Reign Over Me

Sandler delivers an incredible portrayal of grief and distress. Cheadle is good but can’t compare to Sandler and Burrows as they step far outside their comfort zones. One of the only films without a number in its title (93, 25) to handle this subject matter appropriately. Sandler should stay serious.

Deep Blue Sea

They trapped some sharks, made them smart, and harpooned them with giant hypodermics. What could go wrong? Turns out the sharks are about an even match for Mace Windu, the Punisher, Bootstrap Bill, and LL Cool J. Mediocre plot and dialogue made tolerable by great surprises and hilariously bad FX.

The Ghost Writer

Polanski delivers another healthy Baby with this political thriller. McGregor is nuanced and empathetic as he investigates a brilliantly cryptic Brosnan. Supporting cast, though arbitrary, Hutton and Belushi, are excellent, and the entire piece has a ghostly sense of foreboding. Respectfully suspenseful, an altogether excellent ride, with a perfect ending.

Stardust

The best comedy fantasy since Princess Bride and an outstandingly clever film. A cast of supporting superstars surround a relative unknown as he makes his way through an ingeniously funny fairy-tale land. De Niro and Pfeiffer provide two of the best performances, of the film, and of their recent years.

Crash (2004)

Candy coated look at the intersecting lives of several hundred people in Los Angeles. Melodramatic and carefully constructed to remind to the viewer that racism is terrible. Lives intersect repeatedly, and so on occasion to brilliant editing, performance, and music to form several powerful tear-jerk moments. Better title: Hate Actually.

My Son, My Son, What Have Ye Done

Bad Lieutenant gets checkup from Dr. Mulholland himself, who Lynches the performances before letting Herzog run amok with editing and inclusion of documentary footage. The two stand-out performances come from Lieutenant veterans, Shannon and Dourif, and to say that either is type cast is just crazy. Another interesting Herzog experiment.

The Young Victoria

The Duchess on casual Friday. Altogether average period piece, with mundane plot and decent performances to be Blunt. Distractions included occasionally dysfunctional Barry Lyndon-esque lighting and strange Scorsese-style anachronistic editorial flourishes. Also hurt by oddly punctuated title cards and pre-credits history textbook. Bettany and Strong are perfect for this, period.

A Single Man

Beautiful and contemplative freeform character study elevated to excellence by sublimely nuanced performance of Colin Firth. Strong supporting cast too; Goode is great, but Moore is better. True surprises are the editor and first-time director Tom Ford, who craft a piece of art. Watch, errr… listen for Jon’s Hamm-eo appearance.

Love Actually

Sprawling romantic comedy set on the corner of Magnolia and Notting Hill. Basically a fictionalized account of every single person in England on and around Christmas. Beautiful editing and writing create sublime mix of sincere sadness and hilarity. Easier to name British actors excluded rather than included. Uh… John Cleese?

Burn After Reading

Coens, Clooney, and Swinton agree this is No Movie for Michael Clayton as they revisit jovial O’ Lebowski days. Arsenal of Oscar nominees join silly fray while pursued by dude-like CIA and its Jonah Jameson leader. Surprisingly brilliant movie about stupid people including mad Malkovich, prettified Pitt and jealous McDormand.