors. Joss Whedon didn’t seem like a natural fit for “The Avengers” to me, but the motivations for hiring him were totally character based and it was all for the best. He is a master at juggling ensemble casts and giving them all equal importance, which was exactly what was needed for this movie. Plus, he didn’t skimp on the special effects/action coolness. Also, it was surprisingly funny. Also, The Hulk was perfect. Also, I loved it. (grade: A) I missed the big movies of the next couple of weeks of the summer. Still haven’t seen “Dark Shadows” or “Battleship”, which is a good or a bad thing depending on who’s going the critiquing. I’ve had friends that had seen both and have heard that they are both either fun or horrible. I’ll have to check it out myself. I did see “Men in Black 3” and enjoyed it. There was an odd, made-for-video vibe about it, but it was humorous and surprisingly poignant in the end, even if the plot was a bit hole-ridden. Plus, it’s always nice to see Will Smith back on the big screen. Also, Josh Brolin is amazing as a younger version of Agent K. (grade: B-) “Snow White and the Huntsman” has two things about it that warrant a high recommendation: the visuals and Charlize Theron. This movie has some of the most stunning visuals I’ve ever seen in a film and I really do look forward to seeing what happens with director Rupert Sanders’ career. The enchant forest, the aerial views of the dark forest, the warriors made of shards of metal….there are so many scenes and individual shots that belong hung in an art museum. This visual art is framing a pretty average fantasy story with most of the actors doing the best they can with the stilted dialogue, however Theron rises above the dialogue to create a villain simultaneously terrifying, empathetic and attractive, not an easy feat. It was also nice to see Kristen Stewart in a non-“Twilight” related role. I thought she acquitted herself quite nicely. (grade: B-) The first sleeper hit of the summer is “The Best Exotic Marigold Hotel”, in which several great British actors and actresses of a certain age do their take on “Eat, Pray, Love”, however, I liked “Hotel” a lot more than Julia Roberts ode to self-indulgence disguised as self-discovery. For one, Maggie Smith and Judi Dench are in it, which instantly lifts any movie to a higher level of class. Secondly, there are actually some likeable characters and good messages throughout. The overall message of the film is found in a catchphrase that is uttered throughout: “It will be alright in the end, so if it’s not alright, it’s not the end yet.” A thought that would have been equally at home among Forrest Gump’s cavalcade of sentimentality, but pleasant nonetheless. (grade: B) Lastly, “Madagascar 3: Europe’s Most Wanted”. This installment of the successful animated franchise about zoo animals trying to find their way back to Central Park is by far the riskiest and, as a result, the most entertaining. The animals leave Africa to find their monkey and penguin friends in Monte Carlo and head back to the good ole’ U.S. of A. However, their path is thwarted by a French animal control officer expertly voiced by Frances McDormand. Not only is this woman fearless and a bit feral, but she can heal broken limbs merely by singing “Non Je Ne Regrette Rien”. I’d like to see anyone on “Grey’s Anatomy” pull off that one. The animals escape her by joining a European circus and turning it into a Cirque du Soleil-style surreal extravaganza and it’s in that plot point that the movie becomes something a little more special than the other “Madagascar” movies. The movie becomes a phantasmagoria of absurdist humor and surreal imagery, which is actually best viewed in 3d. I have never seen a film use the 3d technology to such successful comic effect. In every chase scene, every action sequence, every circus-related scene, there is no opportunity to throw stuff at the audience left unturned, most of the time eliciting giggles of surprise from the audience. “Madagascar 3” is far from a perfect movie, but it’s a pretty darn funny one and would make a very satisfying end to the franchise if the filmmakers decide to end it here. (grade: B+) As for the rest of the summer, it’s sort of like a desert with a few very real oasis to bask in. In a couple of weeks, we get the first non-sequel Pixar film since 2009’s “Up” with “Brave”. It also marks the first time Pixar has made a female character the central protagonist of a film and the first time they’ve had a female director (Brenda Chapman, who directed “Prince of Egypt” for DreamWorks receives co-director credit on “Brave”). While it doesn’t look like it will have the startling originality of previous Pixar films, “Brave” looks like a solidly entertaining and beautifully rendered story swimming in Scottish mythology. I can’t wait. The July 4th holiday marks the release of a movie that I have very mixed feelings about, “The Amazing Spider-Man”. The trailers look like the filmmakers have very thoughtfully crafted, interesting and detailed origin story for the popular comic book character, it’s just that it was only ten years ago that we HAD a thoughtfully crafted, interesting and detailed origin story for this particular comic book character, and, unlike the “Batman” franchise rebooting with “Batman Begins”, the last “Spider-Man” movie wasn’t a flop financially or critically. (fanboys like to decry “Spider-Man 3” and, while it is the weakest of the series, it’s nowhere near the disaster some like to say it was) However, Sony Pictures had to rush a movie into production in order to hold on to the rights to Spider-Man, which would’ve reverted back to Marvel Studios if Sony didn’t have a film ready by 2012, and since they couldn’t agree with Sam Raimi on a direction for a “Spider-Man 4”, they decided to reboot the whole thing. Sony made and interesting choice in director with Marc Webb, a filmmaker whose previously best-known movie was the 2009 indie sleeper hit “(500) Days of Summer”. Plus, the cast is great. The question isn’t if a good Spidey reboot could be made, but SHOULD it have been made. I guess we’ll find out July 3rd. And, of course, there’s “The Dark Knight Rises”, the movie that finishes Christopher Nolan’s planned Dark Knight trilogy. The commercials have hit all the right notes and I personally every bit of faith in Nolan’s talents, so there’s no reason to believe this will be anything less than great. It will also make an interesting counter-point to the candy-colored heroes of “The Avengers”. While I’m pretty sure “The Avengers” will end up with more repeated viewings by me, “The Dark Knight Rises” will probably be the one recognized come award season. In August, there’s “The Bourne Legacy”, not a reboot, but a continuation of the Treadstone plot line sans Jason Bourne. It looks pretty good and Jeremy Renner has already shown he can do the action hero thing in “Mission: Impossible – Ghost Protocol” and “The Avengers”, so I’m looking forward to it. Also in August comes “ParaNorman”, a stop-motion animated film from Portland’s own Laika studios (the guys who made “Coraline”). I know some parents that are concerned about the number of darkly themed animated films being made, but personally I think they’re sort of a perfect way for kids to enjoy the spirit of Halloween without being subjected to the horror movies that litter the cable networks in October. Of course, this begs the question “Why is this movie about the dead-communicating, zombie-fighting middle-schooler going to be released in August instead of October”. The answer is probably in order to avoid Tim Burton’s stop-motion film “Frankenweenie”, a remake of a live action film he made while still working at Disney. Regardless of the release date, it should be a hoot. So, the summer movie season is upon us and, hopefully, I’ll have a little more time to keep you apprised of my thoughts on the movies. Enjoy and have a fun summer at the movies!

