Synecdoche, New York

88.1

Directed by: Charlie Kaufman

Written by: Charlie Kaufman

Starring: Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener, Emily Watson, Dianne Wiest, Jennifer Jason Leigh, Hope Davis, and Tom Noonan

Ode to Life

Many filmgoers appreciate motion pictures for their ambition. After all, some of the greatest works of art, in any medium, take more chances than most of their competitors. Screenwriter Charlie Kaufman("Eternal Sunshine of the Spotless Mind") takes chances on a regular basis, and his success rate exceeds most of his fellow screenwriters. With "Synecdoche, New York," Charlie Kaufman takes a stab at directing one of his own screenplays, and to no surprise, Kaufman's directorial debut soars with ambition only to create a great film that ranks with the year's best.

"Synecdoche, New York" covers one playwright's determination to create the ultimate autobiography. New York playwright Caden Cotard(Philip Seymour Hoffman) struggles to maintain a successful life as a remarkable playwright and family man. Caden spends his time creating stage reincarnations of famous plays, but when Caden suspects that he might be dying, the playwright finds the determination to create a play about his own life. Over the course of multiple decades, Caden struggles the ups and downs of creating a play that delivers everything but an ending.

It takes a great film to thoroughly examine the nature of life itself, and Charlie Kaufman's remarkable "Synecdoche, New York" lives up to the task. Caden Cotard realizes that he will die someday, but he isn't aware of the limitations of life itself. Caden spends decades creating a play about his life, but how can he project his entire life story if he'll never live beyond his death? Caden doesn't realize this critical flaw of developing autobiographical tales, and ironically, Caden's masterful play costs life itself. After all, how can Caden enjoy life itself if he's too busy dedicating his miserable life to an eternally-unfinished autobiography? Charlie Kaufman, who turns subtle existentialism into rich storytelling, doesn't slap "Synecdoche, New York" with easy answers to the film's questions about life, and this elevates "Synecdoche, New York" into an uncompromising motion picture that allows the audience to leave with food for thought.

A movie cannot achieve greatness from existentialism alone, and Charlie Kaufman's terrific screenplay transports "Synecdoche, New York" into a quirky and surreal journey unlike any other recent movie. The living and the dead collide in a world that maintains a pulse of its own. Only in a movie as bizarre as "Synecdoche, New York" can a filmmaker create an immersive world where a house can retain its structure during a housefire that literally never ends, and it's only in Kaufman's world that a stalker(Tom Noonan) can emerge as a friend in need. Despite these oddities that in nearly any other film might break the audience's suspension of disbelief, Charlie Kaufman's masterful tendency to embrace the absurd rests as a key attribute to the writer's directorial debut.

It's hard to believe that it's possible for a motion picture as innovative as "Synecdoche, New York" to see the light of day. Existentialism and surrealism rarely meld into a great American motion picture, but "Synecdoche, New York" does just that. Many great directors grow a willingness to create bold films that change their audiences' perception of filmmaking, but for Charlie Kaufman, a directorial debut as great and bold as "Synecdoche, New York" may only be the starting point of a directorial career as unpredictable as life itself.

10/10

Elliot Zatzkis

Slumdog Millionaire

87.1

Directed by: Danny Boyle

Written by: Simon Beaufoy

Starring: Dev Patel, Freida Pinto, Madhur Mittal, Anil Kapoor, and Irfan Khan

Winning Ticket

TRAINSPOTTING. SHALLOW GRAVE. 28 DAYS LATER. These three films from director Danny Boyle rank with the best works of any great director's career, and with Boyle's latest film, "Slumdog Millionaire," the director adds a fourth great movie to his career achievements. In what ranks as an instant contender for multiple Academy Awards(including Best Picture), director Danny Boyle creates another masterpiece overflowing with innovation and emotion.

"Slumdog Millionaire" follows an epic tale of unconditional love. 18-year-old boy Jamal Malik(Dev Patel) stands a fair chance at becoming the second person in history to win the Indian version of "Who Wants to be a Millionaire?" Jamal isn't the most educated individual, but through experience, he knows more about society than most of his fellow contestants. Jamal's luck mystifies the show's host(Anil Kapoor), and the local inspector(Irfan Khan) suspects Jamal of cheating his way towards his multi-million rupee prize. This leads to the arrest and interrogation of Jamal Malik. Through flashback sequences, Jamal explains to the inspector how he knows the answers to the questions on "Who Wants to be a Millionaire?" What emerges from these flashbacks is a decade-long tale of humor and heartbreak that's purpose rests in Jamal's unstoppable search for his long-lost love, Latika(Freida Pinto).

As with many great films, describing "Slumdog Millionaire" with a simple synopsis feels unjustified. In fact, much of the film's greatness arrives through Danny Boyle's innovative attempt to reinvent the crowd-pleaser. "Slumdog Millionaire" will be the sleeper hit of 2008 that "Little Miss Sunshine" is for 2006 and "Juno" is for 2007, but "Slumdog Millionaire" goes a step further by telling an emotionally-satisfying story through an unconventional narrative. Danny Boyle switches the tale between various time frames at a pace that's neither jarring or derailing, and there isn't a plot hole to be found. Every question from Jamal's experience on "Who Wants to be a Millionaire?" is answered through scenes that vary from a humorous incident leading up to an autograph to a heartbreaking moment where lusts test Jamal's friendship with his older brother, Salim(Madhur Mittal). The film's non-chronological, puzzle-like structure might stir confusion under the wrong hands, but the film's remarkable execution allows the movie to deliver a coherent tale that never loses the audience's attention.

It's wrong to praise "Slumdog Millionaire" for nothing more than its innovative structure since Danny Boyle's new film delivers an enormous amount of substance. Unlike most crowd-pleasing motion pictures that rely on little more than a satisfying payoff, "Slumdog Millionaire" creates a remarkable journey leading up to the excellent payoff through a seamless blend of social commentary and human drama. "Slumdog Millionaire" is about the test of character that poverty brings and the determination that emerges from unconditional love. Many directors might avoid examining these themes in favor of turning "Slumdog Millionaire" into a simple tale of an underdog testing his knowledge on a game show. Thankfully, Danny Boyle seeks a more ambitious route for his inspirational tale and conquers every obstacle that might interfere with his success.

"Slumdog Millionaire" is a towering achievement that will impress people of all ages, and audiences can expect this film to earn multiple Academy Award nominations. Unlike many films that maintain the capabilities to sneak their way into popular culture, "Slumdog Millionaire" deserves the positive word-of-mouth that the film will ultimately receive because it strives for and succeeds at becoming more than cinematic bubble gum. There's an undeniably superb payoff to be found in "Slumdog Millionaire," but it's the film's unforgettable journey to its satisfying conclusion that turns "Slumdog Millionaire" into a landmark motion picture.

10/10

Elliot Zatzkis

2008 Academy Award Predictions - November 2008 Edition

With only two more months until the year comes to an end, it's time for another round of Academy Award predictions.

-Elliot Zatzkis

Best Picture

The Curious Case of Benjamin Button

The Dark Knight

Doubt

Revolutionary Road

Slumdog Millionaire

Best Director

Danny Boyle, "Slumdog Millionaire"

David Fincher, "The Curious Case of Benjamin Button"

Sam Mendes, "Revolutionary Road"

Christopher Nolan, "The Dark Knight"

Gus Van Sant, "Milk"

Best Actor

Josh Brolin, "W."

