Best Films of 2010

As the year comes to a close, here are my picks for the ten best films of 2010, listed in order of preference:

1. "The Ghost Writer"

Roman Polanski deserves all the vitriol he receives for the heinous crime that he committed years ago, but there is no denying the fact that he is a brilliant filmmaker. Polanski is responsible for some of the greatest cinematic achievements of all-time ("Chinatown", "The Pianist"), and with "The Ghost Writer" he has crafted a thoroughly taut and involving thriller, one of the most compelling films in recent memory. Tremendous performances are delivered by Ewan McGregor and Pierce Brosnan, and the Roman Polanski-Robert Harris screenplay is rife with breathtaking suspense. "The Ghost Writer" creates a forboding atmosphere without the aid of any gimmicks or cliches. "The Ghost Writer" is a masterpiece in tone, and it is the best film of 2010.

2. "Black Swan"

Darren Aronofsky's madly ambitious, wildly audacious psychological thriller is not for everyone, but I was enthralled by every frame. Aronosfky's depiction of a professional ballerina's descent into frightening mental despair is nothing short of exhilarating. Natalie Portman is sensational in the lead role, and Mila Kunis is fantastic in the film's most integral supporting role. "Black Swan" is a shocking tour-de-force that has forever seared itself into my memory.

3. "Toy Story 3"

The third installment of the enchanting "Toy Story" franchise is a joyous cinematic miracle, the kind of movie that lifts the spirit and soothes the soul. "Toy Story 3" is a smart, funny, and profoundly moving adventure. With "Toy Story 3", Pixar remains an unparalleled symbol of greatness.

4. "Please Give"

Nicole Holofcener's latest is a beautiful movie that perfectly captures the angst and complexities of life, a film that astutely resists the temptation to neatly wrap its' characters in succinct stereotypes. Holofcener's films always feel authentic, and "Please Give" is no exception. Terrific performances are turned in by Catherine Keener, Oliver Platt, Amanda Peet, and Sarah Steele. "Please Give" personifies the complicated essence of life. I love this movie.

.

5. "Greenberg"

The sixth directorial effort from the always fascinating writer-director Noah Baumbach is a painfully honest, darkly funny gem. This is Baumbach's best film, and that is saying something. "Greenberg" features some of the most beautifully nuanced, fearless scenes of any movie in recent years. Ben Stiller is a revelation as a prickly, deeply insecure man who bristles at what he views as the vast emptiness of life. Stiller gives a remarkable, gritty performance that has gone unfairly overlooked this awards season. The beautiful Greta Gerwig is also outstanding. "Greenberg" is an audacious, transfixing film that demands to be seen.

.

6. "True Grit"

The Coen Brothers' remake of the 1969 classic Western is a stunningly gorgeous, frequently hilarious, and wildly entertaining delight. The great Jeff Bridges gives another spectacular performance as a drunken U.S. Marshal who helps young Mattie Ross (Hailee Steinfeld) hunt down the man who killed her father. It is always a joy to watch Bridges, and Hailee Steinfeld, making her screen debut, is charming and wonderful. She is a star in the making. Excellent supporting work is also turned in by Matt Damon and Josh Brolin in a small but pivotal role as the film's villain. "True Grit" epitomizes everything that I love about the Coen Brothers. Joel and Ethan Coen make movies that reflect their love of cinema. Endlessly captivating, superbly acted, and beautifully shot, "True Grit" is a joyous tribute to the Western genre.

.

7. "The Town"

Ben Affleck's second directorial effort is a gritty, masterful heist movie that is simultaneously fast and exciting, intelligent and nuanced. In addition to giving a tremendous performance in the lead role, Affleck displays remarkable vision behind the camera. His surehanded direction makes perfect use of the Boston landscape. In addition to Affleck, very strong performances are delivered by Jon Hamm, Jeremy Renner, and Rebecca Hall. "The Town" is a terrific crime epic that conjures memories of Martin Scorsese's "The Departed".

.

