Harry Potter and the Half-Blood Prince

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I don't even know where to begin with this. As someone who has seen all the movies thus far and read all the books in one sitting because I was sick of not knowing the whole story, I was wildly disappointed with this film.

For me Half-Blood Prince is the best of the seven novels, and of the seven (since they are making Deathly Hallows into two parts) is really the only one that could fill out a whole film with ONLY things that matter. This for me was the deepest and most painful of all the books. The foreboding Rowling captures in this novel is quite astounding. It's that perfect moment in a series, like an eye of a storm, when everyone realizes what is really in store for them and has to choose a side and hunker down. The final act of this novel far outshines the inevitable ultimate battle between Harry and Voldemort. More death occurs in Hallows, but for me, the deaths in Prince were far more brutal and meaningful.

So, with that said, it's almost difficult for me to say that it was a bad movie, simply because what they did show was right on the money. It was beautifully shot, the performances were consistently stellar from all major players, especially Felton's Malfoy, who is scared and tormented, and Rickman's Snape who is nothing short of tortured in this film.

However, It was an empty shell of what it could have, and should have been. Epically hollow, if you will. I know the whole puberty thing figured prominently in the novel, but I didn't think they would devote quite as much time to it in the film as they did. Plus, really, I can't condone cutting the battle and the funeral. I just can't. And I can't believe they fucked up Dumbledore's death the way they did. The impact of his being gone was so much more significant in the novel, and that's just with my imagination to picture it.

There was nothing really wrong with Half-Blood Prince. But it just made it seem like the sixth book was merely a coaster for the seventh to sit upon which isn't the case if you read through them all. Plus, without introducing all the side-stories from this novel, really fleshing out Hallows will make no sense at all. It was gorgeous, it was, but none of it MEANT anything.

This film, for me, not only missed its mark, but felt like it didn't even know what the hell to aim at. By far my biggest letdown of the year.

Public Enemies

I didn't like this movie as much as I thought I was going to, but it is a well put together drama. My biggest pet peeve with it is at the end when Dillinger walks through his own Task Force unit and no one recognizes him. I get it, Dillinger was an escape artist and smarter than everyone else, thanks for forcing that one down my throat.

I think Michael Mann is a good director, I hated Miami Vice, but I loved the way it was shot, and Mann sticks to that gritty, harsh lighting and natural set-up in this film. Mann really comes into his own when it comes to shoot-outs. He just has a way of shooting gunfire that is unmatched by anyone else. The sound isn't cartoony and I love knowing that he's not talking down to me and trying to make a gunfight pretty. Bullets tear into and destroy everything in their path and I love it.

Johnny Depp really made this movie for me, and even though there was a rather impressive supporting cast I really didn't care about them that much. He makes the most of all his screen time and appropriates Dillinger's much revered nonchalant attitude with ease. While not being emotional, you can see that losing men and having the net tighten around his wily band weighs heavily on him, and every loss is a personal failure on his part.

I loved that the love story wasn't really a love story. Dillinger merely wants to protect something that can't protect itself and Billie just needs someone to take care of her. It's not so much love as it is a necessity in order to feel complete.

The film is confident in its delivery of the last 18 months of Dillinger's life, I felt like when I watched it it was less a movie than it was a cross section of how it all went down. It doesn't pander to the audience or explain how the characters got to where they are, and I love that. We all know how the story ends, and the movie doesn't serve to explain WHY what happens happens, but rather THAT what happens happens.

I'm sure this is one of those love-it-or-hate-it movies for most people, but I think I just appreciated it for the fact that it didn't SAY anything, it just puts together a series of images based on the researched history of one man's life and provides us with images of how it may have happened. It's excellence as a film is completely dependent upon its simplicity, and because of that it succeeds.

Transformers: Revenge of the Fallen

So, I've seen this a couple of times now and I have to say, it was easier to stomach the second time around since I just blatantly tuned out the stupid shit. Let's face it, I love Michael Bay, I really do. But the man is not a poet. He's one of the best action directors out there, and while he doesn't really outdo himself here, the effects and action sequences are spectacular.