Richard Jenkins, "The Visitor"

Frank Langella, "Frost/Nixon"

Sean Penn, "Milk"

Mickey Rourke, "The Wrestler"

Best Actress

Anne Hathaway, "Rachel Getting Married"

Sally Hawkins, "Happy-Go-Lucky"

Angelina Jolie, "Changeling"

Kristin Scott Thomas, "I've Loved You So Long"

Meryl Streep, "Doubt"

Best Supporting Actor

Robert Downey Jr., "Tropic Thunder"

Philip Seymour Hoffman, "Doubt"

Heath Ledger, "The Dark Knight"

Brad Pitt, "Burn After Reading"

Liev Schreiber, "Defiance"

Best Supporting Actress

Amy Adams, "Doubt"

Viola Davis, "Doubt"

Penelope Cruz, "Vicky Cristina Barcelona"

Taraji P. Henson, "The Curious Case of Benjamin Button"

Frances McDormand, "Burn After Reading"

Best Adapted Screenplay

Simon Beaufoy, "Slumdog Millionaire"

Justin Haythe, "Revolutionary Road"

Christopher Nolan and Jonathan Nolan, "The Dark Knight"

Eric Roth, "The Curious Case of Benjamin Button"

John Patrick Shanley, "Doubt"

Best Original Screenplay

Dustin Lance Black, "Milk"

Charlie Kaufman, "Synecdoche, New York"

Mike Leigh, "Happy-Go-Lucky"

Jenny Lumet, "Rachel Getting Married"

Andrew Stanton, "WALL-E"

Changeling

86.1

Directed by: Clint Eastwood

Written by: J. Michael Straczynski

Starring: Angelina Jolie, John Malkovich, Michael Kelly, Jeffrey Donovan, Gattlin Griffith, Amy Ryan, and Jason Butler Harner

Where Emotions Topple Dimensions

It didn't seem possible, but a movie from critical darling Clint Eastwood("Unforgiven") is being hung out to dry by many film critics. This seems peculiar because "Changeling" ranks as one of the finer surprises of the young Fall season.

"Changeling" retells a true story of corruption in 1928 Los Angeles. Telephone operator and single mother Christine Collins(Angelina Jolie) lives a happy life with her son, Walter(Gattlin Griffith). The mother and son live a fine life together until Christine finds Walter missing one evening. After months of police searching, the Los Angeles Police Department(LAPD) appear to have found Walter, but Christine claims that the LAPD found the wrong child. After Christine continues to protest the LAPD's mistake, Captain J.J. Jones(Jeffrey Donovan) hospitalizes Christine Collins. It's only with the help of activist and reverend Gustav Briegleb(John Malkovich) that Christine might able to leave the psychiatric ward and ensure justice is served.

"Changeling" doesn't represent all of the fine traits that critics and audiences expect from a Clint Eastwood film. Unlike "Unforgiven," "Mystic River," "Million Dollar Baby," "Flags of Our Fathers," and "Letters from Iwo Jima," the moral ambiguity of the characters in "Changeling" can be drastically uneven. While there's little denying that protagonist Christine Collins develops into an increasingly cynical figure, the heroine in "Changeling" lacks the moral ambiguity of William Munny("Unforgiven"), Jimmy Markum("Mystic River"), Frankie Dunn("Million Dollar Baby"), John "Doc" Bradley("Flags of Our Fathers"), and General Kuribayashi("Letters from Iwo Jima"). Collins maintains no real agenda other than finding her son, and while this may be the film's intention, the final results turn Christine Collins into a heroine with fewer dimensions than protagonists in Clint Eastwood's directorial efforts tend to deliver. Meanwhile, the primary antagonist, Captain J.J. Jones, suffers from a lacking in moral ambiguity to an even greater extent. There's nothing redeeming about Captain J.J. Jones, a character so lacking in depth from his limited characterizations and even more limited embodiment by Jeffrey Donovan(USA Network's "Burn Notice") that his character might cause the audience to laugh if Captain Jones didn't act so despicably. Either way, it's a bad sign when a self-centered police captain comes off as less sympathetic than a child-murdering serial killer in the exact same movie.

Despite the film's lacking in moral ambiguity, "Changeling" emerges as a remarkable tale that doesn't feel nearly as conventional as its premise. A fair share of directors might take advantage of the fact that "Changeling" tells a rather inspirational story. After all, who doesn't believe that a movie about one woman taking down a corrupt police establishment is inspirational material? For Clint Eastwood, this isn't the case. In fact, "Changeling" may be Eastwood's darkest film in years. Christine Collins goes through hell and gone finding the truth about her son. The LAPD ignore Christine's demand for the police to find her missing son only to institutionalize Christine in a psychiatric ward where the patients are less amoral than the staff(think "One Flew Over the Cuckoo's Nest" without Jack Nicholson's sense of humor). These instances aren't nearly as unpleasant as the possible truth. Whereas many films about heroic protagonists toppling corrupt establishments offer increasing amounts of sentimentality and closure in exchange for an optimistic conclusion, "Changeling" delivers increasing amounts of grimness and ambiguity without allowing the audience to leave dissatisfied. This is where Clint Eastwood allows remarkable execution to disguise the story's conventions into a tale that ruminates in the audiences' mind long after the closing credits roll.

Much of the emotional power in "Changeling" lies in the film's main star, Angelina Jolie("Girl, Interrupted"). In a performance that deserves an Academy Award nomination for Best Actress, Angelina Jolie delivers an immense range of emotions as Christine Collins. Jolie's performance saves the character from becoming a one-dimensional heroine, and in the process, she turns the character into a naive figure who learns about the bitterness of the world around her. It's a performance that some will say screams "Oscar," but Jolie's rich performance warrants an Oscar nomination, and perhaps even a win.

"Changeling" ranks as another fine directorial effort from Clint Eastwood. Angelina Jolie's masterful performance and Eastwood's uncompromising tone turn "Changeling" into a searing tale that will not be forgotten anytime soon.

8/10

Elliot Zatzkis

W.

85.1

Directed by: Oliver Stone

Written by: Stanley Weiser

Starring: Josh Brolin, Elizabeth Banks, James Cromwell, Stacy Keach, Ellen Burstyn, Toby Jones, Scott Glenn, Jeffrey Wright, Thandie Newton, and Richard Dreyfuss

A.

There will be several critics of "W.," the George W. Bush biopic from director Oliver Stone("Platoon"). "W." doesn't cover all of the significant events of our current president's life. The movie is also a rather nonbiased examination of a figure that many people love to hate. It's a shame that these attributes will cause people to dismiss "W." for what some may perceive as faults because Oliver Stone's latest movie is one of the year's finest efforts.

"W." follows the rise and fall of United States President George W. Bush(Josh Brolin). From Bush's reckless upbringing to the leader's consequential presidency, director Oliver Stone shows how Bush achieves so much and so little in his rise to the top.

Many will argue that "W." omits significant events of President Bush's life. After all, "W." doesn't cover Bush's two presidential elections or events following 2004. This means that much of Bush's presidency isn't observed in "W." In a history lesson, these omissions are gigantic flaws, but "W." isn't a history lesson so much as it is a character study. As the term states, a character study focuses on its main character, and with the exception of the film's disjointed transition of alcoholism to religion, the fine script by Stanley Weiser("Wall Street") grants George W. Bush with immense depth. Oliver Stone's film avoids labeling Bush as a person with bad intentions so much as an individual with poor judgment. "W." depicts George W. Bush as a proud American who believes in free will, endless opportunities, and sheer happiness. Bush's problem is that he doesn't know how to live up to his expectations. In "W.," George W. Bush is a puppet who relies on his family and friends too much to accomplish anything on his own, and these flaws will cost Bush more than he gains. Indeed, Bush may live happily ever after in his simple mindset, but what's the cost of such ignorance? It's in the answering of this question that Oliver Stone allows the sympathetic protagonist to be judged for his actions, and as a result, "W." succeeds at delivering an even-handed account of an individual who, warranted or not, tends to be harshly judged by the public.