8. "Hereafter"

In lesser hands, "Hereafter" could have been a treacly exercise in overly sentimental melodrama. In the deft hands of the great Clint Eastwood, however, "Hereafter" is a sublimely moving masterwork. Eastwood is one of the greatest filmmakers of all-time, and he is an ageless wonder who only gets better as the years progress. His latest, featuring an outstanding performance by Matt Damon, is a graceful, thought-provoking contemplation of life after death.

.

9. "The American"

Contrary to its' title, Anton Corbjin's "The American" is a decidedly European endeavor, not merely because Europe serves as its gorgeous backdrop, but rather because of its simmering, slow-building suspense. "The American" may test the patience of some viewers, but it is an endlessly fascinating, scintillating, and visually alluring marvel, featuring another brilliant performance from George Clooney.

.

10. "The Social Network"

David Fincher's much-talked about examination of Facebook founder Mark Zuckerberg offers a fascinating study of the correlations between power and isolation, and it is the strange juxtaposition of wealth, celebrity, and loneliness that makes "The Social Newtork" so intensely compelling. The cast, led by Jesse Eisenberg and Justin Timberlake, is uniformly excellent, and the Aaron Sorkin screenplay is brilliant.

A Psychological Tailspin in the Pursuit of Perfection

"Black Swan", the fifth directorial effort from Darren Aronofsky ("The Wrestler", "Requiem for a Dream"), is perhaps the most freaky psycho-sexual thriller ever made. Here is an aggressively audacious film that takes the viewer on a frightening, trippy, and erotic mind-bending ride. To watch "Black Swan" isn't merely to watch a movie. Rather, watching "Black Swan" is an unforgettable, sensory experience, a film that you will likely either love unconditionally or detest passionately. As for me, I absolutely loved this madly ambitious film, and I was enthralled and fascinated by every frame. "Black Swan" is a visceral powerhouse. Each scene carries tragic implications. Each scene packs a devastating emotional punch. This is one of the very best films of the year.

.

Natalie Portman stars as Nina Sayers, a supremely talented New York City ballerina who lives and breathes dance. Every fiber of Nina's being is consumed with dance and the unyielding drive for perfection on the dance floor. As Nina prepares for the lead role in an upcoming production of the acclaimed ballet Swan Lake, her obsession with perfection sends her on a psychological tailspin. Nina becomes increasingly paranoid and riddled with fear. She befriends a fellow dancer, Lily (Mila Kunis), but the friendship eventually turns sour, as Nina fears that Lily is out to sabotage her career and overtake her role as Swan Queen. Soon enough, Nina's life is a terrifying series of hallucinations, and Nina sub-consciously embarks on a self-destructive path.

.

I have only revealed a simplistic, surface-level version of the plot, for "Black Swan" is an especially exhilarating experience if the viewer walks in cold. The plot takes the viewer in shocking directions, and the element of surprise is an integral aspect of the film's excellence. This is a testament to the breathtaking audacity and innovation of director Aronofsky and screenwriters Mark Heyman, Andres Heinz, and John McLaughlin. Aronofsky's brilliant direction is mesmerizing, and the screenplay achieves the remarkable feat of crafting a thrilling psychological mind game while still maintaining a sense of genuine authenticity. In lesser hands, "Black Swan" could have devolved into pretentious camp. In the deft hands of Aronosfky and the three screenwriters, however, "Black Swan" is a masterpiece.

.

The cast is uniformly outstanding. Natalie Portman gives the performance of a lifetime in the lead role. Portman tackles a fiercely demanding role with astonishing results. It is a stunning tour-de-force that should earn Portman an Oscar for Best Actress. Mila Kunis is equally excellent as Nina's seductive rival and friend Lily. Kunis has been mostly known for her work in playful comedies, but her masterful immersion into some incredibly dark material in "Black Swan" should show the world that Kunis is a phenomenal actress capable of excelling in drama as well as comedy. Tremendous performances are also turned in by Vincent Cassel as the intimidating, misogynistic ballet director, Barbara Hershey as Nina's deeply concerned mother, and Winona Ryder as a former ballet star struggling to cope with her increasing age and declining fame.

.