Aside from all the normal complaints, ie: the twins, Devastator's "wrecking" balls, random teleportation, a human going to "robot heaven," an even more random trans-terminatrix, being in forests 30 seconds after being in an industrial park, Megan Fox's pants staying white until the last scene, Wheelie humping her leg, Sam's high mom, The Fallen being weak as shit, not an entirely present or cohesive plot, etc., other than all that it was fine.

Yes, I know how stupid that sounds but really, what do you expect? The opening scene was fantastic, and while it left me wanting to know more about NEST it was enough to get me by. I actually liked that we didn't find much out about the new Autobots, and I really appreciated that this movie was basically about Optimus, and how much he was willing to sacrifice for another species. I liked his blossoming relationship with Sam, which can be seen as an allegory for growing up and realizing that sometimes it's not all about you, and you have to do the right thing even though it isn't an easy fix.

Optimus, while not being human, always comes across as a very human character to me. I actually find him to be the most fleshed out of all the characters, and I feel like he's some wizened grandfather passing on his knowledge to the next generation, complete with his double-arm blades. I know it's cliche, but I would have to say my favorite scene is Optimus in the forest, when he takes on Megatron, Starscream and a third decepticon. Not only is it a weird clash of visuals, (an untouched, natural forest being paired with an uber advanced alien race), but it's also where we see how much Optimus cares about Sam. The slow motion of him tearing that other decepticon's face in half was pretty damn amazing as well.

This movie is not perfect by any means, but is still worth a watch. It's fun, and though the plot is sketchy, you understand what's going on and definitely aren't let down by any of the effects. To be honest, the human cast didn't matter as much to me. LaBeouf is solid despite the writing, Fox has to scream way too much, and John Turturro is no where near as annoying here than he was in the first installment of the franchise. Appreciate Revenge of the Fallen for the visuals, and try not to hold the plot against it.

The Hangover

Love, love, LOVE this movie.

Imagine "Memento," then subtract subtlety and seriousness, then add a lost groom, three still drunk, kinda drugged buddies of the groom, a really hot Heather Graham, a dash of Mike Tyson and a gallon of hilarity, cussing, random shit and that funny guy from the Apatow movies, and you've got "The Hangover."

This was a legitimate adult comedy and I loved the filmmakers for it. I was happy that Justin Bartha wasn't in it more, because if he's not a sidekick and talking really fast then I don't care. Bradley Cooper was well cast, and held it together as the one trying to stay cool and not get too worried about having lost one of the boys.

But for me the real comedy came with Ed Helms and Zach Galifianakis, the latter I doubt that any of what he said was actually scripted. I firmly believe he's just THAT funny. Plus, just how he looks in this film is enough to laugh hysterically.

I loved Ed Helms though, as this guy who is completely tramping down his personality for a woman who treats him like shit. And, even though I HATED her, Rachael Harris was fantastic as that bitch of a girlfriend. I liked that as the movie went on his balls grew more and more until finally, at the end he does what he should have done all along. (How many guys I'm sure were wishing they had an opportunity to go back and say that shit to an ex or two.)

I loved that we as an audience were in exactly the same position as the characters, having to search and try and find our way through a crazy, drunken, drugged orgy of a night in order to figure out where in the hell we lost our best friend.

Mike Tyson's cameo was fan-fucking-tastic and I actually can't imagine the movie without him. The security camera footage of them stealing his tiger was choice, and singing "In the Air Tonight?" Priceless. The ER doctor who helps them along the way was amazing, the whole "It's on the corner of fuck off and get a map," had me doubled over. Ken Jeong as Mr. Leslie Chow who talks like Eminem and wears Prince heals and stole the wrong Doug? Pitch perfect.

The bottom line of this movie is about friendship of course, but the madness along the way is what gets you through the corny shit. Children tasing grown men in the nuts, a teacher stealing his kids' field trip money for Vegas, a father-in-law saying it's ok to miss your wedding if you're on a heater at the tables, etc. If you are an adult (who doesn't take offense easily) you must go see this movie. If for nothing else, sit through it for the memory card of photos at the end.

Trust me.

Disney Pixar's UP

From the short in front of this film to the photo-album ending I really have nothing bad to say about this movie. Much like Pixar's other projects, this movie completely fulfills the differing demographics' desires for an animated comedy.