This unbiased depiction of President Bush owes much of its credit to Josh Brolin("No Country for Old Men"). Unlike most "impersonations" of our current president, Brolin adds charisma and depth to his role as the 43rd United States president. Josh Brolin continues to prove that he's a master of subtlety, and as with the character himself, Josh Brolin evolves seamlessly into his role as George W. Bush. Meanwhile, the supporting performances tend to be so remarkable that the audience is left wanting more of the secondary characters. Even so, this is a minor complaint because with the exceptions of Donald Rumsfeld(Scott Glenn) and Tony Blair(Ioan Gruffudd), the characters receive enough screen time to develop as individuals.

The cast and crew of "W." deserve immense credit for granting controversial President George W. Bush with a near-masterpiece of a biopic. Oliver Stone, Stanley Weiser, and Josh Brolin work remarkably together as director, writer, and actor only to conceive a movie that's incredible strengths overcome minor flaws. It'll be interesting to see if "W." unites or divides audiences, but either way, "W." ranks as an instant contender for this writer's top ten list of 2008.

9/10

Elliot Zatzkis

RocknRolla

84.1

Directed by: Guy Ritchie

Written by: Guy Ritchie

Starring: Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong, Idris Elba, Tom Hardy, Karel Roden, Toby Kebbell, Jimi Mistry, Geoff Bell, Matt King, Jeremy Piven, and Ludacris

Wrong Beat

There's really no reason for "RocknRolla" to fail. After all, this is Guy Ritchie's attempt to make another crime film along the lines of his two best films, "Lock, Stock, and Two Smoking Barrels" and "Snatch," yet "RocknRolla" lacks the fun of Ritchie's finer crime films. 

"RocknRolla" follows two London thugs on the low end of the gangster food chain. One Two(Gerard Butler) and Mumbles(Idris Elba) work for Lenny Cole(Tom Wilkinson), a British crime boss who owns most of London. Cole plans to strike a business deal with Russian crime boss Uri(Karel Roden), and as a token of good wishes, Uri lends the Russian boss's lucky painting to Lenny. However, when Uri loses his luck, the Russian mobster asks Lenny to return the painting. Unfortunately, Lenny's spoiled rock star stepson, Johnny Quid(Toby Kebbell), stole the painting from Lenny. Now, it's up to One Two and Mumbles to save or destroy their jobs and lives.

There's little denying that "RocknRolla" is a significant step in the right direction for Guy Ritchie. After all, Ritchie's previous two efforts, the tedious "Swept Away" and pretentious "Revolver," are unintentionally funny "serious" films. Gerard Butler("300") turns One Two into a charismatic thug while Toby Kebbell("Control") delivers many of the film's best moments as the irresponsible Johnny Quid. Tom Wilkinson("Michael Clayton") tries to emulate the fantastic Bob Hoskins performance in the British crime classic, "The Long Good Friday," with impressive results. The rest of the cast deliver fine performances, too, and the final results prove that Guy Ritchie knows how to cast his actors.

The atmosphere for "RocknRolla" works terrifically. As usual, Guy Ritchie compiles a remarkable list of songs for his movie. From Black Strobe's "I'm A Man," which becomes the unofficial theme song for "RocknRolla," to The Subways' "Rock & Roll Queen," Ritchie turns "RocknRolla" into another crime caper that can rightfully be labeled as "cool." Meanwhile, Ritchie's sense of humor delivers moments of hilarity. The movie contains more than its own fair share of suspenseful robberies gone hysterically awry while the characters remain likably inept. As with Ritchie's finer efforts, the gangsters in "RocknRolla" are supposed professionals who don't know how to do their jobs. While this formula isn't fresh, it's not stale under Guy Ritchie's hands.

Despite the film's strong points, "RocknRolla" lacks the magic and fun of "Lock, Stock, and Two Smoking Barrels" and "Snatch." While "RocknRolla" contains its hilarious and exciting moments," Ritchie's new movie lacks the consistent wit and adrenaline of Ritchie's better works. As a result, "RocknRolla" isn't a particularly enjoyable film. Most of the movie relies on homophobic gags that try too hard to be funny and graphic violence that's too disturbing to work as black comedy. Meanwhile, "RocknRolla" feels about thirty minutes too long, and the movie's awkwardly sentimental moments and lame visual motifs(one involving a cigarette box) break the film's unpretentious tone. These drawbacks to "RocknRolla" do not turn Ritchie's new effort into a misfire along the lines of "Swept Away" and "Revolver," but the film's negative traits prevent "RocknRolla" from emerging as a solid crime flick.

"RocknRolla" is a significant improvement over Guy Ritchie's two previous efforts, "Swept Away" and "Revolver," but "RocknRolla" lacks the fun of "Lock, Stock, and Two Smoking Barrels" and "Snatch." At least there's hope that Ritchie will revive his career in the near future.

6/10

Elliot Zatzkis

2008 Academy Award Predictions - October 2008 Edition

With only three more months until the year comes to an end, it's time to set up Academy Award predictions. Expect a new post of updates every month until the Academy Award nominations are announced.

-Elliot Zatzkis

Best Picture

Changeling

The Dark Knight

Revolutionary Road

Slumdog Millionaire

W.

Best Director

Clint Eastwood, "Changeling"

David Fincher, "The Curious Case of Benjamin Button"

Christopher Nolan, "The Dark Knight"

Oliver Stone, "W."

Gus Van Sant, "Milk"

Best Actor

Josh Brolin, "W."

Richard Jenkins, "The Visitor"

Viggo Mortensen, "The Road"

Sean Penn, "Milk"

Mickey Rourke, "The Wrestler"

Best Actress

Anne Hathaway, "Rachel Getting Married"

Sally Hawkins, "Happy-Go-Lucky"

Angelina Jolie, "Changeling"

Meryl Streep, "Doubt"

Kate Winslet, "Revolutionary Road"

Best Supporting Actor

Philip Seymour Hoffman, "Doubt"

Heath Ledger, "The Dark Knight"

John Malkovich, "Changeling"

Brad Pitt, "Burn After Reading"

Liev Schreiber, "Defiance"

Best Supporting Actress

Amy Adams, "Doubt"

Kathy Bates, "Revolutionary Road"

Penelope Cruz, "Vicky Cristina Barcelona"

Taraji P. Henson, "The Curious Case of Benjamin Button"

Frances McDormand, "Burn After Reading"

Best Adapted Screenplay

Simon Beaufoy, "Slumdog Millionaire"

Justin Haythe, "Revolutionary Road"

William Monahan, "Body of Lies"

Christopher Nolan and Jonathan Nolan, "The Dark Knight"

Joe Penhall, "The Road"

Best Original Screenplay

Dustin Lance Black, "Milk"

Charlie Kaufman, "Synecdoche, New York"

Andrew Stanton, "WALL-E"

J. Michael Straczynski, "Changeling"

Stanley Weiser, "W."

Miracle at St. Anna

83.1

Directed by: Spike Lee

Written by: James McBride

Starring: Derek Luke, Michael Ealy, Laz Alonso, Omar Benson Miller, Valentina Cervi, Matteo Sciabordi, Joseph Gordon-Levitt, and John Turturro

Miracles Rarely Happen

After the opening credits to "Miracle at St. Anna" roll, the audience witnesses Puerto Rican-American Hector Negron(Laz Alonso), a World War II veteran, stare angrily at his television set. As it turns out, Negron is watching "The Longest Day," a World War II movie. There's no pride or glory to this sequence, and Hector Negron's only response to the film rests in a memorable remark: "Pilgrim, we fought for this country, too." This is the type of thought-provoking response that a moviegoer can expect in a movie from director Spike Lee("Inside Man"), and it's at this point that it becomes apparent that Lee wants to create a World War II picture that doesn't star an all-white cast. It's an honorable effort that one can expect as a movie from Spike Lee, a natural born filmmaker whose films tend to deliver as visceral documents of how racism affects society. These elements turn Spike Lee into the perfect director for "Miracle at St. Anna," and while Lee's epic contains moments of brilliant filmmaking, the final product emerges as one of Spike Lee's weakest films to date.

