Super 8 (2011)

Overall Rating: 8.00/10

It happens in a flash, and it's quick, violent, intense, and completely void of practicality. Like one might find in many action-adventures, it's a declarative statement to the viewer - "this is where we set the bar for the feasibility of our action" - and if you don't buy it then, you're going to find the following two hours a very bumpy ride. In essence, it's just the way modern blockbusters go. They establish, very early on the need for you suspend your knowledge of physics, and accept that the heroes are going to get through a few over the top encounters unscathed.

J.J. Abrams knows as well as anyone, that line is a tough one to cross, and that the modern viewer will buy into more than they'd readily admit. With audiences more prone to accept first, ask questions later, Abrams grabs hold with the very first action scene in Super 8 and goes for the whole nine yards. It's a risky move, especially considering the appreciation for the remaining hour and a half depends on it, but if the viewer takes the bait and is willing to be absorbed, I can say from first hand experience it's a hell of a fun ride to go through.

Twisting and turning through every classic narrative you can think of, Super 8 flirts with realms as closely intertwined as Jurassic Park and E.T. to the opposite extreme with Romeo and Juliet romantic leanings. A young, but fluidly dynamic cast bounce their lines off one another with pin point precision, and personable timing. Homages weave in and out with everything from copy/paste sequences to 'wink wink' references for the obsessive completest geeks. Something some fans of the classic Amblin and Spielberg tales have found waning in favoritism, but I for one ate it up like a fat kid at a pie eating contest - so to speak (yes, I've just piled on a 'wink wink' while noting a film's use of 'wink wink' moments - #skill).

I've always found myself drawn to films on aliens, government intervention, and coming of age. So, diving in headstrong with the triple threat almost seems to put my critical hat at a disadvantage. I found myself loving the strong performances of young child stars Joel Courtney, Elle Fanning, Ryan Lee, Zach Mills, Riley Griffiths, and Gabriel Basso. With Courtney and Fanning being the two real standouts - granted, Riley Griffiths in an Angus-styled role as the over agitated, misunderstood overweight kid left me feeling a bit nostalgic to my years as an overweight elementary and middle schooler... and high schooler... and, you know, let's just move on.

Another standout among the cast lies in menu item #1 of the Spielberg catalog, the despondent father Kyle Chandler, whom I've been waiting to grab another strong big screen roll following his breakthrough in 2005's King Kong. Matching wits with Chandler throughout is professional supporting man, Noah Emmerich - complete with fully functional seldom-speaking black underling Richard T. Jones (don't worry Jones, you'll always have a place here). Rounding out the star laden adult cast is a personal favorite in the form of Ron Eldard - who seems to finally be recovering from the quick pedestal kick out after House of Sand and Fog - as Elle Fanning's drunken, worthless father whose tale comes with handy built-in dramatic tie-ins.

But despite all the talent involved, Abrams plays this surprisingly close to the chest. Super 8 is cool, calculating, and intentionally manipulative. With over the top exposition dialogue capped off by excessive staging, Super 8 has perhaps more than its fair share of moments that induce eye rolling from more critical audience members. Yet, at no point did any sequence feel flat to me. Bouncing off from one shot to the next, the completed product connects each dot on its own pattern. A pattern that begs to blend the unbelievable and reality without care for their contradictory stances.

All of which collide in a finale that is immeasurably over the top, ridiculous in visualization, and fails to answer a handful of the questions the film presents... and you know what? It is awesome. Yes, I said it. Sure, the finale fails to complete the chain of events that it leads up to, but it also brings a sense of conclusion. A sense that the unanswered questions will be fine just lingering there. The characters, whose growth is at the heart of the film, has reached the peak and come into fruition, and the rest is just circumstance. It might leave a few audience members wanting, but I found it a perfectly fulfilling affair.

Of course, never one to disappoint, Abrams takes one last shot at an explosive finale, before quietly fading into the blackness of space and allowing the credits to roll. It's a bit cheap, but I found my funny bone well tickled, and for that I say - Super 8 is flawed, but it has a lot of fun being so. If you're willing to buy in to the extremity of its action, you'll find a heartfelt tale of wonder and childhood trauma to grab a hold of and cherish as you leave the theater.

Film Credits:
Written and Directed By: J.J. Abrams

Source Code (2011)

Overall Score: 7.75/10

You wake up and you're a different man. The woman in front of you is a stranger who's known this you for time untold. The people around you are completely different from the world you know. You panic, you sweat, you flea. And when you reach a breaking point, boom. All of the sudden you're yourself again. But something's still not right. You're trapped in a box. On the camera is another woman you don't know, but this one knows the real you. The situation is the same, but different. Two woman, two you's, two completely different lives. Welcome to the Source Code.

Despite what it would have you believe, Source Code is not a thriller. Sure there's the running, the chasing, and the battle with time. But that's all a cover. Source Code is really all about one very specific thing. Life, and how far we're willing to go to salvage it when pushed beyond the confines of death.

As many have pointed out, Source Code is basically Deja Vu, Groundhog's Day, and Twelve Monkeys tossed into a blender; and yet it manages comes out clean on the other side. Its persistent optimism, high sci-fi undertones, and challenging questions on identity and fulfillment give it an air of freshness that even the most hardened of film goers will intake happily.

By those standards, Source Code thrives. With minute changes on each go-around it avoids the redundant atmosphere Vantage Point buried itself under. As well, Source Code also utilizes the 'actual' world, outside the restrictive the focal program, to give audiences another layer of tension and characters to interrogate and seek refuge in.

For a second outing, Duncan Jones plays it safe and smart, despite the ominous presence of Dunkin' Donuts (who I could have sworn were behind it all). The plot keeps things rolling, inviting new details to entice the viewer, but always acknowledging the characters and the science fiction first. As mysteries go, Source Code's is a rather tame one. No big twists, limited ideology, and even less big shock moments. It is those characters that we grow to know and appreciate that provides us the drive to see them prosper. Where many writers would put their idea at the forefront of any mystery, Ben Ripley intelligently makes it more about the surrounding events and people. The Source Code world is always secondary, and justly so.

Yet, there is one character that is disturbingly absent from the entire affair - Sean. The body to which Jake Gyllenhaal's Colter Stevens now owns while inside the Source Code. Very early on we are brushed aside on any emotional connection as Goodwin (Farmiga) promptly tells us "for this mission he is irrelevant." However, as Source Code travels down the slippery path between reality and imaginary, he becomes an element of collateral damage. By the end, many of us would be hard pressed to know he existed at all. Especially given the film's strong stance of ignorance with respect to him.

A minor detail in some eyes, but I can't help but feel that we have been deprived some crucial detail of character development. All we know of him is a name and profession. Beyond that he is a zombie. An empty vessel, and the lack of any care or attention towards him leads me to call into question the saleability of the film's ending. While it wouldn't be the greatest of endings in any other circumstance, I do feel it could have considerably benefited from some exposition on the man.