2011 movies in review: Superheroes, wizards and merciful dinosaurs (no....really)

When I hunker down to do a year-end movie wrap up, I usually have one big problem. Ten movies are the norm for year-end “best of” lists, but usually struggle to find ten movies that are really great. Sure, there are plenty of good movies, but GREAT movies…..well, they’re a different story.

This year, however, is also a different story. There were some pretty terrific movies and I haven’t even seen some of the top Oscar contenders, like “The Artist” and “The Descendents”. I had a hard time narrowing it to ten, so I picked 20. The order has changed as I’ve mulled it over and I’ll try not to be too verbose as I explain why each movie is there, but for better or worse, here it is…..

20. Thor – Just an old-fashioned good time at the movies. Although, I have to admit that I’m hoping the sequel spends a little more time in Asgard and lets loose a little more now that we’re out of origin story territory.

19. The Adjustment Bureau – This is a little seen gem from the first quarter of the year, however, it was really mis-advertised. All of the marketing said that it was some sort of a sci-fi thriller, when it was really a romantic/action film paying tribute to the miracle of agency.

18. The Muppets – Pure nostalgia decorated with great songs and all the wit of the original movies.

17. Captain America: The First Avenger – Corny, sentimental, and action-packed, this is exactly what a movie called “Captain America” should be. Plus, Chris Evans pulls it off with a sincerity rarely seen in modern-day action heroes.

