Beginners

A pedigree cast of Ewan McGregor, Christopher Plummer and Melanie Laurent can't save this plodding, depressing story. Even the addition of a cute dog doesn't help. Written and directed by Mike Mills, this autobiographical story meanders back in forth in time, has characters that only appeal to the writer and follows no logical course except to constantly remind us how dysfunctional and sad all the characters are.

Mr. McGregor plays a humorless man who discovers his 78 year old father, played by Mr. Plummer, is gay and then shortly thereafter, also dying from cancer. I'm not giving anything away as all of this is revealed in the opening moments. The two men are wonderful actors and play their roles well but the material makes it hard to care for either one of them.

Jumping ahead a few months after his father has died, Mr. McGregor begins a relationship with Ms. Laurent (so good in "Inglorious Basterds"). We learn that his character is terrible at relationships and this one seems to be no different. The tedious film ends as they begin again (hence the title) and that's the big emotional payoff. Ironic that for a film called "Beginners", I couldn't wait for it to end.

A Better Life

From director Chris Weitz, comes this story of an illegal Mexican immigrant and his teenage son. Carlos is determined to give his son, Luis a better life in California and when he has the opportunity to have his own gardening business, he believes he's found his salvation. Life, however, takes unexpected turns for father and son in this poignant drama.

The film stars Demian Bichir, who is a major actor in Mexico but known here primarily for his role on "Weeds", the past few seasons. Mr. Bichir is just terrific as Carlos. He fears he is losing his son in many ways and with one turn of fate, they learn from each other and grow closer for it. His scenes with Jose Julian, who plays Luis are honest and heartbreaking.

The story has moments of quiet beauty, suspense and sorrow but the growing strength of the father/son relationship anchors the film in hope for the future.

Super 8

In a summer filled with sequels, I was looking forward something fresh from two of the most talented people in the entertainment world, J.J. Abrams and Steven Spielberg. I guess I'll have to wait a little longer. Written and directed by Mr. Adams with Mr. Spielberg as Executive Producer, "Super 8" comes with huge expectations. And unfortunately it doesn't live up to most of them.

You can see and feel the Spielberg influence everywhere in this film. You might consider Mr. Abrams was paying tribute to his mentor but the film ends up a mixed bag of Mr. Spielberg's greatest hits. From "Jaws" to "Close Encounters of the Third Kind" and "E.T.", everything about this film feels like you've seen it before. Throw in a little "Stand By Me" from Rob Reiner and there you have it.

I will say the film's young cast is first rate. The boys have a natural friendship and ease with each other that is honest and refreshing. Elle Fanning is really coming into her own as an actress with a very bright future. The adults don't fare as well. Kyle Chandler (of TV's "Friday Night Lights") might as well be in a TV movie of the week and Noah Emmerich is simply a cartoon villain.

Steven Spielberg is one of my favorite directors but he can easily lay on the heavy sentimentality. You can just feel him pulling the strings in the last five minutes of the film. The over orchestration and abrupt change in attitude of two major characters has his stamp all over it. There is a spectacular train wreck early in the film which pulls you in quickly but is spoiled by the unrealistic moments after the crash. I don't like to give things away but I think you'll know what I mean if you see it. Like "Jaws", the threatening menace is unseen for most of the film which does heighten the suspense but again gets ruined by an "E.T." moment.

I give "Super 8" a not so super 4.

The Tree of Life

Or more appropriately, "The Tree of Slow Death". Director Terrence Malick has made only a handful of films over his career and every one is a visual masterpiece. "The Tree of Life" is no exception. It is beautiful to watch but I was bored beyond belief trying to decipher his message.

The film has little dialogue, and what little there is exists as voiceovers to the exquisite visuals. On the surface, the plot revolves around Brad Pitt and Jessica Chastain as a couple raising their three young sons in '50's Waco Texas. We learn early in the film that the middle son dies and then we are temporarily transported back to the dawn of creation as interpreted by Terrence Malik. After about 20 minutes of this highlight mind-blowing sequence, we return without explanation to the family.

