Culture

A wise woman once told me that the older she got the more she tried to see the good in things rather than the easier route of criticizing everything. I have thought of that comment virtually every day since she said those words, but never more than while watching GI Joe: The Rise of Cobra.
The problem for me with this movie is not that it brings to life the Hasbro action figures first introduced in 1964 – that's kind of cool – but it does so with none of the freshness or originality of other similar efforts like Sin City or the humor and self-deprecation of the Superman franchise, or the passion of Iron Man. The creators bumbled a golden opportunity here to laugh at the effort itself, you know, the tongue-in-cheek stuff. There is nothing interesting about this effort and no humor to buoy the comic book dialogue. See the good.

The frequently used term “nail-biting” has never been more appropriate than to describe The Hurt Locker. Focused on a bomb squad assigned to dismantle IEDs (improvised explosive devices) in Baghdad circa 2004, the gritty realism and sheer tension of this movie sucks you in, hooks you and keeps you dangling the entire time.
Based on the true experiences of journalist Mark Boal, who spent time embedded with such a unit (Explosive Ordinance Disposal or EOD), Hurt Locker is not an Iraq war statement but rather an in-depth character study of addiction to risk and danger. It's also a classic study of men in combat and under stress that could have taken place anywhere, detailing strong characters thrown together in the harshest of times, forced to deal with each other's psychotic idiosyncrasies and insecurities.

Here we have proof that no matter how cool a movie looks, how dazzling the photography, how mesmerizing the score, how nail biting the suspense, there is no masking a stupid story. The Collector is one of those movies, and here's why…
Arkin (Josh Stewart) has problems. His wife owes a vague yet sufficiently large amount of cash to loan sharks, and his handyman job doesn't pay enough to help. It does get him into homes, however, and being an ex-con in cahoots with a robbery ring, he decides to steal a huge gem from the house he's been casing. All looks well and good, but as soon as he breaks into the home he finds that someone has beaten him to it. A masked creep has been torturing the family, and has booby trapped the house to the hilt. The burglar is faced with the moral dilemma of stealing, fleeing or saving the family. Escape is not going to be fun.

In Funny People we may have the delicious beginnings of a great collaborative team, Adam Sandler and Judd Apatow. The two, who were once roommates early in their respective careers, join forces here for the first time on the big screen (if you discount You Don't Mess With The Zohan, which Apatow evidently had some hand in writing) and the results are excellent.
This is the movie many fans of Sandler and costar Seth Rogan have been waiting for. Forgetting Sarah Marshall and Knocked Up were fun, uneven, and promising. And Zohan, of course, made Billy Madison look like high art. But both may be coming into a period of very good work. Funny People has higher goals than groin humor, though there's plenty of that if you're a south-of-the-border type. It seeks not only to tell a story, but the movie attempts to navigate some of life's more difficult regions like aging, facing death, and the issues surrounding the limits of friendship. And the movie dares to ask the question “What would you do if you got a second chance at life?”