Two years ago, Darren Aronofsky made one of my all-time favorite movies, "The Wrestler", about a down-and-out former professional wrestler trying desperately to sort through the challenges in his life. In "Black Swan", Aronofsky again explores the efforts of a character trying to find peace of mind and feeling of accomplishment. Once again, Aronosfky has struck gold. "Black Swan" is not for everybody, but it is a soaring achievement, a film that takes a choke hold on your psyche and leaves you breathless.

Stale Comedy That is Past Its "Due Date"

Here is a movie that is funny in theory but not in practice. "Due Date", the seventh directorial effort from Todd Phillips ("Old School"; "The Hangover"), has a premise that is rife with comic potential and a seemingly ideal pairing of talent. The combination of Robert Downey, Jr.'s effortless charm and Zach Galifianakis' oddball appeal should have made for one seriously funny movie. The humor in "Due Date", however, is rather limp and uninspired, a disheartening collection of cheap, familiar gags. Cheerfully ribald vulgarity has always been a staple of director Todd Phillips, and in his best films---"Old School" and "Starsky and Hutch"---the outrageous raunch translates into hysterical comedy. Even in the wildly successful hit "The Hangover", a film that had its fair share of flaws, Phillips managed to mine some truly hilarious moments from delightfully raunchy material. But in "Due Date", the raunch feels at best misplaced, and at worst, cringe-inducing. I guess we are supposed to laugh when Zach Galifianakis and his dog are masturbating in the car while Robert Downey, Jr. is trying to sleep. But the scene is so distasteful and not at all funny. There are some inspired moments, such as the recurring fascination that Zach Galifianakis' character has for the show 'Two and a Half Men", but those moments are few and far between.

.

The premise sounds good on paper: Peter (Downey, Jr.) is in a rush to fly back to Los Angeles in time for the birth of his child. At the airport, however, his bags get accidentally switched with those of Ethan Tremblay (Galifiankis), a man of extreme social awkwardness and low intelligence. Ethan's bag contains marijuana, and because it is in the possession of Peter, Peter gets the blame. Conveniently, Peter and Ethan find themselves on the same flight, and they engage in a verbal scuffle in which Ethan coerces Peter to utter the two forbidden words that you can never say on an airport. Both men are asked to exit the plane, and Peter is placed on the no-fly list. Because he is without a wallet or photo identification, and because he is desperate to get home in time for his child's birth, Peter reluctantly agrees to ride with Ethan cross-country back to Los Angeles. And of course, craziness ensues. Ethan makes Peter's life a living hell at every turn. The two men find themselves in ridiculous situations, none of which are beliveable of course, but the lack of realism is not grounds for failure in a comedy like this. I would have gladly suspended logic had this film been funny. No, the biggest sin of "Due Date" is that there are very few laughs.

.

The talented cast is left to dry. I am a huge Robert Downey, Jr. fan---one of the coolest, most charming actors around---and he does everything he possibly can with his character. The same can be said for Zach Galifianakis, although I would like to see Galifianakis broaden his range a little bit, as he is essentially playing the same dweeb he played in "The Hangover". The supremely talented Jamie Foxx shows up for about fifteen minutes in a completely thankless, unnecessary role, and Michelle Monaghan is limited to yet another one of Phillips' paper-thin female roles that will provide further evidence to the argument that all of Phillips' films have an undercurrent of misogyny. No, the cast is not the problem. Rather, the screenplay, concocted by four writers including Phillips, is awfully weak. Instead of being treated to scenes of refreshing comic innovation, we are forced to sit through boring, offensive sequences like one in which Robert Downey, Jr. is assaulted by a veteran in a wheelchair.

.

Todd Phillips has proven that he is a talented filmmaker. I loved "Old School" and "Starsky and Hutch", and I liked "The Hangover". But "Due Date" is a total misfire. While it may not be one of the worst films of the year, it is certainly one of the most disappointing. For Peter, the road trip with Ethan is a frustratingly tedious journey. Same for the viewer.

