My Week with Marilyn

An interesting and delightful film adaptation of two Colin Clark (played terrifically shyly by Redmayne) books taking place during the making of THE PRINCE AND THE SHOWGIRL. The spotlight is no doubt saved for Marilyn Monroe, played convincingly—not just physically—by Williams. However, despite the story's involvement of someone as iconic as Monroe, the interest tends to focus more on those around her, such as Ormond, Portal, Wanamaker, Scott and especially Branagh as Sir Laurence Oliverier, the latter of which steals the show—only Marilyn should steal the show, but not in this reenactment. Still, a terrific film with so much greatness going for it: set designs, scenery, pacing, etc. Take a look at the actors' facial expressions and the pausing between lines; acting at its best.

Prometheus

Scott directs this implicit prequel to his terrifying 1979 sci-fi noir classic ALIEN about a crew's exploration on a distant planet that might have the answers to the origin of mankind and the meaning of life. Great subtle nods to the other films in the franchise, especially ALIEN; however, the touches of horror turn into sci-fi/action nonsense by film's end, with very little (if any) neo-noir elements that made ALIEN such a fantastic film. Admirable that CGI was used as little as possible outside of establishing-shots and Streitenfeld's score is one of the best that the industry has offered in the last few years. PROMETHEUS is nicely packed with ambiguity and symbolism to keep itself fresh even after multiple viewings; however, when a film has this incredibly graceful method of storytelling, why make the protagonist someone seeking answers instead of asking questions? It's a contradiction of how the audience is intended to feel and therefore distances us from our main character. Star Rapace looks weak and plays the main character equally timid to her physical appearance, with no emotional strength whatsoever; and Marshall-Green's casting as her partner and love-interest is so mismatched and unnecessary. Did they really need 45-year-old Pearce to play a 103-year-old man? UGH! There are plenty of talented elderly actors who could have handled this simple role. At least Elba, Fassbender and Theron are pleasant and portray interesting characters to make up for the terrible casting of Marshall-Green, Pearce and Rapace. Lots of pros, but lots of cons—a decent film should at least have a couple more pros than it does cons, but PROMETHEUS' pros and cons are pretty equal.

Gardens of the Night

Drama about San Diego streetwalkers Jacobs and Ross and how they came to be through years of sexual abuse. Brave, disturbing and insightful, yet strangely ceases to be thought-provoking—it pretty much is what it is. Tom Arnold is standout in possibly the best role of his career, not to mention Perrineau pulling the audience into Hell with just one unforgettably disturbing scene. Suffers from the FULL METAL JACKET-effect, where the first act easily tops the second act—and something is askew when the child actors (Simpkins and Smith) are easily stronger than the adult actors playing the same characters (Jacobs and Ross). The romantic undertones between the two leads are interesting, but nonetheless questionable as it distracts and interrupts more important conflicts at hand.

Rio

Charismatic computer-animated musical comedy about two Spix's Macaws on the run in Rio de Janeiro from three bird smugglers and their crusty evil Macaw (voiced viciously perfect by Jemaine Clement). One of the macaws is a flightless domestic, trying to find his owner Mann who's equally lost in the large Brazilian city; while the other is a wild bird trying to escape to freedom. Along the way, they come across many colorful (no pun intended) characters played by will.i.am, Foxx, Lopez and Morgan. What makes this film such a delight is the accuracy at recreating the wonderful avian creatures for the big screen. The comedy can be a bit too slapstick at times, and the musical numbers have the misfortune of being completely out of place; but the film not only has an appeal for parents and children alike, but also any bird lover.

The Disappearance of Alice Creed

Low-budget British thriller about millionaire daughter Alice Creed (Arterton) who's taken hostage by two men, one seemingly the mastermind of the kidnapping (Marsan), the other one—the Irish one—timid and mysterious (Compston); but Alice is not going to make their scheme easy. Smooth-running for a film with only three characters and the use of the cello on Marc Canham's score is phenomenal. But there are plenty of cons to go with those pros. The plot and conflict aren't anything new; there are a couple of sections in the film where character's common sense should play a factor, but doesn't; and the climax is pretty much a back-and-forth showdown to assist the story of reaching over 90 minutes, unmasking its lack of substance

Red Riding Hood

Beautifully filmed take on Little Red Riding Hood with the identity of the wolf being the central conflict of this whodunit. However, the hipster approach at a story supposedly taking place in the 1300 is more than frustrating, and the acting and soundtrack doesn't help the film. Also suffers how unlikable every single character is; a story should grab the audience either by an interesting story or charismatic characters--good films do both, bad films do neither… this film is unfortunately the latter. The worst part about this movie is knowing how easy it could've been to make it a halfway decent film, but stupidly steered off track to follow in TWILIGHT's footsteps--it achieved it in quality, but not in quantity.