Sean Penn turns up in the modern day sequences apparently as the oldest son now grown to adulthood but tortured by his past. At least that's the impression we get, in a role that is basically a cameo. The oldest son, Jack, as a boy is played by Hunter McCracken and he is a standout who holds his own in his scenes with Brad Pitt.

Mr. Malick likes to tell his stories visually and while they are a treat, many of the visuals are repeated to the point of exhaustion. You can view this film as pretentious or as a masterpiece but either way, you will be talking about it long after it ends...if you stayed awake.

X-Men: First Class

Five writers are credited with the screenplay and however they collaborated, they got it right. Director Matthew Vaughn takes a great script and translates it into a truly first class film in every respect.

The X-Men have always been sort of the "Anti-Avengers", much more serious in their own corner of the Marvel universe. This is a smart script that takes itself seriously and reboots the "X-Men" franchise. All the comic book mythos is there but the film works even if you are a casual fan or even unfamiliar with the other films. Of course if you are new to this franchise, you will miss the pleasure of two great cameos.

Coupled with a strong story, Mr. Vaughn brings a deft hand to the action sequences and molding the story to the real life Cuban missile crisis of the '60's brings plenty of gravitas to a film that could have gone in a completely different direction. He makes you believe that mutants forced the Russian's hand and almost set off World War III.

The casting is first class as well with James McAvoy as the young Charles Xavier (Professor X) and Michael Fassbender as the young Erik Lensherr (Magneto). Mr. Fassbender, in particular, is outstanding as the mutant balancing good and evil mixed in with a strong revenge motive. Rose Byrne has fun with her CIA operative role, as does Oliver Platt. Jennifer Lawrence moves on from "Winter's Bone" and takes on the role of a young Raven/Mystique. January Jones is perfectly cast as yet another "ice queen", playing Emma Frost (an important figure in X-Men lore) and rounding out the major cast is Kevin Bacon as Sebastian Shaw, the central villain of the film.

With so many superhero sequels constantly bombarding us, it's refreshing to have the original idea of a "prequel" that really jumpstarts the franchise. Smart, action packed and fun from start to finish.

Priest

"Priest" is a futuristic sci-fi western version of "The Searchers" with Paul Bettany filling in for John Wayne and vampires substituting for Indians. Mr. Bettany plays Priest, a military man of God, trained by the church to hunt vampires who goes in search of his missing niece, Lucy. Karl Urban plays a vampire version of Clint Eastwood's "man with no name" from his early spaghetti westerns. If this all sounds appealing, you will find it to be a lot of fun.

The special effects are well done and there is plenty of action (in 2 or 3-D) as Priest, his cowboy partner Hicks, played by Cam Gigandet, and another priest, played by Maggie Q try to rescue Lucy and stop the vampires from reaching the unprotected cities. The vampires are depicted more like monsters than the Dracula version. They are muscular and fast, have no eyes but huge teeth and of course, can only hunt at night. Only Mr. Urban, as a former priest turned vampire, can exist in sunlight. The last third of the film takes place on a gigantic transport train keeping the vampires safe from sunlight as they move closer to their target. We've seen the climax before but credit Mr. Bettany and Mr. Urban for pulling it off with a fresh twist.

Christopher Plummer takes a paycheck in a cameo as the head of the church and Brad Dourif also cameos as a stereotypic western "snake oil" con man.

The film comes to a conclusion but also sets up a part two, which if this one ends up successful, will be inevitable.

Midnight In Paris

Woody Allen's love letter to Paris is a charming light comedy and a most unexpected romance. It opens with a video postcard to the "City of Lights" before we even see the title credits. Mr. Allen's avatar this time around is Owen Wilson, as Gil, and his love affair with the Paris of old and new drives the plot.

While on vacation there with his fiancée, Inez, played by Rachel McAdams, Gil is magically transported each night at midnight to Paris of the 1920's where he meets and parties with the likes of Zelda and F. Scott Fitzgerald, Salvador Dali, Gertrude Stein, Ernest Hemingway and many other literary figures and artists of the time. He also develops a crush on Marion Cotillard (who wouldn't) who plays a woman drawn into affairs with the famous.