But Source Code does an excellent job of blinding that. By playing up our central character's emotional transformation, we care more for him than we would ever bother to care about the elusive Sean. We come to love Colter Stevens for his heart, his care, and the manner by which he comes to view the world. He, in essence, becomes our vessel. Yet, he is one to which we share the world, and for that we feel a deeper emotional kindred.

Thus becomes the tale of Source Code. For those seeking only thrills, Source Code is not the path you should take. For those who want the thrills mixed in with something a bit more, Source Code is without a doubt a destination you'll enjoy the journey to. Besides, who can turn down two hours of solid Michelle Monaghan and Jeffrey Wright lighting up the screen?

Film Credits:
Directed By: Duncan Jones
Written By: Ben Ripley

Monsters (2010)

Overall Rating: 7.50/10

A broken society can make even the simplest task seem inaccessible. You add to that a continent overrun by monsters, and you're likely to find that task nearly insurmountable. The 2010 low-budget sci-fi drama Monsters examines just that very situation. Teetering on the edge of dystopia, Mexico's alien invasion becomes the focal point where the future of humanity may weigh in the balance.

Navigating a world of aliens and alienated, Samantha (Whitney Able) and Kaulder (Scoot McNairy) must traverse the infected zone in the hope of getting back home to America. In doing so they bear witness to the brutal inner turmoil of a planet learning to adapt. Along the way they are also privy to some of the hidden beauties one might find in a world if they look. Something as simple as alien and plant life finding a middle ground, co-existing in a land of conflicting needs, can supply elements of hope and fear.

Able and McNairy handle the demanding task of being our eyes and ears, guiding us into this world, without hesitation or reproach. As these character begin to understand the new world in which they live, so do we. At the same time they also hold onto the world as they know it. We learn about their background through casual conversations during lull moments along their journey. Their conflicting traits of cynicism and optimism, sarcasm and frustration, help keep viewers engaged, without needing to constantly resort to action.

Director Gareth Edwards shows great talent in piecing together the film, despite a limited shooting budget, and making it authentic. The fictional world feels real because there are relatable components. Characters you could imagine living down the street from you or trying to prosper in a mundane environment, invite you in to their situation. You understand their plight because in many ways it's not as different as you might think. People trying to escape unwanted situations, foreign presences trying to change the environment, and amidst it all humans seeking to understand their place.

Going in with the knowledge that it's as much a drama as it is a science fiction or action film is crucial to understanding the direction it takes. Monsters relies on the tension derived from a foreboding nature. It also relies on human interaction, and basic human nature. We see character's who try to help each other out and those who seek only to prosper from others failures. By contrast we see aliens who maraud the world and aliens who study it.

At times I felt that Monster reached more than it needed to in terms of character development. Samantha and Kaulder's evolving relationship felt generic and faintly founded. The ending, which ties the film together, seemed like a bad *nudge nudge* moment, trying to get audiences rushing for a rewind button. Edwards' tale of conflicting worlds thrives on the journey, the different personality types it takes to survive, and the mysterious world. Monsters is as much about exposing an alien world as it is about a human one.

Film Credits:
Written and Directed by: Gareth Edwards

A Trip to the Moon (1902)

A TRIP TO THE MOON

WRITTEN AND DIRECTED BY: GEORGES MELIES

BASED ON NOVELS BY: JULES VERNE & H.G. WELLS

REVIEWED FOR: 1001 Movie Club

 OVERALL SCORE: 10/10

How does someone truly review one of the first narrative films of all time? How does someone judge the accuracy of a science fiction film that predates modern knowledge in ways we can only hope to experience one day? That's the difficulty with watching this 1902 classic eight minute piece of cinema.

There's very little opportunity with this film to evaluate the film in terms of narrative flow, acting ability, character development, and cinematic style. When it was created almost none of those things existed in the world of cinema. Which in many respects makes A Trip to the Moon simply unrivaled in stature or importance. 

Georges Melies shaped the future of cinema in ways you and I will never fully understand. Where many saw trains and walking people, he saw the ability to create magic. To transport a viewer to a world beyond sight and sound. The ability to blend animation and science fiction, with stage originated storytelling, Melies was able to create a whole new world of entertainment right before everyone's eyes.

The career magician made a number of films after having first experienced moving pictures in 1895. These films, numbering in the 500's, detailed techniques, such as the blending of animation/artistry to create a seamless story without resorting to off screen narrators, or cue cards to describe events that could not be illustrated otherwise. 

There is no denying that A Trip to the Moon is painfully outdated. However, we'd all love to still look as grand and awe inspiring at 108 as Melies classic does. A Trip to the Moon is equal parts entertaining, fun, silly, outlandish, and just downright absurd. Making it a perfect mantle piece for things I love about cinema. Melies put time, heart, and genius into this film, and that's something to which I hold nothing but eternal respect.

*You can see the film in its entirety, here.

Repo Men (2010)

REPO MEN

DIRECTED BY: MIGUEL SAPOCHNIK
WRITTEN BY: ERIC GARCIA & GARRETT LERNER
NOVEL BY: ERIC GARCIA
OVERALL SCORE: 4.00/10

Artificial organ repo man Remy (Jude Law) must go on the run from childhood friend, and fellow repo man, Jake (Forest Whitaker) after he becomes unable to afford his artificial heart, following a botched job.

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Lots of people have told me this movie has a cool concept. I know I've never been much of one to understand what is meant by cool but adding super assassin and organ transplants to repo men doesn't exactly cut it for me. But, despite that, I was willing to bite on the film's comically transparent premise... and in many respects that's exactly what I got.

No real mysteries here. Repo Men wear's its plot right on its sleeves, and puts it all out there in no time. Playing on the hope that you are interested enough in its world to carry threw to the end. Unfortunately, there's just not much to the world. A few floating screens here and there, the odd plastic gun, and light blue organs, but that's about it.

The main character, Remy, is unemotional, detached, and lacks the depth of interest to create an honest connection in this world. While the rest of the cast exists, for the most part, just to back up Remy's "awakening." Yet his story is bland, uninspired, and never manages to build the tension it needs to carry the story. Constantly feeling the pressure to do more, it somehow manages to do less as it moves on. Building plot points, then pushing them aside, in hope that a fight scene might emerge. Until it get to the end, but more on that later.

Despite the ferociousness of its primal fight scenes, they're too quick, too far spread apart, and with the exception of an Oldboy style brawl towards the end, not that creative. Sure action junkies will get their full, but it's hardly enough to make any claims of excellence.