"Miracle at St. Anna" covers an epic story of war, love, friendship, and betrayal. It's 1944, and black soldiers Aubrey Stamps(Derek Luke), Bishop Cummings(Michael Ealy), Hector Negron, and Sam Train(Omar Benson Miller) end up in a Tuscan village after a violent battle. In the process, Train befriends Angelo(Matteo Sciabordi), a preteen boy who needs shelter. As a result, the four soldiers befriend local villager Renata(Valentina Cervi), and Renata agrees to temporarily provide shelter for the soldiers and the boy. When Nazis prepare to invade the small village, Stamps, Cummings, Negron, and Train will rely on their own instincts and newfound friends to take part in a battle where chances of survival are close to nonexistent.

What turns "Miracle at St. Anna" into such a colossal letdown is Lee's determination to make "the ultimate war movie." It might make sense to try this approach because most American World War II epics fail to acknowledge that Caucasians weren't the only Americans fighting Axis powers during World War II. Therefore, it might make sense to change the trend by adding a slew of World War II movies following black soldiers instead of one World War II epic following black soldiers. Unfortunately, this turns "Miracle at St. Anna" into an example where quantity takes over quality. Spike Lee wants his film to be about heroes and villains, loyalists and traitors, war and peace, and nearly every other element that belongs in any American World War II movie in history. This devolves "Miracle at St. Anna" into a clash of ideas that rarely merge together into a cohesive whole. For instance, the opening thirty minutes set up "Miracle at St. Anna" as a murder mystery where the aging Hector Negron murders a character in what seems to be cold blood. This sets up the rest of the film as a puzzle that can answer the mystery behind the murder. In theory, this approach to "Miracle at St. Anna" might work, but with the exception of Negron's terrific opening line, the film's opening is more routine than inspired. The characters arrive as stereotypes that belong in a third-rate film noir, and thus, the first thirty minutes to "Miracle at St. Anna" aren't particularly compelling. Then, the movie transitions into a heavy-handed war movie thanks to a sequence that tries embarrassingly hard to remind audiences that 1940's America wasn't too kind on its African-American citizens. This isn't Lee's only tonal style for "Miracle at St. Anna," either. After all, it's only a few minutes later that the film introduces Angelo in the style of an Italian Neorealist tale. Perhaps if Lee chose the action-oriented style over the Italian Neorealist approach(or vice versa), he might deliver a better film, but by attempting to hit two birds with one stone, Lee cannot justify either approach and misses both targets.

There's little denying that "Miracle at St. Anna" is one of those rare misfires from Spike Lee's remarkable collection of works, but "Miracle at St. Anna" isn't the cinematic disaster that many critics are painting it out to be. In fact, the second act of "Miracle at St. Anna" is as successful as anything to arrive from a war movie in the last decade. Anyone who walks in an hour late and leaves thirty-minutes early(a big chunk of the movie's overlong 160-minute running time) will swear that Lee's war epic is a masterpiece. The second act of "Miracle at St. Anna" avoids mechanical storytelling in favor of passionate filmmaking. Spike Lee's movie stops relying on a lackluster narrative by allowing the character to live and breathe. Some of the most compelling sequences in "Miracle at St. Anna" consist of discussions varying from the purpose of African-Americans fighting for a segregated nation to the refreshing nature of staying in a foreign country. Better yet, the latter conversation leads to a sequence in an ice cream shop that's as humorous and intelligent as any sequence that Lee masterfully constructs. These moments do not drive the storyline any further, but they allow the characters to speak their mind in a believable manner. The second act to "Miracle at St. Anna" rarely misses a beat, but this only makes it all the more apparent that Spike Lee's overreaching war epic hits less notes than it misses.

"Miracle at St. Anna" rests as an honorable cinematic dedication to African-American veterans from World War II, but the quality of Spike Lee's war epic doesn't come close to meeting the director's intentions. It's not a cinematic disaster, but it's a major disappointment from a great filmmaker.

6/10

Elliot Zatzkis

Towelhead

82.1

Directed by: Alan Ball

Written by: Alan Ball

Starring: Aaron Eckhart, Toni Collette, Maria Bello, Peter MacDissi, and Summer Bishil

Best Left Unseen

After nearly a year of negative buzz for "Towelhead," the controversial directorial debut from Alan Ball(HBO's "Six Feet Under") arrives in theaters with little more than a whimper. That's great because if "Towelhead" doesn't go down as one of the worst films of 2008, then it'll go down as one of the year's most unwatchable efforts.

"Towelhead" tells a coming-of-age story of a Lebanese-American girl learning to live in a small Texan town. After Gail Monahan(Maria Bello) gets into a fight with her thirteen year-old daughter, Jasira(Summer Bishil), the thirteen-year old is sent to live with her Lebanese-American father, Rifat(Peter MacDissi). Rifat's married army-reservist neighbor, Travis Vuoso(Aaron Eckhart), lusts over Jasira while Jasira's relationship with African-American classmate, Thomas(Eugene Jones III), appalls Rifat. With the chances of Jasira living a happy life diminishing by the second, the girl realizes that her only hope will be in the hands of another neighbor, the pregnant Melina(Toni Collette).

It's hard to imagine how fans of Alan Ball's film act. After all, who takes joy in watching a movie where a thirteen year-old protagonist gets beaten, humiliated, and raped in a two-hour motion picture? It's one thing if Jasira earns all of her troubles. However, it only takes a little bit of logic to realize that it's next to impossible for any teenage girl to earn such horrid pains in any case, let alone in "Towelhead." Worse yet, Jasira isn't a very compelling figure because behind all of the film's shock and horrors, Jasira is a rather bland character. There's nothing particularly interesting about the main character, and as a result, there's nothing particularly interesting about the movie.

Even if "Towelhead" didn't play out as such a vile experience, the movie would still need to add depth to the controversial subject matter. Alan Ball isn't afraid to deal with taboos, but none of the film's provocative themes delve into the depths of the characters. For instance, while Ball takes significant time focusing on Jasira's obsession with dirty magazines, the protagonist's homosexual tendencies do not go any deeper than a few fantasy sequences that may be from rejected pages of Alan Ball's Oscar-winning screenplay to the far-superior suburban tale, "American Beauty." Meanwhile, many character actions lack believability. For example, when the movie first introduces Thomas, Jasira's soon-to-be boyfriend throws out a racial slur at Jasira. Seconds later, the film shows a scene where Thomas apologizes to Jasira for his statement. Ball's approach to Thomas's statement seems unbelievable because the film doesn't allow time for Thomas to think about his racist statement. As a result, the introduction to Thomas's character rings false. The character and story issues add up to a disappointing script, and the final results take part in turning "Towelhead" into a lackluster movie.

To be fair, the movie contains two or three worthy scenes. A sequence where Jasira writes to her grandmother(under her father's dictation) and a gag of black comedy involving a cat play out as scenes that represent what might be a fine movie under a better script. Unfortunately, these scenes are about as good as "Towelhead" gets, and as a result, the film's many poor sequences add another nail into the coffin that contains Alan Ball's directorial debut.

The performances deliver a mixed bag. Summer Bishil gives a breakthrough performance as Jasira, but the actress can't hide the dull traits of her character. Peter MacDissi(HBO's "Six Feet Under") maintains a strong presence as Jasira's father, Rifat, but the actor's feminine voice doesn't meld well into Rifat's masculine character. Toni Collette("Little Miss Sunshine") plays another fine, if typecast, role as a motherly figure, and Maria Bell("A History of Violence") adds depth to her otherwise underdeveloped character, Gail. The strongest performance belongs to Aaron Eckhart("The Dark Knight") as Jasira and Rifat's army-reservist neighbor, Travis, but not even an actor as talented as Eckhart can save the rest of the performances from coming off as either average or uninspired.