Gil is a screenwriter but longs to be taken seriously as a novelist. He brings his first novel to Gertrude Stein for a critique. Gertrude is played by Kathy Bates and she is terrific. All of the historical casting is spot on. Adrian Brody, in particular is a very funny Salvador Dali.

During the day, Gil contends with Inez, her parents and her annoying know-it-all ex-boyfriend, played by Michael Sheen but each night he is taken back to his magical era. Mr. Allen never explains the time travel but does draw us to Gil's eventual revelation that changes his life.

The film is an enjoyable soufflé without the calories.

Pirates of the Caribbean: On Stranger Tides

First of all, I saw this film in standard 2-D and saved the seven dollar 3-D extra fee. I don't think it made much of a difference as either way, the film is so dark, it might as well have been called "On Darker Tides". There were times I wished I had a flashlight to see any detail. Even the daylight scenes were poorly lit.

As for the story, it's pretty standard for what we've seen before from this franchise. You'll have no trouble following the plot as there is so much exposition, everything is constantly explained (even if it doesn't make much sense). Johnny Depp's charming rogue, Jack Sparrow wears out his welcome in the bloated two hour race to find the Fountain of Youth. He is at his best in the first third of the film. Geoffrey Rush is back as Captain Barbossa and he seems to be enjoying himself very much. The same can be said for Ian McShane who plays Blackbeard. You get the sense everybody is having fun playing pirate, including Penelope Cruz as Jack's rival/love interest.

The subplot of the handsome Christian falling in love with a Mermaid is an absolute waste of time and doesn't make up for the loss of Orlando Bloom and Kiera Knightly. Keith Richards, however does make another cameo as Jack's father but is smart enough to jump ship after one scene.

I've heard Johnny Depp enjoys playing Jack Sparrow so much, he's already signed on for a fifth film. Stop before it's too late. Abandon ship. This franchise has sunk.

The Hangover, Part II

The original "Hangover" was clever and very funny and of course made a ton of money which made a sequel inevitable. "Part II" takes us to exotic Bangkok for basically a retread of the first film. The filmmakers needed an exotic location to hide the fact their script is weak and their actors are lazy.

Ed Helms is back as Stu and his wimpy, screaming tantrums are funny the first time but become as tedious as Bradley Cooper's Phil who's dialogue consists of cursing in every situation. Zach Galifianakis plays the very strange, Allen who's man-child schtick also grows old. A golden opportunity is missed by not giving Justin Bartha more to do. Understandably he was the missing groom in the first film but here is wasted as a minor character on the sidelines. I've seen Mr. Bartha do comedy live on Broadway and he can be very funny. Leaving him on the sidelines was a big mistake.

Ken Jeong is back as the maniacal Mr. Chow, an even more embarrassing stereotype here but effective as the driver in a well done car chase. A two scene cameo by Paul Giammatti just gives him an excuse to mug for the camera and forget he can act. The best actor in the film is the drug dealing monkey who becomes central to the story. I loved his Rolling Stones vest buy scenes of him smoking a cigarette border on animal cruelty.

No one in the film really exerts any effort. Even when a character loses a finger, it doesn't even garner more than a shrug from anyone including the character himself. There are a few funny situations and one or two great lines but they are far and few between. The audience laughed more at the trailer for "Horrible Bosses" than all of "The Hangover II". Pack it in, Wolfpack.

The Double Hour

This is a terrific new Italian film that is difficult to review without revealing any of it's secrets. In basic terms, it can be described as a romance, a robbery and a mystery. But it is so much more that that.

When Sonia (Ksenia Rappoport) meets Guido (Filippo Timi) at a speed dating session, a romance develops but events take a very unexpected turn soon afterwards. It is best going into this film without knowing anything else and take pleasure in deciphering the multi-layered puzzle it soon becomes.

The chemistry between the leads is excellent and so important to the story. Ms. Rappoport carries the majority of the film and she admirably pulls off what becomes a very complex role. The direction and editing keep things well paced and the viewer engaged. This is important as the film demands your attention. Entertaining and thought provoking, "The Double Hour" will garner much conversation well after it ends.