In fact, if anything, what Repo Men does worst of all is just be dull. The acting is enough to carry your interest, but the plot is always on borrowed time. It keeps making promises, but won't deliver. Instead it just keeps going. Moving through the motions we've seen a hundred times before. Then it hits them! *Warning spoilers lay ahead*

If the movie managed to earn any credit with you along the way, odds are it's going to cash out, and make a run for the hills in its finale. A twist, which isn't really that shocking (rather obvious as the movie actually counts down to it - or up, but you know what I mean). I suppose this twist is meant to make us feel a sense of shock. Unfortunately once this twist occurs, the plot goes so far off its rocker it completely loses the entire feel of everything leading up to it. Which can be a good thing if your movie is lacking interest. Just one problem: almost nothing works.

With the exception of the final fight scene, the entire finale is one big dud. Dropped incredibly slowly as we all wait for it to get back to the "shocker" we all know is coming.

As with any film, if you can buy into its characters and premise there's always a chance it'll give you something worth the time. Repo Men is a crystal clear example of a film where neither are strong enough to even meet the viewer half way. Instead it just idles in neutral, waiting for something to happen. By the time the plot realizes it needs to move forward in order to capture the viewer, it's way too late. Oh, and for the record, more Alice Braga is always a good thing.

Iron Man 2 (2010)

IRON MAN 2

DIRECTED BY: JON FAVREAU
WRITTEN BY: JUSTIN THEROUX
COMIC SERIES BY: STAN LEE, JACK KIRBY, LARRY LIEBER, & DON HECK
OVERALL SCORE: 7.50/10

Six months after the events of the previous film Tony Stark (Robert Downey Jr.) must face new challenges including Iron Man's growing fame, a new villain with a close family connection (Mickey Rourke), aspiring competitors (Sam Rockwell), a secret government agency lead by Nick Fury (Samuel L. Jackson), and the fact that the very thing keeping him alive is also killing him. I think he has enough on his plate, how about you?

There's one secret advantage to being a film goer like myself in which I want to know as much about a film before entering, I'm able to catch all the warning signs ahead of time. Perhaps that's why upon watching Iron Man 2 I was struck by how many scenes I had read about that annoyed people to no end, but didn't bother me in the least bit. Perhaps the best way I could sum up my opinion on Iron Man 2 is simply: WHEW THAT WAS FUN!

Incredibly educated and well formulated opinion? Maybe not, but damned if I didn't enjoy myself from start to finish. Even the cheesy opening, and over the top rawr, from Mickey Rourke couldn't slow me down. I was looking for action, adventure, and character, and that's what I got. Even its weaker moments felt frail in comparison to the action sequences, and enjoyment to be had with good ol' Tony Stark.

Most of my complaints with the film are rather nitpicky ones at best. Yes, they could have done a bit more with the new element, and the senate case is a tad long, and yes they could have developed their villain(s) more. And yes, Samuel L. Jackson's character is more of a setup than a feature, but none of it really bothered me. Even Scarlett Johansson's leathered up, over busty, secretary skit failed to really annoy me.

Yet through each scene not once did I feel the need to check my watch (which has become the feature action for me during films in 2010), nor did any scene ever take me out of the flow (perhaps the drinking/party scene which was a bit stupid). I was with each move, and character, from start to finish. Each action felt as useful as the last, and the story felt well progressed enough for me that I was able to really care in the end.

I did want a bit more Pots and Stark tension, but let's be honest without the ending it would have been far too frustrating. As well, I loved watching Rockwell and Rourke ham it up a bit for the comic genre (Vanko's prison conversation with Stark = personal favorite scene). A nice spin on the recent, super serious, element that has latched on to our comic realm (Dear Batman, it's ok to smile) . While Cheadle does his best in replacing Howard as Rhodey, but I think Howard worked the role way too well in the first one, and their styles are just too different to compare adequately.

Still, no matter how you slice it, Iron Man 2 just plain worked for me. Maybe it was evened out expectations, or maybe it was just the right notes for my visual queues. Either way, Iron Man 2 doesn't surpass, or meet, its predecessor, but I feel it does a damned good job in living up to the mythos it created.

While it has plenty of flaws, it never adds up to anything all that troublesome. Maybe a few, not as a good as it could have been scenes, but never the slew of awfulness I've read about. What makes Iron Man 2 work is that, like the first in the series, it cares about the development, and troubles of its characters. Not so much about the villains, as they're only one film arcs anyways. The core characters are the ones that are here to stay. And in that department, I found myself well satisfied.

A.I. Artificial Intelligence (2001)

A.I. ARTIFICIAL INTELLIGENCE

DIRECTED BY: STEVEN SPIELBERG
WRITTEN BY: STEVEN SPIELBERG & IAN WATSON
SHORT STORY BY: BRIAN ALDISS
REVIEWED FOR: 1001 MOVIE CLUB
OVERALL SCORE: 7.00/10

Young robot David (Haley Joel Osment), designed to perfectly imitate a human child, must confront various dangers after his "mother," (Frances O'Connor) finds herself torn between him, and her real life son, as the two vie for attention.

A.I. Artificial Intelligence is one of those weird movies that I happen to quite enjoy, despite constantly hearing about how horrible it is (surrounded by one too many Kubrick fanatics). The dynamic between David and his mother, Monica, is a uniquely human tale on the notion belonging through the viewpoint of robots.

It's a captivating film, trapped in a flawed narrative just begging to be opened up. In fact, for me, it's not until Spielberg begins to explore the dynamic of the world, and we meet Gigolo Joe (Jude Law) that things begin to get interesting. The way David deals with abandonment, his quest for acceptance, and the ultimate unveiling reveal a harsh look at what defines a human being. How do we separate ourselves from our creations, and what ultimately becomes our very essence.

Perhaps the greatest weakness in A.I. is that it never takes the time to explore all its realms to the fullest. It gets close, but I always felt it settled for imagery over substance. Don't get me wrong that imagery is quite beautiful, but I couldn't help but want more. The sort of in depth insight you gain in those final moments that really reach into the psyche of the character. David can be a bit one note, and while Joe is fun, and amusing, neither are strong enough to carry the entirety of the film.

Perhaps that's where Spielberg is at his strongest, directorally speaking. Spielberg emerges us in the various aspects of the world, and how they relate to humanity. It creates a sense of reality that one can understand, even relate to, despite its fantasy aspects. The kind of movie I really get behind, no matter the flaws.

While AI is not the masterpiece it could have been, it handles the complicated subject matter well enough to make it memorable, if not completely enjoyable. The kind of science fiction film not built on action and thrills, but rather characters, morality, and the ever present question of what is humanity?

2001: A Space Odyssey (1968)

2001: A SPACE ODYSSEY

DIRECTED BY: STANLEY KUBRICK
WRITTEN BY: STANLEY KUBRICK & ARTHUR C. CLARKE
TOP 100 FILMS: #19
REVIEWED FOR: 1001 MOVIE CLUB
OVERALL SCORE: 10/10

From the dawn of man to the discovery Monoliths, a group of astronauts seek out to uncover the mystery behind these objects, and their relevance to humanity.

