The Haunted World of El Superbeasto

Rob Zombie somehow ropes Dawson and Giamatti into performing in this utterly disgusting, politically incorrect, overtly obscene and thoroughly enjoyable Southparkian grotesquery. Incorporates aspects of every other Zombie film and regularly pokes fun of itself. Glued together and made palatable by hilarious self-referential songs. Even Zombie can’t call this art.

Who Framed Roger Rabbit?

Pre-digitally destroyed Zemeckis delivers a visually stimulating send-up of film noir genre. Hoskins and Lloyd lend credibility to a ridiculous concept with a mediocre screenplay. Clever effects maintain interest, as do constant cartoon character cameos. Wins points for being first film to do this and for not being Space Jam.

Inception

Another creative mental masterpiece from Nolan populated with talented cast of lesser-known actors. Revisits Memento themes and Delves into dense subject matter to pose deep philosophical and logical questions. Plot-holes and logic lapses are strangely unable to sink this intellectually stimulating puzzle, but does it connect emotionally? In your dreams.

Crazy Heart

Bridges nails washed up Dude as country singer role in Tender Mercies/Wrestler hybrid. More surprising than Bridges’ impressive singing voice is Colin Farrell going country western. Maggie Gyllenhaal plays Sherrybaby again, this time as love interest. Mundanely poignant with an ending so emotionally mixed it’ll make your heart go crazy.

Predators

Good actors playing well-developed characters in a satisfying storyline make Predators the most satisfying of the series. Brody lends class to lead role but Fishburne overplays his brief appearance. Fodder for a sequel and a welcome one at that. Brought on-the-nose third act dialogue and an embarrassingly bad digital fireball.

The Blind Side

Embraces every drama film cliché to craft a trite but entertaining story with mediocre cinematography. Essentially a character piece about how ballsy Bullock’s character was, and her performance succeeds in doing the dialogue justice. Plot meanders a bit before finally delivering an unsatisfying ‘predicament’ as evidenced in the opening flash-forward.

Charade

Accurately considered the best Hitchcock movie that Hitchcock didn’t direct. Grant reminds us that he would have been the perfect Bond, and the age difference in his quasi-romantic Hepburn relationship isn’t nearly as apparent as with Grace Kelly. Plot is perfectly laden with plausible well-paced twists and an excellent conclusion.

The Man Who Knew Too Much

Relatively conventional but expertly crafted Hitchcock thriller. Stewart’s performance is good but nothing extraordinary. Most compelling aspect of storyline is international scope and worst feature is extremely coincidental conspiracy conclusion. Also could have done without the blatantly inaccurate intro title card and Spielberg inspiring closing scene. Overall an enjoyable thriller.

Invictus

Freeman and Damon perform excellently in another well directed Eastwood film. Handles racism topic extremely well and though Mandela’s dialogue is a bit too pointed, the film avoids being preachy. On the downside, the rugby matches are hard to follow, the story too direct, and the music cues overwhelmingly melodramatic.

An Education

Sarsgaard resumes his frequent creepy guy role, this time enhanced by being convincingly British and in pursuit of impressively talented Carey Mulligan. A peppering of bigger stars in smaller roles support the story excellently, and beautifully written, witty dialogue prevents an otherwise endearing script from becoming too clichéd or preachy.

Toy Story 3

One of Pixar’s best and a satisfying follow-up to an overrated sequel. Phenomenal opening reintroduces characters and plays perfectly into emotional yet funny thrill ride. A few moments may be a bit too horrifying or emotionally disturbing for kids, but these instances are too perfect to omit. Es muy excelente.

The Lovely Bones

Jackson attempts return to Heavenly Creatures roots and succeeds in relevance to title, but not in quality. Continuity maintained between poorly shot Earth scenes and poorly digitally rendered heaven scenes through use of poor music video-esque editing. Tucci is sole saving grace with a performance that cuts through the editing.

The Road

Bleak post-apocalyptic future peppered Hurt Locker style with big stars in small roles. Aragorn’s performance can’t match his previous roles despite enormous amount of screen-time devoted to emotional suicide discussions. Like No Country, exceptionally loyal adaptation of a McCarthy book. Should be titled The Day After the Day After Tomorrow.