Thor

You don't have to be versed in the comic book or Norse mythology of Thor to enjoy a reasonably exciting adaptation of the Marvel comic character, "The Mighty Thor". You do, however, need to enjoy mindless action adventure filled with cartoonish violence.

Director Kenneth Branagh infuses just enough Shakespearean gravitas to add human drama to the story but "Thor" is no "Dark Knight" and for most of the film, keeps things light and moving quickly. After all, this "origin" film is just a set up for next year's "The Avengers", which will star most of the recent influx of Marvel screen characters.

The film stars Chris Hemsworth, who is well cast as the fallen God banished to Earth in order to prove his worth. He is banished by Odin, the allfather, played with much pomp and circumstance by Anthony Hopkins. Natalie Portman plays the love interest, Jane Foster (a nurse in the comics who has morphed into an astro-physicist for the film). A nice surprise is Tom Hiddleston, who plays Thor's half-brother, Loki. He is very well cast as the God of Mischief who's schemes drive the plot.

Most of the story is adapted intact from the comic source with some minor changes that may disturb purists but simplify the plot to keep it moving. The special effects are disappointing and 3-D is once again wasted, adding nothing special to the visuals. If anything the film is actually darker and harder to see with the glasses on. See it in regular 2-D if you can. You'll save at least $3.50 and never miss the effect.

If you do go, stay past the credits as you will be rewarded with a clip that adds another piece to the "Avengers" storyline. And also keep you eye out for Jeremy Renner in a cameo that sets up another Marvel hero.

Incendies

Nominated at this year's Oscars for Best Foreign Film, "Incendies" well deserved the honor. This is an intense epic drama with a jigsaw puzzle of a plot that will draw you in and leave you reeling. It begins with the mysterious last wishes of a deceased woman and ends with a family changed forever.

A set of French Canadian twins are given two envelopes by their mother's attorney. The daughter is charged with finding their father (a man thought dead) and the son is charged with finding their brother (a brother they never knew existed). The daughter's search takes her to a unidentified Middle Eastern Country where she finally traces her father's path. Her brother soon joins her and he eventually discovers the truth about their long lost brother. Between their quest, there are flashbacks to their mother as a young woman that set the story in motion and plot her own course in this "Greek tragedy" of a tale.

The mother's story is both heartbreaking and remarkable. It is filled with sorrow and violence but also embraces the bond of love and family. Lubna Azubal portrays the mother, Nawal Marwan and she is fantastic in a very difficult role. The twins, Simon and Jeanne, are played by Maxim Guadette and Melissa Desormeaux-Poulin and they are both excellent, especially Ms. Desormeaux-Poulin as Jeanne.

The complex story pulls you in like a great novel that you can't put down. The revelations at the end and the final images will stay with you long after you leave the theater.

Water For Elephants

Having enjoyed the original novel by Sara Gruen, I was somewhat disappointed by the film version. Whenever a popular novel translates to the screen, sacrifices have to be made and there are subtle changes here that may bother fans of the novel. Now if you haven't read the book, you will probably enjoy this period love story set in a Depression era circus.

Robert Pattinson tries in vain to break free of his Edward Cullen (Twilight) persona. I give him credit for trying to break the mold he has created for himself but he comes up short. Playing the lead character, Jacob, Mr. Pattinson spends much of the film brooding much like his "Twilight" character minus the fangs. His love interest, Marlena, is played by Reese Witherspoon who does an admirable job with the animal cast but lacks chemistry with Mr. Pattinson. And the villain of the piece is well cast by the presence of Christoph Waltz, as August, Marlena's husband and the circus ringmaster.

The best casting decision is Tai (II) as Rosie, the elephant. Tai steals every scene she's in and has great chemistry with everyone. Her lemonade scene alone is worth the price of admission. While Rosie's sub-plot is both heartbreaking and rewarding, the love triangle between the leads lacks the passion conveyed in the novel. The film is hampered by a poor musical score that tries too hard to heighten the various moods and ends up bogging down the film.

There is still enough here to move an audience to break out in applause but it's not "The Greatest Show on Earth".