A Graceful Contemplation of Life After Death: Another Masterpiece From Eastwood

In lesser hands, "Hereafter" could have been a treacly exercise in overly sentimental melodrama. In the deft hands of the great Clint Eastwood, however, "Hereafter" is a sublimely powerful masterwork. Eastwood is one of the greatest filmmakers of all-time, and he knows better than to veer into the realm of sappy manipulation. "Hereafter" does not preach that there is an afterlife. Rather, the film merely contemplates the possibility of one, and it does so with remarkable grace. This is a beautiful film.

.

The three-track narrative spans three countries. In San Francisco, we meet George Lonnegan (Matt Damon), a former psychic with awe-inspiring abilities to communicate with the dead. George understands that he could reap the rewards of a lavish lifestyle if he chose to make a profit from his psychic powers, but he views his abilities as more of a curse than a gift. When people continually pester George with requests for him to do a reading, he sharply declines. That was part of his past, he says. He does not do that anymore.

.

In Paris, the story follows the life of Marie Lelay, a French television reporter (Cecile de France) who is struggling to combat with the effects of a concussion she suffered during a tsunami in Thailand. Marie barely escaped death, and ever since the tsunami she has been experiencing strange visions, visions that prevent her from functioning at work. When Marie tells her lover that she has these visions, he scoffs at the notion. But Marie knows that her visions are profoundly real. She visits a clinic in Switzerland and is told by the director of the clinic that she has been experiencing visions of an afterlife.

.

Meanwhile, in London, we are introduced to 12-year old twins Marcus and Jason. Marcus and Jason do everything in their power to help their mother, who suffers from drug and alcohol addiction, recover so that child services won't intervene. One day Jason goes to the store to buy his mother some medicine. On the way home, he is cruelly teased and pushed around by a group of loitering bullies. In an effort to escape, Jason runs into the road and is struck to death by a car. This tragedy devastates Marcus and leads him to seek out a series of psychics to see if they can communicate with his beloved brother.

.

It goes without saying that the three narratives eventually become one interlocking narrative. Many films fail in their attempt to connect multiple storylines, but "Hereafter" is reminiscent of "Crash" and "Babel" in the seamless, elegant manner in which it brings the stories together. This is a testament to the terrific Peter Morgan screenplay, and to the brilliance of Clint Eastwood, the ageless wonder who continues to churn out masterpiece after masterpiece. Eastwood is such a graceful filmmaker, and he handles this material with a careful delicacy that breeds genuine authenticity and emotion. Nothing feels forced in "Hereafter". Every scene is deeply moving, and the final act, in which everything comes together, is enchanting. As he always does, Eastwood also gets the best out of his actors. The great Matt Damon is again wonderful here, delivering perhaps his most sensitive performance to date. And the stunningly gorgeous Cecil de France is a revelation. Both deserve Oscar nominations. It should also be mentioned that Frankie and George McLaren, the actors who play the twins, are excellent.

.

In terms of material, "Hereafter" is a bit of a departure for Eastwood. It is, however, another richly satisfying gem from one of the all-time greats. In the past decade, Eastwood has given us "Mystic River", "Million Dollar Baby", "Letters from Iwo Jima", and "Gran Torino", to name a few. And with "Hereafter", he has struck gold once more.

Been There, Done That

The title "RED" is an acronym that stands for "Retired and Extremely Dangerous". In reality, however, the only thing that needs to be retired is the tired plot that this movie recycles. "RED" has an amazing cast, and they all seem to be having a blast. The viewer, though, is rendered helpless, forced to endure a seemingly endless string of ancient cliches. But hey, at least "RED" is better than "The A-Team".

.

"RED" is not a disaster, thanks to its wonderful collection of stars. It is always a joy to watch Bruce Willis infuse the screen with charisma and energy. It is always a pleasure to watch the great Morgan Freeman. It is always a pleasure to be graced with the presence of Helen Mirren. Richard Dreyfuss and Ernest Borgnine are always a delight. And the lovely Mary-Louise Parker is always charming. If not for the self-indulgence of the incessantly flashy John Malkovich, "RED" would have an impeccable cast. But a great cast can only carry you so far. In the case of "RED", the great cast is not enough to divert the viewer from the weary material. The film attempts to put a novel spin on the material by making the action characters be retirees, rather than spry youngsters. But to borrow an ancient political phrase, if you put lipstick on a pig, it is still a pig.