On the one hand, there's the crotchety yet endearing old dude who provides the (major) funny for the adults, and then you have the vibrant and curious Cub Scout and somewhat bewildered dog for the kids.

I loved the sort of time-lapse journey through Carl's life previous to his becoming a stubborn and grumpy old timer. Even though it was quick, I teared up at the end of the montage, which so beautifully summed up Carl and Ellie's relationship. I think it also created a good realism base for the rest of the highly imaginative and fantastical journey. Much like probably everyone in the theatre, over time, one thing or another cropped up to put their dreams on hold, yet despite that, they were never unhappy because they were together. Because of that, you suddenly find yourself feeling a great bond with Carl, because you feel his loneliness and his desire to honor his word to his wife, even if she can't be there to see it.

The journey to Paradise Falls is fantastic and the growing relationship between Russell and Carl is just so damn cute, you can't help but want to hang out both these characters. I particularly loved that even once he figured out that she was a mom, Russell still called the so called "bird of paradise," Kevin. It's small touches like that which pushed this movie from your average animated fare to the next level.

Carl once again finding someone to care about is moving, as is the moment when he realizes that Ellie considered their wonderful life together her adventure. I remember saying to myself "open it" in the theatre because I just had a feeling that Ellie wouldn't have left those pages blank all her life. Then there's the end with the "Ellie badge" and the corner ice cream shop, and really, I'm sure some people thought that ending was too-pretty-with-a bow-on-top, but I loved it. Watching a character like Carl lose his heart and then, through a wondrous adventure, find a reason to live again was touching and uplifting. I was just SO happy leaving this film, and truthfully, there is nothing I would change about it.

Plummer was fantastic as the outcast explorer/adventurer, Charles Muntz, Alpha the master dog was quite funny, even without the high-pitched voice, and Dug, Dug was just a great dog.

I'm not saying this movie is perfect, I'm sure plenty of people had little annoyances about it, but I am saying that it was perfect to me. If you don't want to take the time to see a silly little animated movie, please reconsider and see this one. I guarantee your spirit will be lifted absolutely.

This film is completely in-keeping with the traditions of Disney Pixar, beautiful, creative, funny, liberating and above all, triumphant.

Capsule Reviews: Demons, Terminator, Pelham

Weirdly enough, all three of these movies can be reviewed with the following sentence: "If you've seen the trailer, you've seen the movie." But seeing as I'm actually trying to do this, I'll go into a bit more detail.

Angels and Demons: I confess I didn't actually go to a theatre to watch this, and in fact barely listened to most of the dialogue while I watched in on my computer, but frankly I doubt that doing either would have made much of a difference. Much like "The Da Vinci Code," this movie took far too many liberties with it's original novel material. While I can't stand Dan Brown, and find it obnoxious that he writes himself into each of his books as the main, dashing, humbly brilliant and heroic protag, I also concede that his books are a fun read and have plots that do require you to pay attention while reading. That said, I hate that this movie felt it necessary to dumb down, quicken, and overall ruin some of the finer points of the book. The last 20 minutes especially, come to mind. Tom Hanks was fine as Langdon, though it is a rather pedestrian role for him. I will say that Ewan McGregor, though blatantly mis-cast, was fabulous as the Camerlengo, his monologue and last 15 minutes on screen are by far the best parts of the movie, even so, the novel Camerlengo moved me to tears a few times in the book, no such luck here. I would recommend the film more to those who haven't read the book, because as with Da Vinci, if you did read it, you'll just end up pissed off at the end of this film, as opposed to enlightened.

Terminator Salvation: I can't believe I'm going to say this, but Christian Bale was COMPLETELY wrong for John Connor. That said, and seeing that Connor is the crux of the movie, I found myself relying heavily upon the talents of Aussie Sam Worthington, who, aside from minor accent inflection mistakes, was simultaneously the best part of the movie and worst part of the plot. In Salvation, Marcus (Worthington), is introduced as "new" technology, the first of his kind, an infiltration model who later evolves into Arnold's Terminator. This makes no sense, seeing as Marcus allegedly became a guinea pig for the program whilst about to be executed, so, where did the body model for Arnold come from? Not only that, but how did they go from a terminator with a human heart and mind, to Arnold, who is metal everything, chip everything, no human whatsoever? Oh, and wasn't Arnold a T-100? NOT a T-800 as alleged in this film? And WHY do the machines hate us so much if we aren't really a threat to them? What are they really fighting for? What objective? And how the HELL is Resistance "Command" so stupid as to think that the key to destroying Skynet and achieving "salvation" is a "hidden signal" in all Skynet frequency directives and commands? I mean really. So, much like T-3, this movie does nothing for the advancement of the Skynet saga, and only leaves us with existential questions that have no answers. Go see it for the effects and Worthington if you are a fan of the series, but otherwise, skip it.

