Wait Until Dark

Solid thriller adapted from Frederick Knott's 1966 play, about blind housewife Hepburn being tormented three thugs (Arkin, Crenna, Weston) looking for heroin in a lost doll. Deservedly put Arkin on the map, and every spook seems to hit the right spot at the right time. Well-paced, but takes a good half-hour to really get going and much of the story is driven by dialogue rather than action. Also, a little more could've been done with Crenna's character who also delivers a great performance despite not having an overly interesting character. Very cool climatic sequence where the viewer--and characters--are forced into blindness. Very worth it.

Cropsey

Lazy documentary about Andre Rand and the child abductions that led to his convictions. Joshua Zeman and Barbara Brancaccio share the director's chair--and not to mention, annoyingly, the unnecessary center of attention. Loses focus at the beginning--the title itself is merely a lead to the actual subject of Andre Rand and the kidnappings. Some call it unique and terrifying, winning the Audience Award at SINY Film Festival. One of the biggest problems with the film is that Andre Rand is painted--and arguably presents himself--as a simpleton, yet he clearly gives the run around to the directors all throughout the documentary. Delivers nothing more than a simple news report. What a joke.

Kick-Ass

Adaptation of 2008 creator-owned comic book of the same name, about a teenage boy (Johnson) who sets out to become a superhero. His actions are caught on camera, via witnesses' cellphones, and uploaded onto the internet, making him an inspiration. However, he soon gets pushed into the crossfire of an ongoing war between gangsters and ruthless vigilantes that are killing the thugs off one by one. The film starts out very promising, with real life obstacles as a major (and many times humorous) setback for the main character. However, what starts out as something comical and self-aware soon turns into a heartless tale of vigilantism. It's pretty much Marvel's answer to Christopher Nolan's Batman Trilogy, but it brings nothing new to heroism in the real world. The film soon begins focusing too much on the violence and cruelty of the world, rather than focusing on the main character's realization of why people choose not to become superheroes in the real world--an epiphany brought on by a more interesting sub-plot involving a crush who thinks he's gay. Still, the film hit the right spot for a lot of people, but not everyone. Just another example of why Marvel is inferior and shallow compared to DC.

Devil

The first installment to "The Night Chronicles" trilogy, inspired by the folktale "The Devil's Meeting". Five complete strangers (Arend, Novakovic, Marshall-Green, O'Hara, Woodbine) get stuck on an elevator, and the devil is amongst one of them. Each time the elevator lights blackout for a short period, one of them gets killed. Messina, a detective from the Philadelphia Police Department who's wife and child were killed by a hit and run driver, must keep them sane and calm while firefighters destroy the wall to get them out. The film makes all the right moves, yet the scares still seem underwhelming. O'Hara is the only drag amongst the otherwise solid cast. While there is room for more depth than delivered, if you're in the mood for horror/mystery/thriller, you'll be delightfully entertained.

The Client

Thriller about a young boy Mark Sway (Renfro) who witnesses the suicide of a man (Olkewicz) with ties to the mob. The man decides to spill certain details about the mob before his suicide, sucking Mark into the crossfire of a mob murder. The kid must hire his own lawyer (Sarandon) to protect his rights, since district attorney (Tommy Lee Jones) is fixated on taking down the mob and won't stop at anything--even willing to put the safety of Mark at risk. Very '90s, very Schumacher, and very Grisham. Hard to know what to feel for Tommy Lee Jones' character, and it's even more confusing as to why Romey didn't just blow his brains out sooner with the gun right there in the car! A lot of holes at the beginning of the film, and the plot neither fills them or makes up for them. You won't gain anything from watching this so-called "mystery-thriller". Am I really supposed to take LaPaglia serious?

The Boston Strangler

Despite being a one of a kind thriller, there are plenty of flaws that hold back Fleischer's 1968 film about the infamous Boston Strangler. Interesting filming concept, but lends itself to too many continuity errors and audio difficulties. Structurally very unconventional that simply doesn't work--there are fundamentals for a reason. Seems like two different films going on at once, and both lead characters are introduced so late that they have to rush to the audience's emotions. For the first half-hour, we're not even sure who we're rooting for. The film brings attention to social commentary that's applicable even today, but the fact that a lot of what's portrayed in the film didn't actually happen kind of contradicts its own statement. Entertaining, but drags on way too long with terribly dated and redundant interrogation scenes.