16. We Bought a Zoo – Surprisingly dramatic and moving, this family film with a cute premise has a brain and a heart not revealed in its advertising. As much about the healing power of family as it is about fluffy animals, this movie stayed with me longer than I expected it to.

15. The Tree of Life – Not so much a narrative film as a cinematic museum exhibit, “The Tree of Life” uses seemingly disparate imagery (including the aforementioned merciful dinosaurs), combined with a simple story about a family in the 50’s to examine the difference between the selfish nature of man and the forgiving nature of grace. Similar in tone to Kubrick’s “2001: A Space Odyssey”, however the message of Malick’s film is more clear and, therefore, the impact a little more visceral.

14. Rise of the Planet of the Apes – Rank this one with “Batman Begins” and J.J. Abrams’ “Star Trek” as the right way to do a series reboot. Resonant, character-based, and the right combination of thought-provoking and fun, this is a movie that moves this franchise from kitsch to event status.

13. Jane Eyre – A movie that has been unfairly ignored by a lot of the Oscar watchers, this is a superb adaptation of the Bronte novel with excellent performances by the two leads. Michael Fassbender is getting a lot of attention for his showier roles, but he and Mia Waskikowska really deserve attention for their work here.

12. Mission: Impossible – Ghost Protocol - The rumors of Tom Cruise’s professional death have been greatly exaggerated, as proved by this extremely entertaining blockbuster. Not to mention the fact that director Brad Bird has gone from one of the best makers of animated films (“The Iron Giant”, “The Incredibles”, “Ratatouille”) to one of the premiere orchestrators of live-action suspense sequences in Hollywood. The Dubai scene alone puts him at the top of that list.

11. X-Men: First Class – I can’t tell you how much I wish this movie was bigger at the domestic box-office. I think that the subpar “X-Men Origins: Wolverine” soured the taste for all things X-Men related, but, in my opinion, this is the best movie of the series and that’s saying quite a bit. I hope against hope that Fox studios puts some faith in the reviews of this movie and makes it a franchise, because it would be a pretty awesome one.

10. The Adventures of Tintin – I’ve never read a Tintin book, but it’s not necessary to recognize this movie for the achievement it is. The plot is right out of an old movie serial, but the execution is fast-paced and visually stunning. Everything you would expect from a computer-animated action movie directed by Steven Spielberg.

9. Warrior – I’m a push over for sports movies, but I wasn’t expecting to like this one, simply because the idea of two brothers beating each other up for a mixed-martial arts championship didn’t really appeal to me. However, “Warrior” surpassed my over-simplified expectations. Extremely well written and acted, it’s a powerful movie that, in many ways, even surpasses the original “Rocky” for quality and impact.

8. Kung Fu Panda 2 – Forget what the Oscars will tell you next month, this was the best animated movie of the year. Not content to rest on the laurels of the well-received first film, this sequel exquisitely and artfully deepens the character development while creating truly beautiful visuals. More comparable to a more comical version of “Crouching Tiger, Hidden Dragon” than it is to most of the other DreamWorks stable of films, this is the rare sequel that makes the effort to be great.

7. Super 8 – J.J. Abrams has been compared a lot to Steven Spielberg in the last few years, so it’s only fitting that his “Super 8” (produced by Spielberg) is the most overtly “Spielbergian” film to be released since the mid-80’s, and that’s including the movies actually made by Spielberg himself. However, the most effective homages strive to be more than mere copies, and “Super 8” has a heart and a rhythm that’s all its own.

6. The Help – Having never lived in the South during the 60’s, I can’t speak to the historical accuracy of this movie, but as a lover of great storytelling, I can attest that it gets the job done. Using the backdrop of social mores during that tumultuous time period, “The Help” finds his closest cinematic relation in the early 90’s drama “The Long Walk Home”. Both films use the inherent conflict of being a woman of color working as a maid in a white household to spotlight the burgeoning civil rights and women’s rights movements of the era (plus both feature a terrific performance by Sissy Spacek).

