Film

We’ll always have PunjabThanks to Danny Boyle (Trainspotting, Millions, 28 Days Later) and India's casting director turned co-director Loveleen Tandan, Slumdog Millionaire may be the most hyperkinetic rags-to-riches saga ever made. What could've easily sunk into the abyss of Hollywood love-mush takes on three distinct genres: a love story, an interrogation flick, and a nail biting game show. Boyle then rolls all three together in a barrage of fast-paced eye candy.

Based on Q&A, a novel by Vikas Swarup and jazzed up by The Full Monty's writer Simon Beaufoy, the movie chronicles the improbable rise of Jamal Malik (Dev Patel), an 18- year-old dirt-poor orphan from the slums of Mumbai who becomes a celebrity as he wins a fortune on India's most popular quiz show, their version of Who Wants to Be a Millionaire. Interrogated by police who think he must have cheated, Jamal flashes back to harrowing stories of his childhood, each revealing an answer to one of the game show's questions. In the process, we learn of his relationship with his brother Salim (Madhur Mittal) and his love-at-first-sight affection for Latika (Freida Pinto).

You’re right, they do smell like peanuts.Seven Pounds is a film that you will think about long after you leave the theater. Conversations and phone calls that were so frustratingly unclear in the midst of the film must be re-conjured, mulled over and made sense of long after the final credits roll. This film is shrouded in mystery, from the main character's tragic past to his plans for the seven strangers he has chosen and the roll they will play in his redemption.

A gaunt and disheveled Will Smith plays Ben Thomas, an IRS agent looking to change people's lives, to "drastically change their circumstances." While not equal to his Ali brilliance, the film is sustained by Will Smith's ability to be at once cold and ambiguous without the audience losing faith that his intentions are ultimately good. More than one supporting character asks, "Who are you?" a question for which he has no answer. The audience will ask the same: Is this a megalomaniac or a man seeking to repay an impossible debt?

Oh, the sad plight of the young vampire.While it stands on its own as an atmospheric art movie, Let the Right
One In could be interpreted as the ragingly popular Twilight's polar
opposite - human boy meets vamp girl instead of the reverse. Adolescent
love grows between pre-pubescent 12 year olds instead of
hormone-frenzied 17 year olds, the plot and direction being realistic
and bleak, rather than fantastical and uplifting.

This movie sucks
you in from the eerie opening scene: through a window an anemic-looking
blonde boy Oskar (Kare Hederbrant) brandishes a knife in front of a
mirror, pretending he is telling someone to "squeal like a pig."
Oskar's morbid side stems from the bullying he confronts in school on a
daily basis. He's a weird kid for sure, but not as weird as his
neighbors. Eli (Lina Leandersson) and her "dad" (Per Ragnar), move in
next door, revealing a relationship that is bizarre beyond belief. Set
in a remote Swedish town, most of the action takes place in a park
between an apartment complex and an elementary school.

Dude, I don’t need this. I was in Bill and Ted’s Excellent Adventure.If you're like me, you may have serious concerns about the Keanu
Reeves/apocalyptic-star-vehicle industry. Is the stock spiking?
Plunging? Should we ask Congress for a bailout?

Well, with The Day
the Earth Stood Still, an impossibly boring, humorless, pedestrian
remake of the 1951 sci-fi classic, I am proud to inform you that
industry is receiving a stimulus of sorts. Turns out crappy Keanu
movies are like Detroit sedans: quality doesn't matter, as long as they
sell.
Reeves is back in Neo/Messiah mode, as Klaatu, an alien
diplomat who travels across the cosmos with his robot, nicknamed
"GORT." Klaatu takes human form in an effort to observe people, and
ready Earth for his plans.

Hey baby, take a look at this Nobel Prize I've got here.Like a root canal, the best thing you can say about the new Alan
Rickman movie, Nobel Son, is try to endure the first 30 minutes, it
does get better, but only slightly. But like that popular dental
procedure, it also lingers for the rest of your day causing you intense
moments of nausea and disquietude.

