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.

The Pink Panther

Gimmicky and overlong crime-comedy about the mysterious jewel thief, The Phantom, attempting to steal The Pink Panther, a valuable pink jewel. Sellers steals the show as Insp. Jacques Clouseau, the man in charge of finding The Phantom, who's not only held back by the cleverness of the thief but also the clumsiness of himself. Niven is fun as the lead role, but takes up too much screen-time with an uninteresting back-story involving his affair with Clouseau's wife (Capucine) and his punk nephew (Wagner). Many characters grow more and more cruel, selfish and unlikable towards an ending that is more slapstick than witty. Sellers and the Switzerland setting are huge pluses in a heavily dated comedy. A bit of a dull start, but worthy of continuing to A SHOT IN THE DARK which came out only three months after this film's premiere!

Little Fockers

Third installment to a series that was just hanging by a thread at the end of the second film. An unnecessary installment with Byrnes (De Niro) questioning Greg (Stiller) as a father, and also a husband… again! The story revolves around the little Fockers (Baiocchi and Tahan), but there's very little development and involvement from either--all we know is that they're (stereotypically) polar-opposites. Owen Wilson gets an undeserved third billing, and offers nothing new to the story nor his character. At one point Greg asks Kevin (Wilson), "What are you even doing here, Kevin?!" Perhaps the writers should have taken this question literally. Hoffman and Streisand are unneeded, but at least they offer some meaningful continuity. Danner and Polo are great as the supporting characters; perhaps that's the key, they were the two best characters because they weren't an overdose. Alba plays the totally unfunny Andi Garcia (like the actor; ha, ha, ha; not!) who is really there just as eye candy. Dern's appearance is sadly pointless. The film gets much funnier at the end, but still a worthless Holiday film.

Honest Man: The Life of R. Budd Dwyer

James Dirschberger's feature-length debut is an astounding portrait of R. Budd Dwyer, the Pennsylvania State Treasurer who committed suicide during a press conference in 1987. For the last 23 years, Dwyer's final moments have been talked about much more than his productive life; so much that it actually has become somewhat of an internet meme despite the event taking place years before people even knew what the internet was. Just three years ago, if you put Dwyer's name into a search engine, all you'd find were suicide related results. Even now it's somewhat difficult to find a picture of Dwyer without the .357 Magnum revolver in his hand… or, in his mouth.

Dirschberger attempts to do the man justice by creating a film that covers more of Dwyer's life than his death. In uncovering Dwyer's life, Dirschberger has brought to light many things that were shadowed during Budd's fight for innocence. The film becomes a tale of an honest man driven to the breaking point.

The 75 minute documentary covers a lot of the man's life and also the story behind the guilty verdict. Dwyer upstaged many of his achievements in life by the way he died, but he made us care enough to look deeper behind how and why he was found guilty… and, even prosecuted in the first place. What's most impressive about the film is that it gives Budd a second chance; it looks deeper into the CTA scandal and it doesn't allow the suicide to center around the plot like some sensationalizing news style article.

To exclude Budd's suicide would deny the impact the CTA scandal had on him, and to include it in its entirety would make the audience focus too much on his death which has already been done for too long. Dirschberger compensates by including the suicide, but taming it down so Budd's story can appeal to more people than just the gorehounds and the morbidly curious.

Interviewees include everyone from family, friends and colleagues to William Smith, the man whose testimony convicted Dwyer. It's a story so controversial and easy to misunderstand; hats off to the crew of "Honest Man: The Life of R. Budd Dwyer" for making all the right moves.

Dilly

"Dilly" stands out on Band of Horses third album INFINITE ARMS for one simple reason: it's easily the catchiest song. That doesn't mean it's the best song, it doesn't mean it's a good song. It just means that this is the one song off that album that you can listen to once and have it stuck in your head for days and days. The song seems to be more of a songwriting experiment rather than selling out. To support the argument that BOH hasn't sold out is this very unforgettable music video. The desert setting and the violent climax makes the video appear to be archive footage from an old biker film from the '70s; something that has inspired the works of Robert Rodriguez and Quentin Tarantino. Pleasant to the ears, and gripping to the eyes. The absence of the band members makes it have an even more raw and amateurish feel, and that's something BOH fans will commend.

Paranormal Activity 2

Prequel to the 2007 (2009 nationwide) smash horror hit, this time concerning Katie's (Featherston) sister Christie (Grayden) and her family. Many scares, perhaps more, to get your heart pumping and keep you on the edge of your seat; but its sadly obvious that this follow up has gone Hollywood. Where the cleverness of the original is absent here is within the story, not the scares; is it that appropriate that the story from the first has to tie in with this one, and it can't be its own story? If not, why? Something Paramount and the filmmakers probably won't be able to answer. But if you're out for some scares, you'll find plenty in this flick.

Dym

Splendid Lynch-like short about a man held captive by surrealistic imagery. It's impressive that such a film can make the viewer appreciate what a moviegoer generally takes for granted when watching a Hollywood feature--camera angles, set design, sound. "Smoke" has it all and then some. Unfortunately, the film begins to wonder into a collage of vivid shots instead of progressing a plot. Just because you can do something doesn't mean you have to do it. Less sights and more story would've given this one a boost. Regardless, a well-done little picture. Anyone who can appreciate how to bring such dreamy-nightmarish happenings to life will love this one!

Saw III

Third installment, easily inferior to the first two, is a massacre--literally and metaphorically. John Kramer (Bell), now on his death bed, is having second thoughts about his apprentice Amanda (Smith). Despite his pain and weakness, he still has one more test to give as Jigsaw. If you look closely, you know this isn't the last installment. One of the film's biggest weaknesses is that the story arcs as if it's concluding, a completely unnecessary action since just by watching the film you know it's not "the final chapter". Bahar Soomekh wins the title for the worst acting of the series. The film can sort of be commended as one of the most ruthless of the franchise, but still weak in comparison to some of the films that followed and definitely the ones the preceded.