"I'm afraid. I'm afraid, Dave. Dave, my mind is going. I can feel it. I can feel it. My mind is going. There is no question about it. I can feel it. I can feel it. I can feel it. I'm a... fraid."

Not every movie goes down right the first time. I remember my first viewing of 2001: A Space Odyssey. Sitting down one afternoon, ready to watch the much acclaimed Kubrick masterpiece. After an hour of random Moon talk, giant dominoes, and bone wielding monkeys, I turned off the TV. Immeasurably bored, and annoyed beyond description, I told myself that I would simply just never watch that movie again... at least that's what I told myself.

Some years later a friend of mine convinced me to revisit the film (after what I would label as months of heckling). Begrudgingly I agreed, and once again sat down on another afternoon to watch this masterpiece of cinema.

I'm not sure what changed in the 3 odd years since I last watched 2001. Perhaps I became more open to art films, but from the opening score to the final, legendary, shot, 2001 had me hook, line, and sinker. Captivating, engrossing, and visually impressive, Kubrick breaths new, slow, and methodical, life into the science fiction genre with every scene. While at the same time Kubrick's film engages questions of humanity, morality, and the consequences of ever growing intellectual technology.

Sure the subtext can get a bit muddled, but like any art house interpretational film, 2001 has all the questions, none of the answers, and is willing to lay it all out for you. For those who can handle that, it's truly a sight to see. For those who can't, well I recommend checking out the sequel 2010, less interpretational, more straight forward.

Still, to this day, I am surprised how much my opinion of the film changed in only a handful of years. What was once boring is now a fixture of my core watching group. A movie I revisit whenever I have the chance, if for no other opportunity than to try and understand, all the while appreciating, it a little bit more.

While it's not for everyone, especially not your more mainstream film goer, 2001 A: Space Odyssey is a captivating science fiction film, riddled with amazing visuals and intelligent writing. The kind of film that forever redefines the possibilities of a genre. Reaching beyond accepted norms, and bringing something entirely original to the table.

Eureka 7 (2005-2006)

EUREKA SEVEN

SERIES DIRECTOR: TOMOKI KYODA
SERIES WRITER: DAI SATO
STUDIO: BONES
NUMBER OF EPISODES: 50
OVERALL SCORE: 8.75/10

Renton Thurston, son of tragic military hero Adroc Thurston, spends most of his days bored in a small town, being trained by his grandfather to become a mechanic. Seeking an escape, Renton's life is dramatically changed when the seemingly emotionless Eureka, and her mysterious mecha the Nirvash typeZERO, crash into his bedroom. Instantly falling for Eureka's unique personality, Renton rushes off to join her and the Gekkostate, a group of counter-culture soldiers.... but all is not what he dreamed it would be.

When Bones set out to make Eureka 7 it's well known they went out to create something so memorable it would be historic. They recruited dozens of studios to help with the animation, got premium, seasoned, voice actors to handle the tale, and writers and directors who had taken part in some of the biggest series in anime history. They knew all the ground they had to cover, and they wanted to handle it all in a one season, 50 episode push... and for the most part they succeeded.

I'll openly admit that the first handful of episodes of Eureka 7 (mainly the first 3) were a bit of a chore to get through. They develop a small amount of a long period, and I wasn't sure this series would work for me... then, like a bolt of lightning I was struck. As the series developed it's layers introduced, its world began to unfold, and I found myself so incredibly absorbed, I felt like a kid all over again. I eagerly anticipated each episode, piled them up on my desktop so I wouldn't have to wait in between them... because, you see, Eureka 7, while flawed, is an amazingly emotional experience.

Eureka 7 isn't about a group of cool people just roaming around, instead it's a show with great depth. Tackling the age old question for soldiers: how does one repent for the crimes they committed? The heroes of the story have painful pasts, dark pasts, and each must deal with it. Yet, at the same time, it's a tale of love. Eureka, who doesn't understand human emotions, slowly understands what it means to care and love someone through Renton, who dedicates himself to her protection. We see how both Eureka and Renton are trying to separate themselves from their associations (to say any more would be to spoil a plot development over half way through - though you can probably guess it 20 episodes in).

The show's deep moral themes are never ending either. Throughout the show we see how Renton, Eureka, Holland (ex-soldier and leader of the Gekkostate) all deal with the many deaths they have caused. Renton's self depression and their various forms really breaths a sentiment of new life into the series, and how he and Eureka support each other blossoms into a beautiful romance. Of course it never hurts when you have a wide collection of go to stories, fun characters, and a variety of romances to explore, and how war affects them.

To top it all off, Eureka 7 has an absolutely premium soundtrack. Then again, with a group of counter-culturists and music buffs, you'd hope they had good taste in beats!

There are of course a few downsides to the series as well. At the half way point, as the plot really begins to take form, there is an obvious shift in narrative tone. A bit darker, and a bit more out there than viewers seeking realism may want (to be honest this show is way out there... literally, in its own world). As well a few characters, notably Anemone (Eureka's evil counterpart, and severe multiple-personality disorder), experience a sudden character shift, that may, or may not, sit well with some viewers. As for the ending I would file two complaints: 1) It handles some core, but not all, character aftermath and 2) It leaves a good amount open to interpretation (though I'm thinking all signs point to happy ever after).

Still, I haven't been absorbed into a series like this in some time. Even the filler episodes felt refreshing, and provided something to make them worth the time (despite one solely recap episode). There's a certain level of heart, and ability to find happiness in even the darkest situations, that removes this series from the downtrodden, darker, anime series (like Death Note or Code Geass), while giving it that same level of quality, and depth. It entertains, creates moves, and intrigues... and that's something worth the effort.

While it has its fair share of flaws, and is open to interpretation, Eureka Seven is a powerful and enjoyable anime series about finding love, yourself, and hope amidst death, and pain.

Primer (2004)

PRIMER

WRITTEN AND DIRECTED BY: SHANE CARRUTH
OVERALL SCORE: 6.75/10

While trying to develop an invention for making items weigh less, Abe (David Sullivan) and Aaron (Shane Carruth) accidentally create an invention that allows for them to travel back in time... but with that comes some rules.

There's a handful of movies out there that come with the distinctive knowledge throughout that once the credits role you're going to have little, to no, idea of what just happened. These select films are the kind that truly gain cult followings as people watch them over and over again, carefully dissecting them, trying to figure out what all really happened. Primer is one of those movies.