The same gang that gave us that
clumsy but charming wine movie, Bottle Shock, got together lock, stock,
and (ouch!) barrel and decided to make what the PR folks call a
psychological thriller. You and I, however, might call this new genre
cinema terrible. At least Bottle Shock had at its core a reasonable
(and largely true) story held thinly together by two good actors who
appear in Nobel Son as well. But the supporting cast included actors so
far over their heads and drowning you left the theater gasping for air.

They had tire swings in those days?Let's cut to the chase here: The Boy in the Striped Pajamas is hardly
uplifting. Based on the book by John Boyne, this movie tells the
haunting story of the atrocities of the Holocaust as seen through the
eyes of a child. Opening with a quote that a child experiences sight
and sounds before reasoning takes over, the movie begins with symbolic
scenes of kids harmlessly playing war, setting up the innocence that is
to be shattered.

Smoke on the water. Winner of the Sundance Audience Choice Award and now being considered for an Academy Award nomination, Fuel is an amazing resource for those wishing to know more about the hottest issue of our time, energy independence. Not as sensational as a Michael Moore production (there is no equivalent to standing on a boat outside of Guantánamo Bay with a bullhorn demanding healthcare), it is far more practical and the main themes are knowledge and action.
Fuel is a comprehensive look at energy in America. A history of where we have been, our present predicament and a solution to our dependence on foreign oil, given an effort by the American people and our government. The film flows seamlessly through scientific data, facts, history and personal narrative and is never dull or overwhelming. Quite the opposite in fact, there is intrigue, conspiracy, murder, and greed, which is made all the more infuriating because this is not fiction.

Been waitin' for the bus all day. Knowing writer Charlie Kaufman's (Being John Malkovich/Adaptation) warped sense of humor, I figured the misspelling of Schenectady, New York was a setup for a cool in-joke. Turns out "synecdoche" is a real word, which according to Webster's means, "a figure of speech by which a part is put for the whole (as society for high society).

And Synecdoche New York is set in Schenectady. This movie is a surreal mess, mesmerizing in its complexities, perfectly depicting depressing beauty with stunning diatribes of madness, loneliness and despair. It's also a hilariously dark comedy.
Directing for the first time, Kaufman delivers what seems a straightforward story, but after a few minutes things start to twist. The first few hints involve the misinterpretation and mispronunciation of words. Kaufman then begins to fill the screen with images and ideas at a rapid pace. Soon we figure out that it's not going to do us any good to try and make sense of this journey. Just sit back and enjoy the circus.

Besides bloodlust, we have great hearing and a keen fashion sense. "Surely it was a good way to die, in the place of someone I loved. Noble even. That ought to count for something."

Thus begins the new movie, Twilight, inspired by the first of four books about a young girl and her vampire boyfriend by Stephanie Meyers, and in the hands of virtually every young girl aged 11 to 20 in America right now. Four novels, seventeen million copies - get the picture?
I have to admit, I didn't read the book and went in cold. And I was mesmerized. The story involves a sixteen-year-old high school student, Bella Swan (Kristin Stewart), who leaves her single mom in Arizona to go and live with her policeman dad in Forks, Washington. It's a gorgeous setting for this film: grey, perpetually foggy, green, mossy, mysterious, and, most importantly for vampires, sunless.

Cry it out. This fun little movie is actually a light-hearted look at Hollywood
back stabbings and financial dealings. In other words, this could have
been a scathing expose on Hollywood corruption, but What Just Happened
just lets it happen and allows us to be the judge.
Robert De Niro
plays Ben (yes, just "Ben"), a producer trying to balance his work
while juggling a messed-up life involving two ex-wives and kids to go
with them. Ben has two big deals in the works: one is a Cannes entry
entitled, "Fiercely," starring Sean Penn (as himself), directed by
indie filmmaker Jeremy Brunell (a superb Michael Wincott). We only see
snippets of the cruel and violent ending scene of "Fiercely," which the
producers insist should hit the editing floor. Jeremy takes it badly,
promoting tension between producers and himself. The second deal is an
action picture starring Bruce Willis (as himself). Here, the dilemma is
that Willis, contrary to all advice, has put on weight and grown a
Grizzly Adams beard, adding extra girth for his concept of the role
then refuses to shave his beard.