5. Moneyball – Written by Steven Zaillian (“Schindler’s List”, “Searching For Bobby Fischer”) and Aaron Sorkin (t.v.’s “The West Wing”, “The Social Network”), “Moneyball” is a triumph of words. While taking place in the world of professional baseball, it’s more about the economics of professional sports and the “class warfare” that exists between well-supported sports franchises and those struggling to hold on to their players. Much like “The Social Network” made a gripping story out of the seemingly dull world of internet business, “Moneyball” grounds the world of sports economics in character and emotion.

4. War Horse – For the first half-hour of this movie, it seems like a light romp in “Far and Away” territory. Then it takes these warm and folksy characters and plops them into “Saving Private Ryan”. Alternatingly uplifting and heartbreaking, “War Horse” is a great achievement and one of the best films from Steven Spielberg in the last decade.

3. Midnight in Paris – I’ve already gushed about this movie a lot this year, but it really is a gem and one of the best Woody Allen films I’ve ever seen. In fact, I think it may be my favorite of his films because of its message and Allen’s willingness to tone down his inherent neurosis to let the natural talents of the cast effervesce.

2. Hugo in 3D – “Hugo” is, I’m sure, just as great a story in 2d as it was in 3d, but not since “Avatar” has there been a movie in which the 3d technique is almost part of the narrative structure of the film. This movie, from screenplay to shooting, was clearly conceived as a 3d movie and it uses the process to startling effect, helping the current jaded movie-goer experience a bit of the awe that the first watchers of film must have experienced the first time they saw a train racing toward the screen or first saw that rocket land on the man in the moon.

1. Harry Potter and the Deathly Hallows, Pt. 2 – When I was watching “The Tree of Life” (as the critics of the internet made me feel duty-bound to do) a thought kept running through my head…”How is this a better movie than ‘Deathly Hallows, Pt 2’?” Seriously. I may lose my credentials as a film enthusiast for saying this, but the finale in the Harry Potter series dealt with similar themes, was just as artful, just as well-written, just as well-acted, but it actually manages to be so with a solid narrative and without whispering its message repeatedly throughout its running time. Now, I’m not saying this to knock “The Tree of Life”, which is a wholly worth your time. I am saying, however, that to dismiss this film solely because it’s a Harry Potter movie is to dismiss one of the best film achievements of the last decade, particularly if parts 1 and 2 are viewed together as one epic movie. Had it been released as such, I think this movie would have Oscar knocking at its door just as “Lord of the Rings” did.

So, here are my last few thoughts on the year…....

Most overrated movie of the year: Rango – This animated film is three or four scenes of mad, wild, genius-level imagination buried in a lazy plot and surrounded by some of the most repulsive animation ever made. I would’ve loved to see the title character (who was the single charming aspect of the movie) in an entirely different story, preferably a story with a different art designer.

Movie that should’ve been a blockbuster, but wasn’t: Hugo
Runner-up: The Muppets

Movie that was a blockbuster, but shouldn’t have been: The Smurfs
Runner-up: Pirates of the Caribbean 4

Most disappointing movie of the year: Cars 2 (entertaining, but I expect more than just “entertaining” from Pixar)

Performances of the year: Alan Rickman (“Harry Potter”), Jessica Chastain (“The Help” and “The Tree of Life”), Michael Fassbender (“Jane Eyre” and “X-Men: First Class”), Brad Pitt (“Moneyball” and “The Tree of Life”), Ralph Finnes (“Harry Potter”), Viola Davis (“The Help”), Emma Stone (“The Help”), Octavia Spencer (“The Help”)….oh heck, the entire cast of “The Help”, Corey Stoll (“Midnight in Paris”), Mia Wasikowska (“Jane Eyre”)

There they are, my thoughts on 2011 movies. Bring on 2012!

The end of the summer as we know it....

I promise that I'm not jumping the "end of the summer" train on a whim. However, in the coming weeks my free time will be a rare and valuable commodity, so I won't have much blogging time. In addition, if I share with you the best movies of the summer now, perhaps you can go see some of them while they're still in theaters, especially considering that many of them are now playing in less expensive, 2nd-run theaters.