No one can deny that multitalented screenwriter Alan Ball creates an ambitious directorial debut with "Towelhead," but the movie comes off as such a dreadful and tedious experience that praise seems unwarranted. Hopefully, this will be the nadir of Alan Ball's directorial career because a screenwriter as talented as Ball can't do much worse.

3/10

Elliot Zatzkis

Burn After Reading

81.1

Directed by: Joel Coen and Ethan Coen

Written by: Joel Coen and Ethan Coen

Starring: George Clooney, Frances McDormand, John Malkovich, Tilda Swinton, Brad Pitt, Richard Jenkins, David Rasche, and J.K. Simmons

Due to the endless twists and turns in "Burn After Reading," it's worth noting that this review may contain spoilers. If you plan to see this movie, read the score and come back later.

A Comedy with Errors

"No Country for Old Men," which is arguably the best film from directors Joel and Ethan Coen("Fargo"), is a little over a year old, and audiences are lucky enough to catch another Coen Brothers film within such a short time period. Even though "Burn After Reading" ranks as a lesser effort from the Coen Brothers, it is an entertaining motion picture with terrific Coenesque humor.

"Burn After Reading" focuses on the mishaps of five Washington D.C. residents. Osborne Cox(John Malkovich) ends his governmental career after being demoted from his position in the CIA, and he plans to write revealing CIA secrets in an upcoming autobiography. Osborne's pediatrician wife, Katie(Tilda Swinton), plans to leave Osborne for Harry Pfarrer(George Clooney), a government agent who is unhappily married to wife Sandy(Elizabeth Marvel). These events get thrown into jeopardy when gym trainer Chad Feldheimer(Brad Pitt) uncovers Cox's secret files, and as a result, Chad drags his plastic surgery-craving friend and colleague, Linda Litzke(Frances McDormand), into a dangerous blackmailing scheme that can only end badly.

Marketers are advertising "Burn After Reading" as a political satire, but "Burn After Reading" relies more on social commentary than political elements. In fact, the Coen Brothers put much of their interest into the deceit of divorcing(as seen from Katie secretly trying to divorce husband Osborne Cox) and the flaws of internet dating(as seen from hilarious sequences of Linda Litzke searching for Mr. Right through unreliable dating sites). These are only a few of the many societal issues that the Coen Brothers skewer, but beneath these elements rest a reoccurring Coen Brothers theme: Average Joes and Janes making selfish decisions with unpleasant consequences. Every character in "Burn After Reading" cares primarily about his or herself, and the consequences are fascinating and hilarious in manners that only the Coen Brothers can master. Indeed, "Burn After Reading" delivers Coenesque characters and humor, and as a result, the movie becomes all the more entertaining.

The performances are terrific. George Clooney("Michael Clayton") turns Harry Pfarrer into a crazier and dumber version of his "Syriana" character, Bob Barnes. Frances McDormand("Fargo") delivers an excellent comic performance as Linda Litzke, and Tilda Swinton("Michael Clayton") delivers a dry performance as ice queen Katie Cox. With this said, Brad Pitt("Fight Club") and John Malkovich("Shadow of the Vampire") deliver the best performances of the bunch. Brad Pitt basically reinvents his "Twelve Monkeys" character, Jeffrey Goines, into airhead gym trainer Chad Feldheimer, and the final results stand a chance of earning Brad Pitt his second Oscar nomination. Few actors can turn insane characters into hilarious figures as well as John Malkovich, and Malkovich's energetic performance as Osborne Cox delivers countless moments of hilarity. If there's any more proof that Pitt and Malkovich steal the show, it's in the perfectly-executed sequence where Chad meets Osborne in person.

The social commentary and excellent performances elevate "Burn After Reading" into a fine motion picture, but it's hard not to be a little disappointed by the film's narrative structure. As with "No Country for Old Men," the Coen Brothers omit the final showdown from "Burn After Reading," and while this unconventional approach works brilliantly in "No Country for Old Men," the payoff-free conclusion to this new Coen Brothers comedy keeps "Burn After Reading" from reaching greatness. While "No Country for Old Men" explains the showdown in an expertly-paced, thirty-minute epilogue of visual cues, the aftermath of the nonexistent showdown in "Burn After Reading" lasts, at the very most, for five minutes. The Coen Brothers allow two of the least important characters to explain the showdown through rushed exposition instead of visual hints, and this breaks the fact that movies are a visual medium rather than a radio show. It's a shame because "Burn After Reading" runs out of steam after the excellent first hour, and a climatic finale is the only way that the last thirty minutes can possibly revert "Burn After Reading" back onto the right track.

"Burn After Reading" may be the first entertaining movie of the Fall season. It's certainly a fine Coen Brothers movie, but it's also a weak follow-up to "No Country for Old Men." There's little doubt that "Burn After Reading" will become a commercial hit(which it deserves to be), but it's disappointing to realize that "Burn After Reading" never reaches its full potential.

8/10

Elliot Zatzkis

2008 Academy Award Predictions - September 2008 Edition

With only four more months until the year comes to an end, it's time to set up early Academy Award predictions. Expect a new post of updates for every month until the Academy Award nominations are announced.

-Elliot Zatzkis

Best Picture

Changeling

The Curious Case of Benjamin Button

The Dark Knight

Revolutionary Road

W.

Best Director

Clint Eastwood, "Changeling"

David Fincher, "The Curious Case of Benjamin Button"

Sam Mendes, "Revolutionary Road"

Christopher Nolan, "The Dark Knight"

Oliver Stone, "W."

Best Actor

Josh Brolin, "W."

Richard Jenkins, "The Visitor"

Frank Langella, "Frost/Nixon"

Viggo Mortensen, "The Road"

Sean Penn, "Milk"

Best Actress

Anne Hathaway, "Rachel Getting Married"

Sally Hawkins, "Happy-Go-Lucky"

Angelina Jolie, "Changeling"

Meryl Streep, "Doubt"

Kate Winslet, "Revolutionary Road"

Best Supporting Actor

Philip Seymour Hoffman, "Doubt"

Heath Ledger, "The Dark Knight"

John Malkovich, "Burn After Reading"

Brad Pitt, "Burn After Reading"

Liev Schreiber, "Defiance"

Best Supporting Actress

Amy Adams, "Doubt"

Kathy Bates, "Revolutionary Road"

Taraji P. Henson, "The Curious Case of Benjamin Button"

Penelope Cruz, "Vicky Cristina Barcelona"

Frances McDormand, "Burn After Reading"

Best Adapted Screenplay

Justin Haythe, "Revolutionary Road"

Peter Morgan, "Frost/Nixon"

Christopher Nolan and Jonathan Nolan, "The Dark Knight"

Joe Penhall, "The Road"

John Patrick Shanley, "Doubt"

Best Original Screenplay

Woody Allen, "Vicky Cristina Barcelona"

Charlie Kaufman, "Synecdoche, New York"

Andrew Stanton, "WALL-E"

J. Michael Straczynski, "Changeling"

Stanley Weiser, "W."

Hamlet 2

80.1

Directed by: Andrew Fleming

Written by: Pam Brady and Andrew Fleming

Starring: Steve Coogan, Catherine Keener, David Arquette, Amy Poehler, Joseph Julian Soria, Phoebe Strole, Melonie Diaz, Marshall Bell, and Elisabeth Shue

Satirizing the Bard

After nearly a year of hype, "Hamlet 2" emerges as a minor success. Even though a good majority of the film manages to be underdeveloped, "Hamlet 2" contains an asset that many comedies can only dream of: a towering performance that deserves Oscar consideration.

"Hamlet 2" follows a lackluster actor slumming through his latest career pitfalls. Actor-turned-playwright Dana Marschz(Steve Coogan) resides in Tucson, Arizona, with his wife, Brie(Catherine Keener), and the couple's roommate, Gary(David Arquette). Dana, who spends his time producing high school plays, faces a new dilemma when the local school board threatens to shut down the Tucson school's theatre department. As a result, Dana writes and produces new work "Hamlet 2" in hope of saving the school's theatre department.