The Taking of Pelham 123: Travolta and Washington elevate this otherwise droll plot into something worth watching, however, acting-wise, Gandolfini steals a bit of the show with his jaded, nearly retired mayor of NYC. "I left my Rudy Guiliani suit at home," is a particularly favorite line of mine. Travolta is over-the-top as Ryder, saying mother-fucker far more times than it is warranted, and not being half the badass I expected his character to be from the trailers...but nonetheless passable. Plus I can't escape the irony of his prior role in "Swordfish," not appreciating that in Hollywood movies never show hostages getting killed. Utterly brilliant. If you haven't seen both movies, the last is lost on you, but fear not, it's not that important. Washington is moving, if not spectacular, and John Turturro is far less annoying than he was in Transformers. The plot isn't as intricate or as twist-ridden as some of Scott's capers, but it's most likely better than whatever your girlfriend wants to go see.

Star Trek

I've been thinking about this review since I saw the movie last weekend, and quite frankly, I still don't REALLY know what to say. Simply put there is absolutely NO excuse for not seeing this film. Even if you have to wait to see it at a second-run theater for two dollars it must be seen with a big screen and big sound. I mean, it's space opera, multiple speakers are necessary.

Now, last year we had releases such as Iron Man and The Dark Knight. There's no way in hell that I'm going to say that Star Trek was as good as Dark Knight, because it wasn't. To be honest I still think that Dark Knight is the best movie I have ever seen. I saw it three times in theaters and I don't think I took it all in even then. Some may scoff at my statement, as I've seen a lot of movies in my day, but I mean it honestly; if the only thing someone can complain about is a too raspy Batman voice in a film like that, then there is virtually nothing wrong with it. I think I would plop Trek right in between Bruce and Tony. There's a vast distance between first and second of course, but still.

Let's get the easy crap out of the way. Yes, this is just another studio trying to jump start an epic franchise -- see Casino Royale (and it's vastly impotent by comparison sophomore outing, Quantum of Solace) or Batman Begins -- and, yes, Trek uses what some may see as the oldest and dumbest trick in the book, time travel, in order to bring us the infancy of characters we love, while also opening up a wholly alternative group of potential story lines. So what? Are we seriously going to bicker about Hollywood redoing shit that's already been done? It happens every year. Plus, if any franchise is capable of supporting time travel, Trek would easily fit the profile. Come on! They can teleport from far off planets onto ships flying faster than the speed of light. I think they can handle a little black hole action.

That said, for me, the film's biggest problem was Nero. Amongst all these other great performances, poor Eric Bana is completely left in the lurch. He got one good scene in before they tamed him out completely, and that was the first time we see him on screen. His anger, vengeance and frustration in that scene were what I expected the whole time from him, but instead they gave him empty lines and a crappy crew. Yes, his ship was wicked cool, but it's not enough. Part of this franchise's legacy is layered villains. People who you live to root against. But here I actually felt bad for him and his history, while misguided I understood him and I wanted him to have a slightly more important role. I know he was just a plot device, but still, they could have tried a bit harder.

Our heroes on the other hand, were nothing short of right on the money, and yes, I totally teared up when (a) different future Spock says to current outcast Kirk "I was and shall always be your friend." and (b) different future Spock told current Spock "Put aside logic, and do what feels right." In all truth I teared up here and there throughout the film. I think each actor was given just enough to remind us of our old friends, but not BE them completely.