Intriguing, and yet carefully planned out, with much open to interpretation, it's easy to see why Primer has gained the loyal legion of fans it has. Of course with that comes the obvious trouble of watching it for the very first time: I often felt confused. Primer is not a movie that spends time laying out everything for its viewer. We hear what is going on as the main cast members are experiencing, and interacting with them. The actors don't waste time spelling out all the technical talk, and therefore as a viewer you're basically just a student, attempting to understand all the information being thrown at you.

As a first time writer/director/actor, Carruth shows a solid realm of narrative knowledge, but has a bit of the Robert Altman conversational pieces going on, and when it comes to a film this technical that can be a pain. It's never bad though. Obviously low budget, Primer manages to avoid many problems that plague low budget films by keeping things simple. The actors are never asked to go outside their comfort zone, there's no big budget effects, it's just a straight forward style that let's it roll out. So if you're the type who enjoys getting caught up in the dissection and understanding of a movie, Primer is definitely a film for you.

A captivating, but difficult to understand on first viewing, film, it's no wonder Primer has developed such a loyal following over the years.

Metropolis (2001)

METROPOLIS

DIRECTED BY: RINTARO
WRITTEN BY: KATSUHIRO OTOMO
MANGA BY: OSAMU TEZUKA
OVERALL SCORE: 6.00/10

While seeking out a doctor on the run from the law, Kenichi and his private detective uncle stumble across Tima, a part child- part robot hybrid who may very well be the key to an end of world device created by the ever popular Duke Red.

When you go into anime there's always one thing that seems to stand out: visuals. Here that is no different. The sheer amazement with which was put into the design of the city at the heart of Metropolis is worth the price of a rental alone. The detail, and creativity, are so amazing I was literally taken aback upon hitting the play button. Yet at stark contrast I have to stay the detail to the city was not applied so well to the characters, each with a more old school cartoon flair (perfectly circle heads, over pronounced noses, etc.). As a consequence this took me a while to buy into the characters, leaving me to spend much of the time concentrating on the sheer breadth to the world surrounding them.

As a narrative I find many similarities between this and the 80's classic, Akira. The plot unfolds as the characters progress (or regress), and it runs at a light-speed pace through the story-line. As well the movie relies on you applying your own mental strengths to fill in the blanks as it doesn't walk you through each concurrent storyline. This has the upside that it gets your mentally engage, but the downside that they include characters and storylines that really serve no purpose to the greater plot. Sure it's entertaining, but it leaves the rest of the story far more confusing than it really needed to be.

The original story was inspired by the 1927 classic silent film Metropolis, but only through the poster, while the story is inherently its own creation. As well the plot is riddled with plot points you'll find scattered throughout the history of science fiction and anime. So in and of itself Metropolis is easier to get more out of the more familiar with those genres you are. Still I couldn't help but constantly feel a void between the film and the audience. As if the director was so concerned with letting the audience in on the films secrets that he forgot to let the audience in on the characters. We get a few subtle hints, and moments, that layout their greater life troubles, but we are really told very little, and as such the movie struggles to make the audience truly care (in sharp contrast with Akira which spends much of its time on the characters). Still the animation truly saves this film's narrative woes, making it passable, but not nearly reaching the potential it had.

While it has absolutely amazing visuals, Metropolis suffers from a far too weighed down plot, that will only pass with those who truly get absorbed in its unique world.

Avatar (2009)

AVATAR

WRITTEN AND DIRECTED BY: JAMES CAMERON
OVERALL SCORE: 7.50/10

After the death of his brother, crippled war veteran Jake Sully (Sam Worthington) is recruited by the company his brother worked for to take part in the Avatar program on the planet Pandora. This is necessary since only those with the same genes can utilize the avatar, a physical representation of the human, in the form of the planet's indigenous population, the Na'vi, grown by combining their DNA with human DNA. While Sully is assigned to protect the scientists, he is also tasked with getting to know the Na'vi, gaining their trust, and trying to get them to move as they currently reside on top of a massive mineral mine. Though in gaining their trust Sully finds he's in for more than he bargained for.

If you ever want to know why I always wait at least a day before doing a review Avatar is a perfect example. Coming out of the theater I was like a 12 year old schoolgirl at a Jonas Brother concert, screaming "OMG OMG OMG!" Then after a couple of hours I was still thinking about it, and thought "man the graphics were amazing, Pandora was beautiful, but the plot..." Then after a few more hours "man the graphics were amazing, Pandora was a place I'd like to visit, and the plot wasn't nearly as bad as people say." Then I woke up this morning and thought "screw it, the graphics were amazing, Pandora is awesome, and the movie was everything Transformers 2 wished it was."

You see as a movie going experience Avatar quite literally has it all. The plot is a combination of Pocahontas, Ferngully, and Last Samurai, all thrown into the hands of James Cameron, who we all know loves his special effects. Yet even for all the memorable aspects of James Cameron's plot we gain something far more valuable then a simple narrative: we gain a new world. If you think about what makes a solid fantasy film work, even years after its relevance has faded, it is that it transports you to a new way of existing. We dream of traveling to Middle Earth, spending time at Hogwarts, or battling terminators in a barren wasteland. Truly good fantasy films capture the imagination in ways we could only dream of. We envision ourselves in this world, among its people, and find ourselves lost in the pain and beauty it creates. This is one aspect I feel the fantasy genre has lost over the years, with only a handful of films able to carry the torch.

Calling upon his favorite narratives, fantasy and life found in our deepest oceans, Cameron crafted this world, and utilizing every effect he can call upon. The Na'vi, which represent a Native American like tribe, could easily be a real life population, one we seek out to understand and spend time with. We dream of traveling to this planet Cameron has created, taking on our own Avatar and exploring the world just as Sully gets to do. We are immersed in its beautiful trees, its local traditions, the floating islands, and the heart with which the planet breaths life into every creature. We see its dark side, and its bright side, and in return we see it for what it truly is. A subtle reminder of what Earth once was.

For at its heart Avatar is Cameron's criticism on modern corporatism, and the lack of environmental appreciation in modern times. Cameron's high action, strong emotion, narrative comes at the backlash of walking out of the theater to see a handful of trees, paved parking lots, and resemblances of what was once a rich forest area. Will many even realize it? Somehow I doubt it, and perhaps that is one of the greatest points of Avatar: we never really see the beauty of a world until we've spent some time in it.

As for the movie itself, it is a technical marvel stuck in a mediocre narrative trying to break free of its own restraints. Perhaps the films greatest moments are the ones in which the central plot doesn't exist at all, and we are allowed to spend time with Sully as he learns the way of the Na'vi through the local princess, Neytiri (Zoe Salanda). We get to spend time with Dr. Grace Augustine (Sigourney Weaver), who Weaver calls a female version of director James Cameron, and her desire to understand the world and its people. As these characters transform so does our perception of the world. It grows from a scary place, established in opening scenes, to one of beauty and power. A planet that should be both respected and appreciated, not only by the film's characters, but by the audience as well.