.

I really don't have much else to say about "RED". You might enjoy it, thanks to the actors. But for me, the movie is disposable and largely forgettable. If you want to watch a fun, entertaining action movie with big stars, rent "Knight and Day", the underrated action caper with Tom Cruise and Cameron Diaz, and skip "RED".

The Lonely Feeling of Power: The Creation of Facebook

"The Social Network", David Fincher's much-talked about film about the founding of Facebook, offers a fascinating study of the correlations between power and isolation. At the heart of this mesmerizing story is Mark Zuckerberg, the brilliant, socially awkward computer wizard whose invention of Facebook sparked two lawsuits worth hundreds of millions of dollars from former business partners who claimed that Zuckerberg stole their idea. Facebook catapulted Zuckerberg to immediate fame and notoriety, and provided him with exorbitant wealth. It is fascinating to watch how Zuckerberg becomes increasingly lonely as the film progresses. He tries to maintain a cool, aloof exterior, deflecting any accusations with a series of wry remarks. But Zuckerberg's insecurity and unhappiness are evident. The alluring poster for "The Social Network" says it all: You don't get to 500 million friends without making a few enemies.

It is the strange juxtaposition of wealth, celebrity, and loneliness that makes "The Social Network" so intensely compelling. David Fincher, with help from a razor-sharp Aaron Sorkin screenplay and terrific performances from a cast of wonderfully talented young actors, has crafted one of the best movies of the year. Rather than coming across as a typical biopic, "The Social Network" plays like a breathlessly paced thriller. Each scene is filled with dramatic implications, and all of the characters are deeply flawed in one way or another. Thus, in a way, "The Social Network" is a thought-provoking morality tale.

The cast is uniformly excellent. Jesse Eisenberg is sure to get an Oscar nomination for his performance in the lead role. Eisenberg has been quietly making a name for himself with his strong work in films such as "The Squid and the Whale", "Adventureland", and "Zombieland". With "The Social Network", Eisenberg will become an instant star, and deservedly so. Andrew Garfield is tremendous as Mark Zuckerberg's best friend and business partner who goes on to sue Zuckerberg for $600 million, and Armie Hammer, playing dual roles as twins who sue Zuckerberg for intellectual property theft, is fantastic. The strongest supporting performance, though, comes from Justin Timberlake, who deserves to receive a Best Supporting Actor nomination for his performance as the vain, shady founder of the music-downloading site Napster. Anybody who doubts Timberlake's ability to carve out a successful career in film will be completely persuaded by Timberlake's brilliance in this movie.

"The Social Network" is not a perfect movie, but it is an endlessly captivating one. The story of Facebook's founding, at least as told by David Fincher and Aaron Sorkin, is a thrilling examination of material wealth, and how that wealth does not always translate to a happy existence.

Greed, Family, and Deception: The Return of Gordon Gekko

"Wall Street: Money Never Sleeps", Oliver Stone's sequel to his 1987 classic "Wall Street", attempts to put its finger squarely on the pulse of American anger and anxiety that resulted from the economic meltdown of two years ago. And while there is really no significant insight to be gleaned from this film, it is still a blast, a gripping and sublimely acted success. In terms of social relevance, "Wall Street: Money Never Sleeps" sees modest results. But the movie is thoroughly engrossing and entertaining. Gordon Gekko captivated audiences in 1987 with his declaration that greed is good. Twenty-three years later, he still carries a magnetic aura, and audiences will be eager to reacquaint with him.

.

The film commences in the year 2001, as Gekko (Michael Douglas) is being released from prison after serving an eight-year sentence. Flash forward to 2008, and Gekko has reestablished his place in the limelight. Still an economic guru, Gekko's book is a best-seller, and he has gone back to enjoying the fruits of a lavish lifestyle. His loneliness, however, has not subsided. Gekko lives a life of isolation, and his daughter Winnie (Carey Mulligan) hasn't spoken to him in years. Meanwhile, Winnie's fiancee Jake (Shia LaBeouf), a young hotshot power broker on Wall Street, is reminiscent of a young Gordon Gekko, with the same slick confidence and ambition. When the economy disintegrates, however, Jake is devastated by the suicide of his long-time mentor (Frank Langella). Jake blames an egotistical hedge fund manager (Josh Brolin) for his mentor's suicide, and he wants nothing more than to seek sweet revenge. In this endeavor, Jake goes to Gordon Gekko, his soon-to-be father-in-law, for advice. The two men strike an alliance, and Jake tries to repair Winnie's relationship with her father.