Scre4m

The first unnecessary follow up and the fourth installment to the 1996 film sensation that redefined the horror genre. SCRE4M hardly takes the lead in this one, but rather follows. All the films have been about clichés and many a homage--this film has plenty, and within universe nods--but this is the most violent of all SCREAM films, almost as if it's trying to compete with SAW or HOSTEL; really separating itself from the other three films. Sidney Prescott (Neve Campbell) has returned to her hometown Woodsboro, and people suddenly start dying… who didn't see this coming? Dewey Riley (David Arquette) is now the sheriff not the deputy, but he's still as useless and foolish as ever. Courteney Cox's beloved bitchy character, Gale Weathers, has now turned into an ex-reporter and housewife--this subplot just begs for an excuse to have Weathers in the film. Something is very askew when the three returning characters (and the only three returning characters) are less interesting than the materialistic and twisted kids that are either getting butchered or doing the butchering. Brie, Jaffe, Knudsen, Panettiere, Shelton and especially Rory Culkin are all terrific in their roles. Keep an eye out for Nancy O'Dell as the reporter interviewing Sidney about her new book--she was also a reporter in SCREAM 2 and SCREAM 3. Williamson returns as the screenwriter (he wrote all but SCREAM 3), developing the most charismatic characters since the original and a very interesting plot that starts to ware thin. If the series has done anything perfect, it's the opening scenes. The opening scenes to all four films have been fantastic. Still, once the plot starts flying, you begin to realize how unnecessary this film is. Also, despite handfuls of salutes to the first three SCREAMs, the fact that the series is all about continuity--plus more importantly, Sidney wrote a book about her bloodbath of a life!--lends the story to have many open windows into the past. Yet, not a single reference to Cotton Weary (Liev Schreiber), a backbone in the Prescott family history. Thank God there were indirect references to Tatum Riley (Rose McGowan) and Steve (Kevin Patrick Walls), and the obvious references to Randy Meeks (Jamie Kennedy), Billy Loomis (Skeet Ulrich), Stuart (Matthew Lillard) and Casey Becker (Drew Barrymore). All-in-all, pointless but memorable--it serves its purpose as entertainment, but there's really not much other purpose besides that. Yes, some of filmmaking is about business, but SCRE4M is pretty much all about the money; kind of lame.

Se7en

Superbly crafted mystery about two detectives, one a veteran (Freeman) one a rookie (Pitt), on the hunt for a serial killer inspired by the seven deadly sins. Isn't dated and is an instant classic. Ermey and Paltrow are well-cast as supporting characters. Scary, thrilling, memorable; but predictability is nearby, and even the climatic twist doesn't appear to be as shocking as intended. Some of the characters' back-story (specifically Freeman's) seems to be overly developed and completely unnecessary to the plot at hand. Still a terrific pulls-no-punches crime-thriller that made David Fincher a recognized director, and rightfully so!

Office Space

Cult classic comedy based on the series of cartoons MILTON by Mike Judge (creator of BEAVIS AND BUTT-HEAD, and writer/director of this film) about a handful of people who are fed up with their jobs. Many colorful characters, each of whom bring their own special contribution to this laugh riot (you won't forget Stephen Root or Gary Cole) and is something anyone who has ever held a job can relate to in some form. Terrific soundtrack with contemporary hip hop and rap music that ironically fits perfectly into this story of white-collar folk. A must see!

Hot Fuzz

Hilarious action-packed black comedy about overachieving London police officer Pegg forced to transfer into the country by jealous superiors who "Simply makes us look bad." When he arrives in Sandford, he notices petty laws continuously being broken and commonly hears the phrase, "The greater good." This all starts to add up when citizens of Sandford begin dying in tragic accidents. Frost is terrific as Pegg's dim-witted partner, and Bill Nighy is perfect in the bit role of the chief inspector. Plenty of laughs, plenty of blood, but perhaps a little too much action during the conclusion (probably a little overlong too). Still a classic in its own right, Pegg/Frost team continues to satisfy, and the film is still hilarious after several viewings. Considine and Spall are equally funny as the cocky moronic detectives.

Love & Other Drugs

Raunchy romantic-comedy about pharmaceuticals salesman and player Gyllenhaal who's breath taken by a free-spirited hard-to-get Hathaway (who has been diagnosed with stage one Parkinson's). The two leads have the needed chemistry, but perhaps lack the needed charisma. Azaria, Gad and Platt are the ones that make this date night outing a hoot. Definitely one of the romantic-comedies the men won't dread--appears to be part of a new trend of kinky carefree sex with passionate elements to make viewers of both genders enjoy the show. That's an okay approach, but the interesting storyline is what also makes this Hollywood love-laugh-riot above par.

The Kids Are All Right

*** This review may contain spoilers ***

Those who liked the ending seem to lean towards the argument that it was realistic and unconventional. I'm all about that. However, it should be done creatively--meaning, you should at least follow the basic fundamentals of film and story. Neither character arc nor story arc were fully complete. The ending was a copout, disguised as being "true" and "down to Earth" and whoever bought it is a total tool.

Both mothers were completely at fault and they were the ones that suffered the least. Bening's character had the personality that would make anyone want to seek someone else for affection, while Moore's character's solution to that was completely wrong. The kids' suffering is a no-brainer, and they are truly innocent bystanders. As for Ruffalo's character; he was a guy who opening embraced children he had no obligations to and he was simply the lover of a hurt person. The children and the father suffered the most, but they deserved it the least.

This could have been the "right" way to go about the story, but without a true lesson to the conflict, all of it is simply meaningless. There's nothing wrong with being unconventional and showing what can break a family up; but to not recognize who are the victims and who are the instigators--which this film is without a doubt guilty of--makes all the events melodramatic shallow crap.