The characters and dialogue in "Hamlet 2" deliver fine, if uneven, results. The songs remain consistently strong. With catchy and witty songs along the lines of "Raped in the Face" and "Rock Me Sexy Jesus" supporting the soundtrack of Andrew Fleming's film, Pam Brady("Team America: World Police") takes part in creating another fine set of politically-incorrect songs. The same applies to the film's mockery of smug playwrights and theatre critics(the relationship between Dana Marschz and the school's theatre critic stands as one of the film's highlights). Despite these strong points, the characters and situations aren't particularly complex or consistent. The relationship between Dana, Brie, and Gary never reaches a level of genuine chemistry, and the production of the "Hamlet 2" school production doesn't always feel believable(why does Dana refuse to replace student Rand with another performer?). As a result, "Hamlet 2" delivers an odd mix of biting satire and lackluster plotting.

Steve Coogan("24 Hour Party People") is the real star of "Hamlet 2." In fact, Coogan deserves most of the credit for warranting "Hamlet 2" with a recommendation. Steve Coogan delivers an Academy Award-worthy performance as failed playwright Dana Marschz. Catherine Keener("Being John Malkovich") does what she can with her dry performance as Dana's wife, Brie, but Keener cannot save her character from becoming an unnecessary figure that deserves to be in the film on the cutting room floor. David Arquette("Scream") says less than a couple dozen words in "Hamlet 2," but he's perfectly cast in his role as Dana and Brie's quiet roommate, Gary. Regardless of the film's slew of underdeveloped characters, the performances remain strong.

"Hamlet 2" isn't the knockout comedy that the movie's hype suggests, but the great performance by Steve Coogan turns "Hamlet 2" into a small gem. Regardless of the film's shortcomings, "Hamlet 2" stands a fair chance of becoming a sleeper hit.

7/10

Elliot Zatzkis

Tropic Thunder

79.1

Directed by: Ben Stiller

Written by: Ben Stiller, Justin Theroux, and Etan Cohen

Starring: Ben Stiller, Jack Black, Robert Downey Jr., Nick Nolte, Jay Baruchel, Brandon T. Jackson, Danny McBride, Steve Coogan, Bill Hader, Brandon Soo Hoo, Matthew McConaughey, and Tom Cruise

Tropic Wonder

Give Ben Stiller("Zoolander") a round of applause for delivering the comedy event of the Summer. With the exception of the occasional plot hole, "Tropic Thunder" storms onto the screen as a rarity: a motion picture that delivers a mindblowing hybrid of action and comedy.

"Tropic Thunder" covers the making of a fictional war movie. Ben Stiller plays Tugg Speedman, a Sylvester Stallone-like action star who intends on making his comeback in the war drama, "Tropic Thunder." Unfortunately, the film is five days into production, and the movie is a month behind schedule. The film's other main stars, drug-addicted comedian Jeff "Fats" Portnoy(Jack Black) and chameleon actor Kirk Lazarus(Robert Downey Jr.), seem incapable of giving believable performances in "Tropic Thunder," and the film's director, Damien Cockburn(Steve Coogan), receives all of the blame. In hope of inspiring naturalistic performances from Speedman, Portnoy, and Lazarus, disabled Vietnam vet John "Four Leaf" Tayback(Nick Nolte) convinces Damien to place the film's stars into a seemingly-isolated section of the Southeastern Asian jungle. As soon as Speedman, Portnoy, and Lazarus enter the random location, hell breaks loose, and the stars need to find their way home.

"Tropic Thunder" defies labeling. In fact, the summary itself doesn't justify the film's endless wonderment. After all, "Tropic Thunder" is a movie within a movie within a movie. The opening minutes consist of an advertisement for Booty Sweat Energy Drink, an action sequel with a Rambo-like character, a family comedy reminiscent of "Nutty Professor II: The Klumps," and a drama involving homosexual priests. These punches are only the tip of the iceberg since "Tropic Thunder" embraces and skewers the Hollywood system. With references to "Apocalypse Now," "Platoon," and even "Jaws," Ben Stiller mixes a slew of war movie cliches into an original war picture. The characters in "Tropic Thunder" get into many dangerous situations, but the dilemmas at the Hollywood front aren't faring too much better. Speedman's agent(Matthew McConaughey) can't believe that Tugg isn't receiving TIVO on the film's set(a supposed breach in Tugg Speedman's contract), and Access Hollywood is unveiling the production troubles behind "Tropic Thunder" to the public. The latter dilemmas aren't particularly significant, and this is exactly Stiller's point. After all, Ben Stiller is a master satirist as much as he is a great comedian, and "Tropic Thunder" shows Ben Stiller at the peak of his form.

"Tropic Thunder" contains a top-notch ensemble cast. Ben Stiller delivers one of his funniest performances as washed-up actor Tugg Speedman. Jack Black("The School of Rock") adds some memorable laughs as Jeff Portnoy while Robert Downey Jr.("Iron Man") delivers some of the film's most quotable lines as Australian actor Kirk Lazarus. However, it's the supporting roles that steal the show. Matthew McConaughey("Fool's Gold") delivers his best performance in years as Tugg Speedman's peanut-brained agent while Brandon Soo Hoo delivers a hilarious acting debut as child kingpin Tran. The best performance in "Tropic Thunder" goes to Tom Cruise("Top Gun") as Les Grossman. Many Tom Cruise-haters will roll their eyes to such a statement, but in a performance that needs to be seen to be believed, Cruise turns Les Grossman, a bald-headed executive producer, into a zany figure that makes Vincent from "Collateral" seem like a pristine angel. Honestly, Tom Cruise delivers a standout comedic role as Les Grossman, and Cruise's performance in "Tropic Thunder" ranks with his performances in "Risky Business," "Born on the Fourth of July," "Magnolia," and "Collateral" as a landmark performance in the actor's career.

Some will dismiss "Tropic Thunder" as an illogical action comedy, but anyone who refuses to see "Tropic Thunder" will be missing out on a comedy that towers over much of the season's competition. After all, "Tropic Thunder" isn't just one of the best films of the year, but one of the few films in 2008 that deserves multiple viewings.

9/10

Elliot Zatzkis

Pineapple Express

78.1

Directed by: David Gordon Green

Written by: Seth Rogen and Evan Goldberg

Starring: Seth Rogen, James Franco, Danny McBride, Amber Heard, Rosie Perez, and Gary Cole

Where's the Express?

It's rare for a big-studio stoner action comedy to arrive in theaters, and it's even rarer for studios to release a big-studio action comedy that's as ambitious yet uninvolving as "Pineapple Express." While the movie delivers fine performances, the deliberate pacing turns "Pineapple Express" into a surprisingly tedious action comedy.

"Pineapple Express" follows the not-so-ordinary adventures of two pot-smoking buddies. Subpoena dealer Dale Denton(Seth Rogen) and drug dealer Saul Silver(James Franco) are smoking a new type of weed known as "Pineapple Express." Unfortunately, drug kingpin Ted Jones(Gary Cole) wants his hand on the new product, and when Dale witnesses Ted execute a rival, Dale and Saul run for their lives in order to stay alive.

To be blunt(pun not intended), about a third of "Pineapple Express" feels tedious. Unlike most action movies, "Pineapple Express" settles for deliberate pacing. In a tighter film, the pacing could've been perfect. However, the screenplay settles for a directionless subplot involving Dale's relationship with 18-year-old high schooler Angie(Amber Heard) while a subplot involving a gang war between two drug kingpins comes off as a disappointing attempt to deliver character development for antagonist Ted Jones. Once again, these may sound like minimal complaints, but the combination of these two subplots add up to at least one-third of the film's running time. Meanwhile, the action sequences remain few and far between since the film wants to focus on gags as much as adrenaline. For every clever sequence involving Dale subpoenaing various individuals, the script settles for a tedious sequence involving Dale and Saul hiding out in the forest. To be fair, the opening sequence of a 1937 government test project plays out brilliantly, and the climatic shootout at a remote barn plays out like a "Days of Heaven" sequence on crack(in a good way). Unfortunately, these excellent sequences cannot keep a significant amount of the film from moving at a snail's pace.