Encino Man

*** This review may contain spoilers ***

California teens Astin and Shore want to build a pool as a way to gain popularity before the end of their senior year and find caveman Fraser buried beneath the soil in which they're digging their pool on. They introduce and groom him into the modern life of a Cali teen; and when everything seems go to as planned, the free-spirited caveman who's helping the teens build popularity, is getting a bit too popular. Fraser is a pleasure to watch, and Pauly Shore is… well, Paul Shore--this could be a good thing or a bad thing depending on your interest for watching the film. Where the film falls short is with Astin as Dave; who's a vain, shallow and selfish little punk, striving to have his own page in the yearbook… no wonder you're unpopular, Dave. Dave's tendencies of a sociopath become even more evident when he attempts to abandon the caveman because the girl who Dave likes has a crush on the caveman. It's not an overall unpleasant film, but still incredibly frustrating when one of your protagonists is extremely unlikable.

The Human Centipede (First Sequence)

Psychotic German doctor Laser kidnaps two American tourists (Williams and Yennie) and one Japanese tourist (Kitamura), subjecting them to a sinister experiment entailing sewing one's mouth to another's anus, resulting in a "human centipede". Decently acted--at least for its classlessness--and filmed stylishly in the Netherlands. The concept of the human centipede is completely childish and unoriginal, and the controversy surrounding it is thrived by people why are offended by fart jokes and have never anticipated the possibility of coprophagia. There are better and worse things in this world to raise controversy over, and this film isn't one of them. The film ends way too easily, but very few will complain that it ended too quickly. The structure and pacing are also terrible; the opening scene (actually filmed during the final day of shooting) is virtually useless save minor and insignificant character development, and the film doesn't really have a third act. Those who made the film and those who complain about how disgusting it is should both be subjects to criticism for contributing to the creation and notoriety of such a terrible film.

In Dreams

Beauitfully shot and genuinely scary adaptation of Bari Woods' novel DOLL'S EYES, about Bening having the gift (or curse) of communicating with serial killer Downey through dreams. After a series of tragedies, her mental stability is called into question and after having no one to turn to, she must follow the killer through her dreams in order to find him in reality. Unfair harsh criticism triggered major plot twists occurring in the second act rather than the typical first or third act; but the beauty of this unsystematic approach allows the viewer to be as terrified, disoriented and confused as the mentally shattered main character. Adam Goldberg from All Movie Guide said, "it simply lacks a new and terrifying take on the dream/reality premise." That's for the viewer to decide, and it's up to the viewer to go into the film with an open-mind and a broad horizon, likely something Goldberg didn't do. Distinct for being the last film Downey completed before being sent to Corcoran State Prison on drug charges.

Red State

A trio of high school boys set up a gang bang via internet, only to find out they've been duped by fundamentalists. This is just the first story of many that follow in Smith's serious, dark and unnecessarily episodic RED STATE. Lots of good lines, and Parks is terrifically sinister as the leader of the Five Points Church, and John Goodman is surprisingly fitting as an ATF Agent. However, flaws are apparent right from the beginning with the poorly cast teens Angarano, Braun and Gallner who are obviously too old for their roles, especially Gallner who just won't stop playing an emo high schooler despite the fact that he was out of high school by 2004 (THE SHIELD, JENNIFER'S BODY, A NIGHTMARE ON ELM STREET all post-2004). There are even less superficial problems with the story; the film is trying to say something ignorance and intolerance, yet itself comes from a very bitter and stereotypical area. If RED STATE isn't hypocrisy for you, then what is? The film seems to be one story's ricochet from the previous, going on for 88 minute, while failing to have the basic concept of arcing. A total backfire. Smith just needs to stick to comedy.

The Exorcist

1973 classic has Blair in her most famous role as a young girl displaying unusually violent behaviors that science cannot explain. Priest Miller (in his first film role), who is facing down his own demons following the death of his mother (Maliaros, her only film role and died before its release), is recruited by Regan's mother (Burstyn) to put the exorcism into affect. Max von Sydow plays the title role in a modestly subtle way, yet he masters it perfectly. Doesn't date a bite. Friedkin has mood and story revolve around the characters, their ideals and personal conflicts; a style Friedkin is best at, and there's no better place for it than in this film. Sudden cutaways from intense scenes are a bit annoying at times, but it ultimately works itself out. 2000 version restored the haunting spider-walk scene… ewwwww!

Drive

Gosling plays an LA stuntman who moonlights as a heist getaway driver in this wittingly modest thriller. Anti-hero protagonist adds edginess à la TAXI DRIVER, while characters are linked to action in very cool realism not unlike PULP FICTION. Nice payoff for an underwhelming year of film. Unfitting soundtrack works surprisingly well, and even has a haunting effect that may not be intention but is still perfect. MPAA forced director Refn to trim one scene heavily to achieve an R-rating; hasn't everyone seen IRREVERSIBLE yet, who are we sheltering? Can pass as art-house, but is far too appealing and meek to deter the traditional moviegoer.