Overall, this summer movie season didn't pan out the way I thought it would. Sure, I was expecting to love "Harry Potter", but there's no way in a million years I would've thought I'd like a "Planet of the Apes" movie more than the latest Pixar offering. Nor did I expect to be sorta bored by Captain Jack Sparrow. I doubt I could have predicted that I'd fall in love with Woddy Allen's latest or that a film about maids in Mississippi would evoke a far stronger emotional response than seeing Chicago destroyed by Decepticons. Actually, maybe I could've predicted that one.

The plus side was that I didn't see any awful movies. There were no films that looked entertaining that weren't, at least on a base level. However, there weren't a lot of GREAT films either. That's why I want to share with you my top ten list and some of my other favorite things about the summer movie season, so you can go see some movies that you might have missed that were truly worth the price of admission. So here's my top ten:

10. "Cowboys and Aliens" - Directed by Jon Favreau ("Iron Man, "Elf") this movie is far more cowboy than alien and it's all the better for it. It sort of feels like they were filming "True Grit" and got interrupted by the production of "Independence Day 2" and while that combination may not seem to have much dramatic weight (especially given the jokey title), it's handled in a way that makes absolute sense. The cowboys (including the terrific Daniel Craig and the newly re-energized Harrison Ford) don't see this invaders as "aliens". They are referred to as "Demons", which is a monster that fits in their world view. Seeing these characters set aside differences and devise solutions that are grounded in their reality is really quite fun and the cast sells it with absolute conviction.

9. "Thor" - I know that this movie has some detractors, but I am not one of them. This movie feels like a big budget action movie conceived by Shakespeare, with all of the pathos and intrigue one would expect from such a project. On top of that, it introduces the world to a new leading man in Chris Hemsworth, whose previous biggest roll was that of Kirk's pappa in the recent "Star Trek" reboot. While some people (and this includes every woman I've talked to that have seen this movie) find the movie particularly compelling whenever he takes off his shirt, the fact is that he's got talent behind the looks and every moment he's on screen is energized. Granted, the Earth scenes which focus on his developing relationship with a astro-physicist (played by Natalie Portman) aren't as well centered and developed as the scenes on his home planet of Asgard, they're still entertaining and give the main character his story arc. This is the perfect movie for Kenneth Brannagh, best known for his Shakespeare adaptations, to jump into the world of big-budget blockbusters. I only wish he were helming the sequel, because I'd love to see him play in this world a little longer.

8. "Rise of the Planet of the Apes" - It's not over-stating to say that this movie is to this franchise what "Batman Begins", "Star Trek" (2009) and "Casino Royale" were to theirs. It replaces the cliches with heart and the bulky ape suits with cutting-edge f/x and while the central protagonist may be James Franco's character, the central performance is unquestionably that of Andy Serkis as the highly developed chimp named Caesar. Serkis may have delivered this performance by way of motion capture animation, the same way he brought to life Gollum in "Lord of the Rings" and King Kong in the 2005 remake, but regardless of the special effects, it's clear that this performance is his. He gives this movie it's soul and it's edge. His performance also gives the movie it's dramatic balance. It shifts tones from medical drama to apocalyptic war movie subtly through every shift of the head and every turn of his gaze.

7. "Kung Fu Panda 2" - Are Pixar and DreamWorks trading places? No, I don't think so, but based on their output this summer, an argument could be made. While "Cars 2" was overly-dependent on pop culture references and car-related puns, "Kung Fu Panda 2" continued to get it's humor from characterizations and it's heart from genuine emotion. This film was beautiful to look at (the villain, an evil peacock, moves with a fierce grace that reminds one of the best parts of films like "Crouching Tiger, Hidden Dragon" and "Hero") and a delight to behold. Family entertainment in the truest sense of the term, equally fantastic for kids and adults alike.