.

If all of this sounds a little too busy, well, that's because it is. "Wall Street: Money Never Sleeps' lacks a coherent focus, and the film is too congested for its own good. Still, this movie works, and that is a testament to the actors. Shia LaBeouf gives far and away the best performance of his young career in the lead role, exuding effortless command on the screen. LaBeouf reminds us here that he is a damn good actor when he is not wrestling giant robots in those stupid "Transformers" movies. Carey Mulligan, fresh off an Oscar nomination for her work in "An Education", is wonderful, flawlessly portraying a woman struggling to reconcile her feelings of contempt toward her father with her evident desire to offer him forgiveness. Josh Brolin is terrific in a scene-stealing role as the film's villain. And in a small but pivotal role, the great Frank Langella is brilliant as an aging, deeply disillusioned Wall Street trader. As great as all of the aforementioned actors are, though, the best work is turned in by Michael Douglas. One of the greatest, most underappreciated actors in the world, Douglas is sensational here. In every scene in which he appears, Douglas commands the screen with incredible force. Twenty-three years after he won Best Actor for "Wall Street", Michael Douglas should receive another Oscar nomination for the same role in this movie. Both Douglas and the character that he so beautifully portrays remain as fascinating as ever.

.

"Wall Street: Money Never Sleeps" is a flawed movie, but it is well worth seeing. While Oliver Stone's movie doesn't always hit the mark as a scathing social commentary, it is a richly satisfying popcorn picture, and I mean that as a compliment. "Wall Street: Money Never Sleeps" is never less than entertaining, and the audience will savor the results.

A Thrilling Mystery of Angst and Identity, Set to the Lush European Landscape

Contrary to its' title, Anton Corbijn's "The American" is a decidedly European endeavor. This film has a thoroughly European feel not merely because Europe functions as its' gorgeous backdrop, but rather because of its' slow-building, simmering suspense. This movie astutely resists the temptation that many American movies fall prey to, the temptation to create suspense via scenes of kinetic mayhem. The structure of "The American" is far more methodical, and in the end, far more rewarding. While it may test the patience of some viewers who thirst immediate gratification, I was transfixed by every frame. This is one of the best films of the year.

.

George Clooney stars as Jack, an assassin who spends his days in a moody malaise, deeply dissatisfied with his work and in search of the essence of his true identity. The opening scene of the movie seems to infer that Jack has carved out a peaceful life with a beautiful woman in the beautiful wilderness of Sweden, but then danger and tragedy ensues. Jack is forced to flee to a small town in Italy, where he is skeptically received by many of the locals due to his American heritage. While in Italy, Jack becomes involved with another impeccable beauty, but he continues to live an uneasy existence. The very nature of his profession requires Jack to live a life of secrecy. Many of the people with whom he comes in contact, including a local priest who befriends Jack, question the secrets behind Jack's identity. In many ways, despite his dashing looks and incredible luck with women, Jack is a tormented soul.

.

Jack is a character of intense fascination, and that is due in large part to the brilliant performance from the great George Clooney. In the last decade, Clooney has turned in amazing work in "Good Night and Good Luck", "Syriana", "Michael Clayton", and "Up in the Air", to name a few. And while his work in "The American" is significantly more restrained-----it's the quietest, most subdued work of Clooney's career-----it is every bit as satisfying. Jack is an introspective character, a character that requires the actor to do a lot of sad staring. In lesser hands, this character could have presented a major problem. But in the deft hands of Mr. Clooney, Jack carries powerful force. The supporting cast is also terrific. Violante Placido and Thekla Reuten are wonderful as the stunningly beautiful women in Jack's life, and Paolo Benacelli is a revelation as the elderly priest who befriends Jack and seeks to discover his secrets.