Though even as we go to appreciate the planet we all know what will occur, a final battle between the humans and the local Na'vi. The events leading up too it occur like a classic dance routine. We've seen it all too many times before, yet still find it beautiful enough to watch again. Even though we know where it's going, the elegance with which it is presented makes all the difference. James Cameron has never been a narrative mastermind. His plots are often simple, and it is instead the way in which he presents them that gives them life and makes us love them all the more. Here Cameron is no different.

You'll find nothing new in Avatar. It's that same dance number you've seen countless times. Avatar will even take a bad step every now and then, and you'll dock a point here or there accordingly, but it still hits those high notes. It sucks you in, despite knowing little about the characters, because deep down you care about the existence of beings beyond yourself. You know that the world in which these characters reside is more than just a mineral to be mined. It's a living, breathing, planet, one of likes we may never truly encounter in our own lives, and it must be cherished as such. That's the true strength of Avatar. It's well flawed, but powerful and beautiful regardless because it stands for more than a simple love story, it stands for us.

While its narrative may be riddled with flaws, Avatar is more than just a story, its a beautiful tale of discovering yourself, your mission in life, and the beauty of a whole new world beyond the reign of your imagination... if only you're willing to try.

2012 (2009)

*Kids back away from the camera, very slowly

2012
DIRECTED BY: ROLAND EMMERICH
WRITTEN BY: ROLAND EMMERICH & HARALD KLOSER
OVERALL SCORE: 5.25/10

A scientist, writer/limo-driver, and international governments deal with recent knowledge of an impending global disaster.

I'll admit, it's been years since I've laughed as hard as I did during this film. I mean everything was just so insanely over the top unbelievable I was almost in tears I couldn't stop laughing so much. Who knew John Cusack could outrun an airplane or drive through buildings? The number of flashbacks I had to the film Deep Impact was almost uncanny... of course that is almost negated by the fact that Emmerich lets us know pretty early on: "direct? I'm just here to blow stuff up!" He's so excited for it he spends 40 minutes building up anticipation for all the things he's going to destroy. It's like someone standing in front of the camera holding a "wait for it" sign.

Of course when it comes to acting I'm not sure anyone does. Sure I love Cusack and Ejiofor, but to be honest I don't know how they kept themselves from busting out laughing during most of their lines. Then of course the rest of the cast ranges from mediocre to laughably bad, and back again (just for safe keeping). Oliver Platt's character shouldn't have even be given a name, they should have just called him: Secretary of Evil Government Men. With Danny Glover's character name being changed to President Captain Ship Prayer! Though I found it amusing that Emmerich made it a duty of his to kill off anyone who dares pray during his film.

Two things I learned from watching 2012: 1) Never Pray and 2) Never leave Africa out of your save the rich people plan. If you do, it'll end badly for you. Of course being a standard character doesn't bode well for you either (sorry obligatory Indian guy). The film's attempt at morality is overshadowed of course by its desire to ignore drama in favor of action. Oh what, he may dead? OOOOOOOOOO EXPLOSION! Even then though I don't know if there's anything necessarily worth ranting about with 2012. It's what you'd expect: big, dumb, full of explosions, and nonsense. Though of course the movie did bring me back to the days of childhood where physics was just a word, and action was the only thing a film really needed.

Oh, and by the way. Someone should count the number of buildings the characters had to go through... I wonder if Emmerich was making some sort of anti-skyscraper statement?

*water? where the hell is the exit from this picture?

Despite being amusing for its sheer over the top stupidity, 2012 is one of the movies you'll spend more time laughing at than ever laughing with.

Pandorum (2009)

PANDORUM

DIRECTED BY: CHRISTIAN ALVART
WRITTEN BY: TRAVIS MILLOY
OVERALL SCORE: 5.00/10

After awaking from extended hypersleep, Cpl. Bower (Ben Foster) and Lt. Payton (Dennis Quaid) can't remember who they are, and only contain vague memories of their mission and why they are on the ship. When Bower is sent out to investigate why the ship has no power he quickly finds he is not alone, with a strange new species on board hunting what few humans still exist.

When it comes to films like Pandorum it's one of those things that's very hard to review. On the one hand it's a film built entirely towards sci-fi/horror audience, and on the other hand it's barely even mediocre at that. Pandorum is the kind of film you catch on HBO one afternoon while you have a cold because nothing else is on. There's nothing entirely special about it, it's often its own worst enemy, and seems unable to find a good balance between horror, action, and questionable acting. By most accounts this is the first real wide release film for Alvart and Milloy, and I have to say I'm not overly impressed with their efforts.

Actors Quaid and Foster do the best with what they are given, but it's seldom much worth noting, and even then they seem to have phoned it in for a paycheck. Meanwhile we have Antje Traue as Nadia, your generic, unattached, butt kicking girl who provides a counter to Foster's aggressive style, but she's nothing special. Cung Lee and Norman Reedus are here as well, but they're basically little more than fodder. Really though in the acting department, the film is weighed down by Cam Gijandet and Eddie Rouse, both of whose characters I couldn't wait for screen time to be over with. Cam seems to subscribe heavily to the Hayden Christensen school of underacting, while Rouse seems to be trying way too hard to impress, and comes off comically stupid.

Though the acting is never supported by a muddled script, filled with "wait, why can he remember that?" moments that just far exceed coincidence. Alvart is good at bringing the story to life, but doesn't get much out of it, settling for standard horror moments, and never going for the real hits. As well Milloy just doesn't have a knack for dialogue. I often felt underwhelmed during key moments as the characters tried to figure out what had happened, and as such I never really gained a care for what happens to them. The acting scenes are fine, but don't expect any of it to blow your mind. Though of course as is standard with the sci-fi horror genre, it's always building up to an ending... the real unfortunate thing is the ending can be seen from about 10 miles out by just about anyone.

Any film of quality really has to play to its strengths, and unfortunately Pandorum just plays.

Close Encounters of the Third Kind (1977)

CLOSE ENCOUNTERS OF THE THIRD KIND

WRITTEN AND DIRECTED BY: STEVEN SPIELBERG
OVERALL SCORE: 10/10
TOP 100 FILMS: #56

After a strange encounter with a UFO, Roy Neary (Richard Dreyfuss) finds himself obsessed with a single image he can't figure out, but knows it holds the key for something important. Meanwhile the government is desperately trying to solve an alien mystery after a collection of military planes that have been missing for decades suddenly return.

As a self proclaimed sci-fi fanatic I think we can all agree Close Encounters is one of the granddaddy's to the genre. Filled with wonder, mysticism, and an odd tie to some level of realism, Spielberg's loving homage to the thrill of the beyond holds a special quality few other science fiction films can attain. Encounters delves into a variety of aspects of an alien arrival. The mystery, expectation, fear, and belief without understanding. The journey of Neary is not an easy one for us to watch. At times comical, heartbreaking, and difficult to attach to as he becomes obsessed with this image in his head, it's amazing to see the different trials he must overcome to save himself from this overwhelming need to know.