The performances feel stronger than the script. Seth Rogen("Knocked Up") continues to prove that he is one of the funnier actors in modern cinema. James Franco("Spider-Man") gives his best performance in years, if not ever, as Saul Silver. Franco, who tends to act in more serious roles, fits the role of Saul Silver like such a fine glove that once cannot help but hope that Franco pursues more comedic roles in the future. Indeed, "Pineapple Express" delivers pitch-perfect performances from lead actors Seth Rogen and James Franco, and the final results (almost) keep "Pineapple Express" afloat.

After months of hype, "Pineapple Express" falls short as a stoner comedy and an action film. The film's amusing concept falls flat under shockingly deliberate pacing. "Pineapple Express" will become a box office hit, but unlike "The 40 Year-Old Virgin," "Knocked Up," "Superbad," and "Forgetting Sarah Marshall," the new Judd Apatow production doesn't quite deliver what it promises.

6/10

Elliot Zatzkis

The Wackness

77.1

Directed by: Jonathan Levine

Written by: Jonathan Levine

Starring: Ben Kingsley, Josh Peck, Famke Janssen, Olivia Thirlby, Mary-Kate Olsen, and Method Man

Bittersweet, indeed.

Let's face it: quirky comedies are at their best when they aren't saccharine sweet. However, this doesn't stop respectable, but sugary, tales along the lines of "Juno" from becoming critical and commercial darlings. Enter "The Wackness," a new entry in the subgenre that stands apart from its competition as a funny, intelligent, and moving gem that delivers as one of the season's big surprises.

"The Wackness" delivers an unsentimental coming-of-age story involving a drug dealer and his therapist living dissatisfying lives in New York City. It's the Summer of 1994, and teenage drug dealer Luke Shapiro(Josh Peck) desires nothing more but to win the affections of Stephanie(Olivia Thirlby), the stepdaughter of Shapiro's pot-smoking therapist, Dr. Squires(Ben Kingsley). However, when Dr. Squires uncovers Luke's interest in Stephanie, trouble arises.

The overly-cute advertisements for "The Wackness" may cause potential viewers to dismiss the movie as a "Juno" clone, yet this gem is more reminiscent of "Rushmore" than the 2007 hit. As with the 1998 masterpiece, "The Wackness" depicts the friendship between an antisocial teenager, an immature adult, and the woman who comes between them, but the similarities end there. Unlike Herman and Rosemary, Dr. Squires and Stephanie don't share any romantic interest with one another. After all, Dr. Squires is Stephanie's stepfather, but Dr. Squires believes that Luke and Stephanie aren't right for each other. The accuracy to this belief isn't easy to uncover since writer/director Jonathan Levine creates an unpredictable narrative. As with "Rushmore," "The Wackness" veers into dark territory, but the darker elements only make the heartfelt moments all the more satisfying.

The top-notch performances emerge as another strong point for "The Wackness." Josh Peck("Mean Creek") delivers a breakthrough performance as Luke Shapiro while Ben Kingsley("House of Sand and Fog") gives one of his best performances in years as the eccentric Dr. Squires. Olivia Thirlby("Snow Angels") pulls off a terrific performance as Stephanie while Mary-Kate Olsen("New York Minute") breaks away from her typecast roles as Union.

This isn't to say that "The Wackness" is perfect. The relationship between Dr. Squires and his wife, Kristin(Famke Janssen), doesn't serve any real purpose but to advance the plotline involving Luke and Stephanie. Meanwhile, the friendship between Luke and free-spirited Union(Mary-Kate Olsen) doesn't go anywhere. Luckily, "The Wackness" remains as an immensely satisfying film, and it's to Levine's credit that these plotting issues do not kill the rest of the movie.

In a summer with a nearly endless supply of lackluster movies, "The Wackness" stands out as a refreshing surprise. Writer/director Jonathan Levine mixes an unpredictable narrative with fine performances only to create a quirky comedy that'll satisfy cynics and optimists alike. Let's hope that "The Wackness" finds the audience it rightfully deserves.

8/10

Elliot Zatzkis

2008 Academy Award Predictions - August 2008 Edition

With only five more months until the year comes to an end, it's time to set up early Academy Award predictions. Expect a new post of updates for every month until the Academy Award nominations are announced.

-Elliot Zatzkis

Best Picture
Australia
Changeling
The Dark Knight
Revolutionary Road
W.

Best Director
Clint Eastwood, “Changeling”
David Fincher, “The Curious Case of Benjamin Button”
Sam Mendes, “Revolutionary Road”
Christopher Nolan, “The Dark Knight”
Oliver Stone, “W.”

Best Actor
Josh Brolin, “W.”
Richard Jenkins, “The Visitor”
Viggo Mortensen, “The Road”
Sean Penn, “Milk”
Brad Pitt, “The Curious Case of Benjamin Button”

Best Actress
Angelina Jolie, “Changeling”
Nicole Kidman, “Australia”
Melissa Leo, “Frozen River”
Meryl Streep, “Doubt”
Kate Winslet, “Revolutionary Road”

Best Supporting Actor
George Clooney, “Burn After Reading”
Philip Seymour Hoffman, “Doubt”
Heath Ledger, “The Dark Knight”
Brad Pitt, “Burn After Reading”
Liev Schreiber, “Defiance”

Best Supporting Actress
Amy Adams, “Doubt”
Kathy Bates, “Revolutionary Road”
Cate Blanchett, “The Curious Case of Benjamin Button”
Penelope Cruz, “Vicky Cristina Barcelona”
Frances McDormand, “Burn After Reading”

Best Adapted Screenplay
Justin Haythe, “Revolutionary Road”
Christopher Nolan and Jonathan Nolan, “The Dark Knight”
Joe Penhall, “The Road”
Eric Roth, “The Curious Case of Benjamin Button”
John Patrick Shanley, “Doubt”

Best Original Screenplay
Woody Allen, “Vicky Cristina Barcelona”
Ethan Coen and Joel Coen, “Burn After Reading”
Andrew Stanton, “WALL-E”
J. Michael Straczynski, “Changeling”
Stanley Weiser, “W.”

Step Brothers

76.1

Directed by: Adam McKay
Written by: Will Ferrell and Adam McKay
Starring: Will Ferrell, John C. Reilly, Mary Steenburgen, Adam Scott, and Richard Jenkins

Brotherly Hate

For the first two thirds of “Step Brothers,” director Adam McKay(“Talladega Nights”) creates his best comedy in years, yet somewhere between the scenes involving Richard Jenkins(“The Visitor”) spanking Will Ferrell(“Semi-Pro”) and a burying gag that’s funnier in the film’s trailer than in the film itself(thanks to a lack of context), “Step Brothers” veers into lackluster territory.

“Step Brothers” follows two middle-aged men who become forced to live with each other. Forty year-old Brennan Huff(Will Ferrell) lives with his mother, Nancy(Mary Steenburgen), while thirty-nine year-old Dale Doback(John C. Reilly) lives with his father, Robert(Richard Jenkins). Brennan and Dale live lazy lives, but when Nancy and Robert marry each other, Brennan and Dale must learn to get along.