Pine's Kirk was brash yet clever, hot-headed and somewhat uncouth, a trifle funnier than Shatner's version but just as sexy. Quinto's Spock is nothing short of remarkable, his flippant "Live long and prosper," at the Academy of Science almost completely sums up his conflict between logic and emotion, as does his expression just after his mother dies. He seems utterly confused by his reaction whether it be anger or grief or logic trying to block out the emotion. Yelchin is fabulous as young Chekov "I can do that, I can do that! Move, move move!" and Cho is great as newbie helmsman Sulu, plus his combat fencing is badass. Saldana got sold a bit short, but I imagine her role will be written up more in future installments and I liked that they gave her a witty confidence, rather than just putting her in as eye candy for the male audience. Bruce Greenwood totally classed up the place as kidnapped starship captain Pike, and I adore Simon Pegg and thought his Scotty was great, just enough funny to work the tension, and the classic line he got to shout just made me all tingly inside, "Cap'n I'm giving her all she's got!"

But, the icing on the cake for me was Karl Urban. He absolutely WAS Bones McCoy, the sarcasm, the disdain, the panic when Kirk gets puffy hands and numb tongue. His opening scene with Kirk when we learn why he's named Bones and why he hates space is golden, "Don't pander to me kid, one crack in the hull and our blood boils." And come on! He got to say "green blooded hobgoblin" and "Dammit man, I'm a doctor not a physicist!" How awesome was that?

Anyway, you've got great story-telling, great characterization, thrilling effects, and flat-out epic film-making. I may hate Lost, but I loved Alias and Cloverfield actually freaked me out. Abrams does a fantastic job with Trek, and I hope the success of this film just means we will get to see a lot more of our Enterprise pals in the future.

P.S. Leonard Nimoy was brilliant, but him saying the intro? Not cool. I know they passed on the Shat being in the movie, but come on, a few lines of voice-over couldn't have been out of the question, right?

Pick of the Week: 16 Blocks

In times like these the value of a good DVD collection comes out in full. I'm sure that if I hadn't spent money buying DVDs over the years I might have been able to afford cable. But, seeing as I am of a persuasion that allows me to watch movies that I love over and over again, I find owning, rather than chancing television, a better way for me to go. Plus, if there is a week here and there when I can't afford to go out to the movies (even at the fantastic Century 25 in Orange which has early bird showings for $6.00!) it's always nice to have an outlet to go to where I know I can find something I want to watch.

Now, we've all seen Bruce Willis be a cop. He's like the Rocky of cop thrillers. We KNOW he's gonna win in the end, but we're still worried about him and pulling for him the whole time.

However, in "16 Blocks" Bruce is a slightly different kind of beast. In this he is rightfully unsung, in fact, even three-quarters through the movie we still aren't really sure (a) if he's even a good guy and (b) if he's gonna get the job done. Both seem doubtful. He's tortured, bleak, and in a way, just going through the motions waiting for it all to be done already. Enter Mos Def, in what I consider to be a flat out brilliant performance as a petty thief who happens to be a witness to some right blue line nastiness. Over the tumultuous 16 block journey these men find strength in each other and a commonality of soul which inspires each to do what is right, not only for themselves, but for the other person as well.

David Morse (who is wonderful when he's good and even better when he's bad) co-stars as the baddie on their tail, forcing them into corners where escape seems nearly impossible. Even though the plot is somewhat predictable, it's remarkably believable. Scenes are taut and there's almost no excess in dialogue. Plus, for all it's darkness and undermining of police and what they do it's uplifting in it's own right. People make good on their promises; people finally do the right thing after years of looking the other way. It's a film that reminds us nothing is set in stone; we always have choices, and that, on rare occasions, people CAN change.

X-Men Origins: Wolverine

Welcome, welcome one and all.

First up this week, X-Men Origins: Wolverine.

A couple things must be said before anything else in this review:

To the ladies who have not or do not want to see this film, I have two items of note to point out.

1) Uber-buff Hugh Jackman and his Wolverine chops.
2) Uber-buff Hugh Jackman running bare-ass naked across a field and into a barn.

Ahem. Yes. That said, if there are any women out there who still aren't going to let their boyfriends' get their action on with this film, well, you women are a disgrace to your gender. SEXIEST MAN ALIVE, LADIES, COME ON!

Now, on to the real thing.