Though Spielberg's aptitude doesn't end there, as he goes to the other side of the coin, the governmental. Here represented predominately by translator Bob Balaban and french scientist Francois Truffaut. The two work together with other scientist in order to translate the codes used by the aliens in order to communicate their arrival coordinates. Of course none of this would work without great performances from each and every cast member. There's a sense of real humanity to the characters, they're easy to attach to, and call for us to want to see their journey to the end, without being false images of perfection. Dreyfuss is especially on his best game here, forced to play a sort of anti-hero, as we are driven into him by his obsession we are pushed away by his detachment from his family. It's never easy to make that sort of character work, especially when you're dealing with such an involved film as Close Encounters.

Of course Spielberg shows why he's lasted all these years with Encounters. Each new movement in story is a movement in film, with great effects, beautiful scenery, and lasting character moments. Granted even Spielberg can't take full credit for this film's long term success. The classic musical score, consisting of only a few notes, has become a true staple of the sci-fi genre. Every time I hear it, I'm immediately thrown back into the awe and mystery of this film. That sense of wonder lost on so many science fiction films concerned with immediate action than the fantasy realm it encompasses. Close Encounters works because it embraces all that science fiction films can without ever stepping out of bounds in favor of cheap thrills.

An awe inspiring science fiction film, with all the elements any fan of the genre could ever want, Close Encounters of the Third Kind is a true genre classic.

Ink (2009)

INK

WRITTEN AND DIRECTED BY: JAMIN WINANS
OVERALL SCORE: 7.00/10

When night comes two forces emerge from another realm, while one group delivers good dreams and hope to sleepers, the others delivers only nightmares and painful thoughts. John (Chris Kelly) is a workaholic who recently lost his wife, and had his daughter taken away by his in-laws deeming him a negligent father. When his daughter, Emma (Quinn Hunchar), has her conscious stolen into the other realm by the monster Ink, John is the only one who can reconnect and save her, but first he must see the truth.

High on concept, style, and story, Ink is a strong Indie film that suffers many of the Indie hurdles but still manages come threw with minimal scaring. Told non-linearly with dual storylines occurring at the same time, Ink really takes an intellectual viewing to get into. Elevated by some beautiful moments in directing, and a musical score to die for, Ink really appeals to those who like their sci-fi with a good combination of unique, morality, and action. Jamin Winan displays a real care about the story, and cares to have it done right, in spite of all the problems he must face with such a small budget. Of course it doesn't hurt that his concept really reaches out beyond the screen, bringing in heavy handed moral statements on the many ways in which we can live.

Of course Ink is not without its flaws. The indie actors waver back and forth between on spot and cheesy, but Winan, seemingly aware of this, does his best to keep them in check. Of course Winan isn't a perfect writer/director. Some things he puts in the film are a little over the top (for example: "the nose"), with an insane amount of quick cuts during action scenes (I'm talking a cut every .5-1.5 seconds), and a few scenes that linger far too long. What carries Ink through these bumps is without a doubt the story. Amazingly visual, Ink brings about some moments of real cinematic power, and in depth look at the struggles between success and family that haunt many modern workers.

The film's more in depth discussion definitely outweigh its weaker moments, and in return the viewer is granted with a unique sci-fi experience, unlike anything I've seen in the last few years. I believe that's really saying something, especially when you consider all the great use of the camera presented with such a small budget. Though of course with a small budget comes another thing often forgotten, the need to be creative. Without the ability to fill in random events with over the top CGI, Winan does an amazing job of creating visual effects with what he has to work with. Especially some of the film's more impressive visual moments, such as the film's first fight scene.

While very flawed Ink gets by on a great concept, moments of cinematic amazement, and a killer musical score.

Code 46 (2003)

CODE 46

DIRECTED BY: MICHAEL WINTERBOTTOM
WRITTEN BY: FRANK COTTRELL BOYCE
WATCHED FOR: GREAT FILMS NOBODY SAW
RECOMMENDED BY: FLETCH
OVERALL SCORE: 6.50/10

In the future a variety of genetic overlaps have forced the authoritarian to create a special code 46 rule in order to prevent people with overly similar genes from breeding. Investigator William Geld (Tim Robbins) is sent to Shanghai in order to find a factory worker who has been stealing Papelles (a Visa like form) for people in order for them to go on unapproved vacations. While William instantly finds Maria Gonzales (Samantha Morton) to be the guilty party he is oddly drawn to her. The two share a passionate night, and he decides to lie for her, but William soon finds out there are grand consequences for his actions.

When watching Code46 it's easy to tell there's a lot of heart being put into the different aspects of the story. It feels as if Boyce really wanted to get his message across, but didn't want to fall into Hollywood cliches in order to do so. He creates a world not much different visually from our current one on the outside, and lets little subtle moments draw us in to the fact that it is futuristic. Visually, if you rip out it's narrative and concentrate solely on style, I have to say Code 46 felt a lot like Lost in Translation for me. Subtle moments make up for lack of writing, characters who don't expression a lot of emotion but rather a sort of odd bleakness that draws them towards one another.

Tim Robbins and Samantha Morton play their characters exactly how they are written, and Winterbottom fills up the secondary roles with talented British TV actors of all flavors. Perhaps the most notable part of Code 46 is that it contains a lot of diversity. The actors are from all sorts of nationalities and the sort of single global environment Boyce creates really transpires well. Though this is where my complains tend to come in. At times in the story I feel Boyce is more concerned with the world than the characters, often holding off on tension to allow William to explain his "virus" (a sort of genetic skill implanted) for the 3rd or 4th time. The different political and moral issues of the world try to be reflected in our characters but at times they seem to only serve as mediums from writer to viewer.

As such I was never really brought all the way in to the main characters. We find out little of their past, and are in turn asked to connect with them, and care for them. Sure, there's a level of admirable beauty to the whirlwind romance, and silent love, but it wasn't enough to carry me into the world alone. The ending provides a sort of double nature, somber, and yet realistic, I've yet to decide how I really feel about it. There's a sort of intrinsic beauty to the film's end, but it feels incomplete somehow. So much so that I think it's one of those things that will be memorable to those who really get absorbed in this world, and yet frustrating to those who only manage with passing curiosity. Though even with all its faults, Code 46 works because it's a small film, with a rather simple premise, and good acting. It manages to be exactly what it wants to be at every moment, and in that respect I enjoyed, and admired, it.

While it contains its share of flaws, Code 46 is a fine little futuristic romance thriller with more to say than meets the eyes.

