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.

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.