After having a couple of days to marinate over this movie I must say, I was a bit disappointed. To some extent, the unofficial "summer begins" movie usually has both a lot going for it and a lot riding against it. On the one hand, audiences have had their fill of the award season dramas, which while usually rewarding and excellent films, we end up needing a little popcorn after "The Reader," "The Wrestler," and "Frost/Nixon." Then again, the first summer movie isn't usually the one ALL the hype is about. So, with that I will say that "Wolverine" was a good summer starter flick, but it left me wanting more. And I don't mean a sequel, I mean the plot was thinner than Calista Flockhart.

Let me clarify all of this by saying that I have never read a comic book in my life, yet I LOVE comic book movies. So, though I didn't actually know the story the cuddly Wolverine, I did actually expect to find SOME stuff out about him. Yet even after watching the movie, I have no idea who Logan (or James) is. I kind of get why his so moody, but his real origins still remain a mystery.

We find out that the father he's known all his life is not his real father, and has been killed by his real father's own hand, whom is in turn killed by James/Logan's own hand (or, bones) in a fit of rage BEFORE he learns that his father was not his father and that he just killed his father. Right. All this of course happens in roughly two minutes, and considering it seems a rather significant part of his past, way to gloss over it and rush into the war montage. Sweet. Speaking of the wars, did the army just not notice that they weren't getting older, and somehow never died, even when faced with a firing squad? And what were they going to do with them after they got shot and didn't die? And how did Stryker even FIND them? And so on, and so forth. You see the issue. Even before we get halfway through the movie it is obvious we are going to have more questions, not answers about Wolverine's past.

I did enjoy the new characters that were introduced in this film because in a way, what little of these other mutants/baddasses was touched on was in many ways more interesting than Wolverine himself. Gambit was of particular interest to me as well as Wade/Deadpool. (And yes, hearing that a spin-off is in the works for him is both awesome and sad because what plagues this film will most likely hurt Reynolds' solo outing.) Unfortunately we get precious little on these others play into the puzzle. We know what Stryker's purpose is for them, but we don't know how he came to be of such singular mindset, nor do we know how he found and recruited them, or how he managed to fool them all.

Truthfully though, the fact that the plot makes no sense and characters seem to come in and out of the film for no reason but to service the plot can actually be overlooked in some ways. This is because millions of people didn't watch this movie for a plot. We watched it for coolness and shit blowing up. And we got LOTS of both. Dukes' blowing up a tank with it's own cannon and Wade's computer enhanced samurai-sword bullet deflecting were particularly fun, especially when topped off by Reynolds' classic Van Wilder-like response "Ok...people are dead." The helicopter scene is much more satisfying than in the trailer, as we see all of what came before it. The fights between our two leading animals are also very satisfying, Schreiber's acidic wit and Jackman's unrefined ferocity play well off of each other. Danny Houston and Lynn Collins are utterly wasted due to the lack of material for them to work with. And one has to question what writer David Benioff was thinking after having penned such scripts as "The Kite Runner" and "25th Hour."

All in all, you get what you pay for with this film. A couple of good one liners, solid action, and lots of metal getting melty and twisted. Wolverine is nothing if not fun to watch, albeit mediocre fun.

The Quick Welcome

So, I have decided that if I want to keep my writing present in my mind, I ought to write on a regular basis. Therefore I needed necessary and reliable topics for which to write about. Movies popped into my mind almost immediately, and thus, here we are.

I love movies, all kinds of movies. I am most notably into action films, but I have seen and own many other genres and I know that most reviews are not aimed at your average movie-goer. That said, even if no one reads these posts, I am going to attempt to write reviews for the people I love seeing movies with. The kinds of people who need to bring tissues to a war movie or a sports movie, the people who will shell out $9.00 just to see one scene that made them giddy from a trailer, the people who go to martial arts movies just hoping that someone tries to start something in the parking lot after they've watched it, the girls who love fast cars and explosions and the boys who get excited being able to figure out a thriller. And of course, I have to included the moms who are in love with Johnny Depp and Hugh Jackman at the same time. You know who you are.

So, hopefully without raising the bar too high, whomever does read these blogs will enjoy the musings of a humble movie lover whose most valuable asset when she dies will most likely be her DVD collection.