Your Highness

Even for the target audience, this medieval stoner comedy fails to bring the big laughs and ends up "Your Lowness". Danny McBride and James Franco try to recapture the laughs and silliness of "Pineapple Express" but spend too much time on juvenile jokes that fall flat and plot lines that veer off into just plain weirdness.

Starring as an odd couple of brothers, Fabious (Mr. Franco) and Thaddeus (Mr. McBride) embark on a quest to rescue Belladonna (Zooey Deschanel) from the clutches of the evil Wizard, Leezar (Justin theroux). Along the way, they meet Isabel (Natalie Portman) a feisty warrior woman with her own agenda for Leezar.

Ms. Portman looks great and ends up funnier than everyone else because she actually bothers to act and takes her character very seriously. Everyone else is just enjoying each other's company and having a grand old time at the expense of the audience.

Meek's Cutoff

Director Kelly Reichardt (Wendy & Lucy) teams once again with actress Michele Williams in this minimalistic "western" about a small band of pioneers lost in the Oregon wilderness. The year is 1845 and guide Stephen Meeks has led three families off the main artery of a wagon train heading west. Ms. Williams plays Emily Tetherow, the young bride of Solomon Tetherow played by Will Patton.

Meeks is played with bluster by Bruce Greenwood (hidden under long hair and scraggy beard) who insists he can lead the group to a fertile valley. The other families are played by Paul Dano and Zoe Kasdan as The Gateleys and Shirley Henderson and Neal Huff as The Whites. The White family also has a young son, Jimmy played by Tommy Nelson. These are the main characters we watch struggle with their daily existence low on water and food. Halfway through, there is a twist on their situation that creates new tensions. There are endless shots of their wagon train enduring hardships across a barren landscape as they put their faith in Meeks to lead their way.

The film is beautifully shot with wonderful cinematography and the acting is very authentic. You find yourself forgetting there is a film crew all around these people and believe in their loneliness and struggles. Ms. Williams, as usual, shines in her role as the most assertive of the women. Not much happens as the narrative is not your typical Hollywood plot. Audiences will be very divided on this film but it does have it's charms if you accept it for what it is, a journey more than a destination.

Jane Eyre

The seventh (I believe) version of the Charlotte Bronte classic stars upcoming actors Mia Wasikowska as the title character and Michael Fassbender as Edward Rochester. Star crossed lovers in the classic sense, their repressed passion builds slowly fueled by intelligent word play and soulful stares.

Both actors do an admirable job of expressing the love that grows between them but it is Ms. Wasikowska that really shines as Jane. She is in almost every scene and she is has a unique beauty that is hypnotic to watch. This classic love story also features Judi Dench, Sally Hawkins and Jamie Bell and plays out against a gorgeous windswept landscape in the English countryside.

The cinematography is excellent with lighting, in particular, playing an important part. Many scenes are lit solely by candlelight enveloping the viewer in Bronte's world.

Did the world need another version of "Jane Eyre"? Probably not, but for a younger generation, it's a great introduction to the classics.

Hanna

Saoirse Ronan plays the title character, "Hanna", in this new action thriller. Unfortunately, while she is fascinating to watch, the film doesn't really thrill. With a score by the Chemical Brothers and a few set action pieces, the film tries hard but it's a thin story that's violent and ultimately senseless.

Hanna is trained as a child to become an unbeatable assassin by her CIA rogue father, played by Eric Bana. They live in a secluded forest in Finland cut off from civilization. Completely naïve when it comes to human contact, Hanna is a stranger in a strange land once she makes that contact. All she knows how to do is survive and lives by the mantra "adapt or die".

Upon learning of her existence, CIA agent, Marissa, played by Cate Blanchett hunts Hanna and her father, worried that they will expose her past secret experiments. It's all flimsy nonsense about creating super soldiers with poor plot twists you can easily see coming. Marissa is a strange character, (she has a weird obsession with clean teeth) and she employs an even stranger character, Issacs, played by Tom Hollander to do her dirty work.

The only saving grace is Ms. Ronan, who continues to hone her acting with each new role. There is something magnetic about her and as Hanna, she equally balances her naivety with her killer instincts. It's hard not to root for her, even when nothing makes too much sense.