For the first two-thirds of “Step Brothers,” director Adam McKay creates a hilarious, if flawed, film. To be fair, the concept of two single parents living with children in their late 30’s/early 40’s seems unlikely, and it’s even more unlikely that these two parents might meet each other. However, Will Ferrell and John C. Reilly deliver one hysterical gag after another. From a raucous scene involving a drum set to an endlessly funny music video, “Step Brothers” isn’t light on successful gags, and until the final third begins, there seems to be more than enough good material to give “Step Brothers” a fine review.

During the last-third of “Step Brothers,” things take a turn for the worse. The majority of “Step Brothers” delivers as a mean-spirited delight, but the final third of the film isn’t so much mean-spirited fun as it is plain mean. The characters reach their breaking points, and as a result, Brennan, Dale, Nancy, and Robert will face their family’s fate. Reality takes its toll on an unrealistic setting, and the only way to undo the film’s mean-spirit is to grant “Step Brothers” with an overly sentimental finale. Characters begin to act kindly towards one another for no other reason but to advance the plot. In fact, with the exception of a great gag during the closing credits, the last third of the film manages to be about as funny as “The Benchwarmers.” Many of the gags during the last third try too hard to be funny(thanks to a barrage of bizarre fantasy sequences and a gift that decreases the protagonists’ character growth). This manages to be a shame because the first two-thirds of “Step Brothers” deserve a conclusion that’s not overly mean or sentimental.

After witnessing comedic surprises such as “Forgetting Sarah Marshall” and “You Don’t Mess with the Zohan,” “Step Brothers” comes off as a significant disappointment. Thanks to a terrible final act, “Step Brothers” rests as a missed opportunity.

5/10

Elliot Zatzkis

The Dark Knight

75.1

Directed by: Christopher Nolan
Written by: Jonathan Nolan and Christopher Nolan
Starring: Christian Bale, Heath Ledger, Aaron Eckhart, Michael Caine, Maggie Gyllenhaal, Gary Oldman, and Morgan Freeman

The Great Knight

Once in a blue moon, a superhero movie achieves the quality of an Oscar contender, and director Christopher Nolan(“Memento”) delivers the unthinkable by turning “The Dark Knight” into a movie that gives “Spider-Man 2” a run for its money as “the best superhero movie of all time.” From the unnerving performances to the pungent atmosphere, “The Dark Knight” emerges as a great film that’ll rightfully be on many top ten lists this December.

“The Dark Knight” delivers the return of Gotham City playboy billionaire Bruce Wayne(Christian Bale) and the bachelor’s superhero alter ego, Batman. After a giant bank robbery in Gotham, a disfigured psychopath known as The Joker(Heath Ledger) intends on turning Gotham City into a chaotic wasteland.

Unlike 95% of superhero movies, “The Dark Knight” maintains the elements of a Greek tragedy. Bruce Wayne/Batman may defeat The Joker, but Batman cannot leave the picture unscathed. After all, “The Dark Knight” delivers more than the psychological aspects that lie underneath every other superhero film since director Christopher Nolan adds the nature of good and evil into “The Dark Knight.” As with Vincent Hanna(Al Pacino) and Neil McCauley(Robert DeNiro) in the 1995 crime masterpiece, “Heat,” Batman and the Joker prove that good and evil dance with one another. After all, Batman and the Joker need each other to coexist as good and evil, and as a result, no other character in “The Dark Knight” shares more in common with Batman than the Joker. Both characters focus on their careers rather than their family(or whatever arrives close to the criteria), and as a result, both characters become outcasts by choice rather than fate. As a result, there’s no logical way that every character will live happily ever after.

As the trailers support, the late Heath Ledger(“Brokeback Mountain”) gives the most frightening performance of his career. As with Jack Nicholson(“The Departed”) in the original “Batman,” Ledger delivers an award-caliber performance. Nevertheless, Ledger receives the upper hand to Nicholson because of the film’s material. Unlike the Joker in the 1989 film adaptation of Batman, Ledger’s Joker doesn’t care if the public likes him. There’s no point in winning everyone over, and there are no limits to the Joker. In “The Dark Knight,” the Joker bombs, lynches, and stabs those who do and don’t earn their horrific fates, and this only applies to people who don’t end up becoming meat for the hounds. As Alfred tells Bruce, “some men just want to watch the world burn,” and such horrifying philosophy, the terrific screenplay, and Heath Ledger’s performance turn the Joker into a monstrous villain on par with Frank Booth(“Blue Velvet”), Hannibal Lecter(“The Silence of the Lambs”), and Anton Chigurh(“No Country for Old Men”) as one of the scariest villains in modern cinema.

It’s to the immense quality of “The Dark Knight” that the other performances don’t falter in Heath Ledger’s spotlight. Christian Bale(“American Psycho”) continues to prove that he’s the best Batman in ages, if not ever, since he maintains a fine presence as Bruce Wayne and Batman himself. Maggie Gyllenhaal(“Secretary”) adds an unforeseen amount of wit and verve to the character of Rachel Dawes. Aaron Eckhart(“Thank You for Smoking”) adds cockiness to Harvey Dent and energy to Two-Face while Michael Caine(“The Prestige”) manages to be as good as ever as Alfred. With the fine supporting performances by Gary Oldman(“The Fifth Element”) and Morgan Freeman(“Wanted”) wrapping up the excellent cast, there’s a significant chance that every performance will receive a significant level of respect from critics, audiences, and insiders during awards season.

It’ll be interesting to see if time labels “The Dark Knight” as “the best superhero movie of all time.” As with “Spider-Man 2,” Christopher Nolan’s crime epic maintains all of the qualities of an Oscar contender. It’s one of those rare occasions when a movie’s quality exceeds its own hype, and if that’s the greatest compliment that a high-concept blockbuster can aspire to, than so be it.

10/10

Elliot Zatzkis

Hellboy II: The Golden Army

74.1

Directed by: Guillermo del Toro
Written by: Guillermo del Toro
Starring: Ron Perlman, Selma Blair, Doug Jones, Seth MacFarlane, Luke Goss, Anna Walton, Jeffrey Tambor, and John Hurt

Better Than Hell. Worse Than Heaven.

Two years after the release of director Guillermo del Toro’s masterpiece, “Pan’s Labyrinth,” the Mexican director returns to mediocrity with “Hellboy II: The Golden Army.” Thanks to an uneven tone and script, the sequel to “Hellboy” fails to sustain the audience’s attention span for its two-hour running time.

“Hellboy II: The Golden Army” follows the continuing adventures of demon superhero Hellboy(Ron Perlman). The evil Prince Nuada(Luke Goss) disgusts the human race for its selfishness, so Nuada intends to break an ancient pact between the humans and creatures by releasing and controlling The Golden Army, a deadly group of fighting machines that maintain the capability of destroying the human race. With this newfound threat, Hellboy and his crew will need to defeat Prince Nuada before The Golden Army can destroy humanity’s existence.

As with Guillermo del Toro’s other motion pictures, “Hellboy II: The Golden Army” manages to be a visually-extravagant film. With the exception of a visually-dated flashback to the birth of the pact between the humans and creatures, there’s hardly a single sequence lacking in high-tech visual creativity. From a terrific sequence in a troll market( which remains highly reminiscent of the cantina sequence in “Star Wars Episode IV: A New Hope”) to the creative decoration of Area 51(where Hellboy resides), “Hellboy II: The Golden Army” continues to prove that Guillermo del Toro ranks as a terrific cinematic stylist.

The extravagant visuals cannot keep the lackluster storyline from turning “Hellboy II: The Golden Army” into a near-miss. Aside from the fact that Guillermo del Toro’s new film contains about five introductions, the movie cannot decide whether it wants to be a dark comedy or an action film. Many movies can seamlessly blend these two genres into one film, but the two storylines of “Hellboy II: The Golden Army” vary in tone. The Hellboy storyline remains superior to Nuada’s plotline since the plot involving “Hellboy” delivers many good laughs. After all, how often do superheroes punch evil creatures dressed up as cat ladies? How often do superheroes