6. "Captain America: The First Avenger" - I sort of wish they had left the subtitle off this one, because it gives the false impression that this movie only exists to set up next year's "Avengers" blow-out. The truth is that "Captain America" is a smart, fun and nostalgic blockbuster that is simultaneously self-aware and sincere. Well aware that the original "Captain America" comic books were thinly-veiled American propaganda designed to inspire patriotism during WWII (after all, the cover of the first issue was a picture of Caps knocking Hitler to the ground with one punch, an image that is spoofed in the film). The movie acknowledges the propaganda of the image in a hilarious sequence detailing Captain America's USO tour, but it moves beyond the surface to show the genuine patriotism that stirs in the heart of the Captain, (a.k.a. Steve Rogers, played with perfect sincerity by Chris Evans). Plus, this movie gives us the first superhero romance in many years that we actually care about, largely because of the spirited performance of Hayley Atwell as Peggy Carter and the genuine chemistry the two share. A wonderful throw back to movies the way they used to make them and a great way to beat the summer heat.

5. "Super 8" - The term "b movie" originated in the late 1920's and refers to a low-budget film that is the "lesser" film in a double feature. The b-movie was the warm-up act, the a-movie was the main event. Usually b-movies were sci-fi or horror films that weren't meant to be taken very seriously. However, in the 1970's Steven Spielberg made a name for himself (not to mention a large fortune) by taking b-movie plots and infusing them with a-movie writing, acting and production values. With films like "Jaws", "Close Encounters of the Third Kind", "Raiders of the Lost Ark" and "E.T.: The Extra-Terrestrial" he showed that fun movies could be really GOOD movies as well and thus inspired a generation of filmmakers. J.J. Abrams was one of those filmmakers and Spielberg's influence on his style is clear in his t.v. work ("Alias", "Lost") as well as in his films ("Mission:Impossible III", "Star Trek" 2009). "Super 8" is Abrams big, gooey love-letter to those late 70's-early 80's era films and it's splendidly done. It helps that Spielberg was the executive producer, but this movie truly feels like time machine back to that era of film. The everyman in extraordinary circumstances who is forced to deal with his own personal issues as he battles the big, scary thing, whatever that may be. It's still an engaging and inspiring formula and this movie does it very well.

4. "X-Men: First Class" - Can somebody please explain to me how a movie this fun, this well written, this exquisitely acted can flounder at the box-office while "Transformers 3" effortlessly earns over a billion dollars worldwide? For my money, this is the best of the X-Men films, as it's the first to delve into the emotional background of ALL of the characters, which makes the cool action sequences mean more than a great display of digital magic. This is the story I want to see continued. Placing these characters on the background of the cold war is absolutely brilliant, making the motivations of both sides of the mutant issue more raw and volatile. Plus, if you need more convincing, this movie has one of the absolute best performances of the summer in Michael Fassbender's portrayal of Magneto, a man who is kind by nature, but brutal by circumstance.

3. "The Help" - I really didn't expect to love this movie as much as I did. I was expecting something along the lines of "Fried Green Tomatoes" and, while this movie does evoke that combustible, sweaty, Southern spirit, it is first and foremost a film about humanity. Every character, from the saintly to the vile, is shown with genuine human strengths and weaknesses. Characters that seem to be stereotypical are revealed to be far more than their surface shows. I know it's a cliche, but this movie made me laugh and cry. Plus, it has the best acting ensemble of the summer, with each performance pitch perfect. Loved it.

2. "Midnight in Paris" - Again, I haven't been the biggest fan of Woody Allen. Once in a while, I'll see one of his movies that just seems to spark, but often they come across as whiny and self-indulgent. Fortunately, this one sparks brightly. This is a tribute to the inspirational power of art and the transformative power of conversation in the guise of a light comedy. The plot is sort of a bubbly take on "Somewhere in Time", with the protagonist (winningly played by Owen Wilson) inexplicably shifting from present day Paris to Paris in the 20's every night and getting to meet his artistic heroes, such as Ernest Hemingway, F. Scott Fitzgerald and Gertrude Stein, only to learn that great art has lest to do with when it was created, but how and why it was created. A really wonderful film.

1. "Harry Potter and the Deathly Hallows Pt. 2" - I freely admit that I am a fan of this series, both in book and movie form, but even if I weren't, this movie truly is a fantastic film. Smart, creative, enthralling and soundly rooted in emotional characterization, it is, quite simply, the movie of the summer. However, be forewarned, it does assume you've seen EVERY other Harry Potter movie, so if you're one of the 7 or 8 people who haven't seen it yet, brush up on your Potter-lore before you dive in.