Insidious

I had such high hopes for this new horror film after reading many other reviews. Maybe I've just been spoiled by too many good ones over my lifetime but "Insidious" just didn't give me sweaty palms and heart palpitations like "The Exorcist" or "Poltergeist" and certainly didn't send me to the nearest bar for a much needed drink after the original "The Omen".

Don't get me wrong. The film works very hard to scare you and definitely has it's "jolt" moments so if you are easily affected by these kinds of films, you will have a screaming good time. But for the true fan of the genre, this is nothing more than a poor rip-off of "Poltergeist". The film gives away to much in the trailer and even the poster so it's no surprise to say it's not the house that's haunted but rather a young family member.

The parents are played well by Rose Bryne and Patrick Wilson but they are stock roles (the worried mom and the disbelieving dad) until the last act when they both turn it up a notch to save their son. The film is rated PG-13 so there is isn't the usually gore factor to scare and repulse you. Instead the film relies heavily on atmosphere to pull you in and keep you nervous. Looking for an original angle, it's odd that the central evil presence looks exactly like "Darth Sidious" from "Star Wars". Was the makeup department budget slashed because too much money was spent on the fog machines?

If you are really looking for a good scare, invite some friends over, turn out the lights and watch "The Exorcist" or "Poltergeist", still two of the scariest movies ever made. Even, the original "House On Haunted Hill" (starring the great Vincent Price) surpasses "Insidious" for real goose-bump inducing horror. Until the next attempt, you just can't go wrong with the classics.

The Lincoln Lawyer

Matthew McConaughey stars as Mick Haller, the title character, who operates his law practice from the back seat of a Lincoln Continental. The film is from the bestseller by Michael Connelly and it translates very well to the screen. Mr. McConaughey is perfect for the role of the streetwise lawyer and I can foresee this becoming a franchise for him as long as Mr. Connelly keeps churning out bestsellers.

The first rate cast also includes Marisa Tomei, as Mick's ex-wife, Ryan Phillippe, as the predominant client, William H. Macy, as Mick's legal investigator, Josh Lucas, as the District Attorney and John Leguizamo, as a shady bail bondsman. Also included are Frances Fisher, Michael Pena and the return of '80s star Michael Pare. Everyone is working an angle and this legal thriller, while revealing it's hand early, still has some aces up it's sleeve.

I was a little disappointed in the role of Earl, Mick's driver who doesn't have much to do and seems wasted. But that point aside, the plot and the acting will keep you engaged. Mr. McConaughey has done his share of lazy films but when he feels like really acting, as he does here, he can really carry a film.

"The Lincoln Lawyer" would make a terrific TV series if the producers ever decided to go that route. It's got the kind of characters you would easily enjoy seeing again. For now, it's those characters that drive "The Lincoln Lawyer" to a victory lap.

Source Code

"Source Code" is a twisty action-thriller with elements of "Inception" and "Groundhog's Day". Directed by Duncan Jones, this is an exciting and suspenseful film that is anchored by a terrific Jake Gyllenhaal. His performance alone, sells the story.

When Mr. Gyllenhaal wakes up on a commuter train, he is in the body of another man. Initially confused, he slowly remembers why he is there. Sitting across from him is Michelle Monaghan, who once again plays the pretty love interest in peril. She has become quite adept at these roles and here, performs admirably. Apparently Mr. Gyllenhaal is a soldier taking part in a Government experiment to stop a terrorist from blowing up a train. As the audience, we learn along with him as plot points are slowly revealed.

Overseeing the experiment is Vera Farmiga as his "handler" and Jeffrey Wright as the creator of the "source code". There is a lot of sci-fi mumbo jumbo as to how the source code works but even if it goes over your head, you can sit back and enjoy the ride. Beyond the four leads, the rest of the cast is fairly unknown so that makes figuring out the identity of the bomber all the more fun. Usually a name actor will make it pretty obvious but that's not the case here which really helps propel the story.

I can't say enough how natural and believable Mr. Gyllenhaal is in the role of Colter Stevens. He really makes you root for the character and believe the situation, even when it gets fairly unbelievable.