Star Wars: The Empire Strikes Back (1980)

STAR WARS: THE EMPIRE STRIKES BACK

DIRECTED BY: IRVIN KERSHNER
WRITTEN BY: LEIGH BRACKETT & LAWRENCE KASDAN
OVERALL SCORE: 10/10
TOP 100 FILMS: #63

After the events of the first film, Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), and Princess Leia (Carrie Fisher) must split up so that Luke can continue his Jedi training, this time from the last remaining Jedi Master, Yoda (Frank Oz).

As a kid The Empire Strikes Back wasn't a personal favorite of mine in the Star Wars realm, that illustrious title stuck with Return of the Jedi. Alas as time passed my love geared toward the beauty and writing of Empire and less to the quirkiness and over the top finale of Jedi. Empire Strikes Back is a testament to everything that the Star Wars series held. Dark, and yet light hearted, action packed, yet with heavy handed morality, there's nothing clear cut, all shades of gray, and as such it's possibly the most captivating of all the Star Wars films. As director Kershner really tackles all the issues presented by Lucas and co., not shying away from the darker side of the force (I just had to say that), and really pushing the film forward.

There's a great sense of character in this second installment as well. The actors feel more comfortable with the dialogue and the different complexities of their characters. They don't shy away from certain words, and are willing to really put some thought into how their characters would act in certain situations. The new characters introduced in Yoda and Lando (Billy Dee Williams, who I still wish would have sneaked in a Malt Liquor plug) are fun, exciting, and great additions to the cast. They manage to be smart, wise, and yet contain a certain charm about them that defines much of the Star Wars cast.

Of course all their acting aside, we all know The Empire Strikes Back contains one of the top 5 twists to end all twists. As a kid who didn't whip out the wow mouth facial expression when that baby daddy drama was dropped on the audience (that's probably the worst line I've written ever... fail). Empire Strikes Back is entirely build up to that one moment. A forward thrust into the action packed finale, and as such Empire Strikes Back as an interesting critical film. It doesn't stand out on its own because it is a medium film, but somehow it manages to elevate above the rest. Perhaps because it doesn't try too hard to be cute or easy. It's comfortable being a bit dark, a little harsh, and yet it's insanely fun, and really gets you geared up for one of the all time greats. Perhaps because the other two are so light hearted we hardly realize it, but Empire Strikes Back will always be the glue that held the original series together.

While one of the darker installments in the Star Wars saga, The Empire Strikes Back is a critical and cinematic achievement, great from beginning to end.

Moon (2009)

MOON
DIRECTED BY: DUNCAN JONES
WRITTEN BY: NATHAN PARKER & DUNCAN JONES
OVERALL SCORE: 8.75/10

Nearing the end of his 3-year contract with Lunar, a solar energy company, Sam Bell (Sam Rockwell) has been alone on the Moon for 3 years now, only accompanied by the station's robot, GERTY (Kevin Spacey - voice).

When the credits rolled on Moon at my small local artsy theater (one I tend to avoid) a guy yelled out "now that is a sci-fi movie," silently, I absolutely agreed. I will say this right now, do not under any circumstance read any synopsis for the film, do not watch any commercial for it, just go watch it. The reason my synopsis is so small because so much of the films plot comes out over slow periods of time you'd practically have to give the whole movie to explain it briefly. Moon is slow, yes, but methodical, beautiful, intelligent, thrilling, and filled with moments that captivate any viewer who wants to be challenged. There's no insane battle sequences, massive explosions, or sacrifices in plot in favor of action... Moon does what it comes to do and does it very well.

What makes Moon work, is that it isn't a movie that tries to be something more than it is. It's political on some level, but it doesn't waste time going on with heavy handed messages. Instead it's more of a character piece, backed by an amazing performance from Sam Rockwell, that brings all the twists and turns you'd want in a sci-fi film. As a visual film, Moon will heavily appeal to those who enjoy films such as 2001: A Space Odyssey, with slow pan shots, the mysterious robot, the silent moments, and a pace that could never be accurately described, except to say it just rolls along. Moon isn't going to spell everything out for you, it tells you what you need to know and moves on, anyone who can't figure it out just wasn't paying attention. So why is it slow? Well Moon is a movie that wants you to see the effect of events on Bell, how he handles them, emotionally and mentally, and as such it's very heavy on reaction not action.

Despite the slow nature I was never bored during Moon. I was captivated, eagerly anticipating the next move almost like a school kid waiting for the final bell. Rockwell is simply perfect in a role I can't explain without spoiling. He gives so much emotion and quite literally has to carry the film from start to end. Especially during some very harsh character moments brings every emotion into play. Rockwell gets support from Jones, who knows what he is doing and makes the most of each scene transition, carefully taking his time with each moment. Where the film falters is in its final 1-2minutes, I fear. It tries to get a little political, and adds a bit too much to an ending which was already perfect. Overall though I found little fault with the movie, and would happily watch and purchase the film come DVD time.

Slow, captivating, and beautiful, Jones and Rockwell's Moon is one of the best films I've seen so far in 2009.

Star Wars: A New Hope (1977)

STAR WARS: A NEW HOPE
WRITTEN AND DIRECTED BY: GEORGE LUCAS
OVERALL SCORE: 10/10
TOP 100 FILMS: #64

After the death of his aunt and uncle, Luke Skywalker (Mark Hamill) teams up with Obi-Wan Kenobi (Alec Guinness), Han Solo (Harrison Ford), and his buddy Chewbacca, in order to save Princess Leia (Carrie Fisher) from the evil Empire.

Oh you know you love this movie. You know you need this movie. You know the history of cinema as we know it would be kaput without this movie. One of the most technologically advanced and extra-universally creative films of all time, Star Wars is a movie that really needs no explanation for why it is on my top 100 films. There's really nothing to hate about this movie. It's wonderfully cheesy in its own way, and yet manages to build around itself a captivating universe, that immerses its viewers, and sucks them in to this grand space and time.

So many films try to create such a Universe, but only a handful can properly pull it off. In that respect Star Wars stands among a very few, elite, crowd of science fiction film. All of this is supported by some of the most intriguing characters ever to have been put on the screen. With heavy action, a philosophical underlying nature, and riddled with subtext on the corruption of power, Star Wars is one of those family films that just keeps on giving, despite repeated viewings. This is all a product of a vision from George Lucas, who had it in him to put together an amazing film, despite all the odds being stacked up against him.

Mediocre marketing, struggling visual effects, budgetary issues, casting selection, none of this film should have worked. Instead, through pure determination, the crew behind it built an American masterpiece, box office megabuster, and one of the most amazing visual films ever made. You could go a million lifetimes and never make a movie as influential as Star Wars has been in modern cinema, nor as successful. A true classic to its very core, you just can't deny its sheer power.

With a great list of characters, creative plot arcs, and pure perfection in the entertainment department, there's no denying Star Wars is a force to be reckoned with.