There were some other movies that I really did enjoy this summer, including the charming "Winnie the Pooh" and the darkly amusing "Crazy, Stupid, Love", but these are my favorites. Below are some of my other thoughts about the season....

Biggest disappointment: "Cars 2" - Not horrible, but we expect better from the best studio in Hollywood. Runner-Up - "Pirates of the Caribbean: On Stranger Tides"

Best Performances: Andy Serkis, "Rise of the Planet of the Apes"
Michael Fassbender, "X-Men: First Class"
The entire cast of "The Help"
Corey Stoll as Hemingway, "Midnight in Paris" (the perfect
combination of war-hardened wisdom
and swagger)
Emma Watson, "HP7, PT. 2" (largely based on her performance in my
favorite scene of the summer. See below)
Chris Hemsworth, "Thor"
Elle Fanning, "Super 8"


Favorite movie moments of the summer: (SPOILER WARNING! In order to share scenes, I have to reveal plot points. If you haven't seen these movies, go ahead and stop reading now unless you want plot points spoiled.)

"I'll go with you" - Harry Potter
For those of you who have seen the movie, you know that Harry finds out he must make the ultimate sacrifice in order to defeat Voldemort. Throughout the film, watch Hermione whenever he mentions the Horcruxes. She clearly suspects that Harry is a Horcrux himself and when he reveals that he knows this and that he must be killed to defeat his enemy, her response isn't pity or denial. She simply says, through streaming tears, "I'll go with you". This willingness to give her life, merely to keep her best friend from being alone at the end of his is the ultimate testimony to the nobility of this character, one of the strongest female characters ever committed to screen.

Anything with Neville or McGonagall - Harry Potter
This movie has far too many great moments to pin-point them all, but anytime Neville or McGonagall showed up was cause for celebration. In particular, Neville's speech and McGonagall's battle with Snape...and her sending the Slytherin's to the dungeon....and her "I've always wanted to use that spell" line...and....well, like I said, anything with Neville or McGonagall!

"Ying/Yang" - Kung Fu Panda 2
There is a section in this film, towards the end, that is pure visual poetry. Throughout the film, Po is trying to find inner peace, but finding it very difficult, especially as the truth about his origins begins to surface. However, after understanding and acceptance of his past, he finds his peace, only to be fired on by a fleet of ships armed with cannons. However, as the cannonballs come toward him, he uses his own motion and physicality to re-direct the cannonballs back to their target. At one point, the cannonball spins him around as he attempts to re-direct, giving the visual illusion of turning him literally into the ying/yang symbol. Yes, it's a cartoon and the physics of the situation are ludicrous, but it's visually stunning and a good example of the layered story-telling going on here.

"The Satellite Dish" - X-Men: First Class
If you want to know why I'm so taken by Michael Fassbender's performance in this movie, just watch this scene. As Magneto is trying to maximize his powers, he realizes that he's only used anger as the motivating emotion to release them before. In a particularly heart-breaking scene, Xavier (James McAvoy) accesses his memories to show him a tender moment from his childhood involving his late mother (whose separation and brutal murder caused his powers to surface in the first place). The look on Fassbender's face as he relives this scene and as he discovers the level of power he has when he accesses his empathetic emotional side is pure cinema magic.

"Letting Go" - Super 8
Much of the emotional thrust of "Super 8" deals with another main character losing his beloved mother, this time in a pretty horrific accident. The child (played terrifically by newcommer Joel Courtney) has one personal momento of his mother, a locket with a picture of his mother holding him as a baby. In the final scene of the film, there is a huge magnetic field that causes all metal objects to fly into the town's water tower. Amid the big-budget mayhem, the boy's locket slips from his pocket and he grabs it. The locket opens giving him a last look at his mother as he tearfully let's it go. Yes, it's sentimental and emotionally manipulative, but it's handled with grace and sincerity and it's a powerful moment.

So, there you go. I'll keep trying to blog when I can throughout the year and I'll definitely see you next year as we get "The Avengers", "The Dark Knight Rises" and "Brave" or, as I like to call it, Pixar's (hopeful) return to greatness!