.

As magnificent as the acting is, however, perhaps the most impressive aspect of "The American" is its' astonishing cinematography. This is certainly the most wondrous film to look at so far this year. Director Anton Corbijn does an amazing job of utilizing the stunning European landscape, and the results are nothing short of extraordinary. The beauty of the Italian scenery serves as a fascinating juxtaposition to the anguish that plagues Jack's existence.

.

"The American" is not a film for the impatient. But it is a film for those who appreciate the fine art of suspense. I wish more films were this willing to take some time to establish tension. Anton Corbijn has crafted a spellbinding gem, a film that never lets you out of its' scintillating grip.

A Delightful Exercise in Perverse Human Weirdness

Jay Roach's new comedy, "Dinner for Schmucks", a remake of the French movie "The Dinner Game", is a study of two different comic concepts. On one hand, you have the incredibly bizarre behavior of people who are seemingly lacking in logic and intelligence. On the other hand, you have the ethically murky behavior of people who do ethically murky things for their own professional benefit. These dual comedic premises are fascinating and in some ways challenging. Are we supposed to be laughing at the very same people for whom we are also supposed to feel compassion? Many critics have levied a charge of hypocrisy against this film because of that challenging question. But ladies and gentlemen, these critics are missing the point. "Dinner for Schmucks" should not be analyzed on any sort of deep, Freudian level. Because sometimes, all you want in a comedy is to laugh. And in that regard, this very funny movie is a smashing success.

.

Paul Rudd plays Tim, a moderately successful businessman who is bored with the monotony of his thankless job. One day after Tim delivers a sharp performance in an important meeting, his bosses present him with a proposal that could earn him a much-desired promotion. His bosses, you see, host a monthly dinner in which each person brings a so-called "idiot" to dinner so that everyone can guffaw at them. Tim is aware that this dinner is morally repugnant, but he desperately wants this promotion, so much to the chagrin of his girlfriend, he agrees to take part in the dinner. The "idiot" that Tim discovers is an IRS worker named Barry, played by Steve Carell. Barry is a sweet man who nonetheless has a horrifying tendency to say all the wrong things at all the wrong times. Not to mention the fact that Barry's favorite hobby is making mouse dioramas. Soon enough, Barry becomes far more than Tim had bargained for. Barry instills in Tim's life a sense of total havoc.

.

This movie delivers enormous laughs, thanks in large part to the wonderful performers. Nobody plays a congenial wise-ass better than Paul Rudd. In "The 40-Year Old Virgin", "Role Models", and now "Dinner for Schmucks", Rudd flawlessly exudes a feeling of charm and crankiness, a difficult combination to master. Steve Carell is wonderful as the supremely awkward Barry. Carell performs with such comic conviction that he manages to always make his incredibly destructive character quite endearing and likable. Hilarious supporting work is also turned in by Zach Galifinakis and Jemaine Clement. Clement, of "Flight of the Concords" fame, is especially brilliant. His portrayal of a wild artist with a strangely animalistic sexual fetish delivers some of the movie's biggest laughs.

.

The first two-thirds of "Dinner for Schmucks" is consistently hilarious and entertaining. The last third, however, is somewhat flat, overly sentimental, and predictable. Oddly enough, the actual dinner for schmucks takes place in this final act, and it is the one part of the film that fails to maximize its comic potential. The last act of the movie is also where the charge of hypocrisy has some merit. However, for about 95 of this film's 114 minutes, "Dinner for Schmucks" is terrific. Now if you'd excuse me, I'd really like to get my hands on one of those mouse dioramas. Those things are actually pretty damn impressive.

Fearless, Brilliant, and Insecure: A Year in the Life of the Great Joan Rivers

They say that to be a professional comedian requires an inherent insecurity, lingering fear of failure, and a fiery drive to succeed. This long-held assumption about comedians was confirmed in the excellent 2002 documentary "Comedian", and this theme is again explored in the terrific new documentary "Joan Rivers: A Piece of Work". Uproariously funny, remarkably candid, and surprisingly moving, this film takes us inside a year in the life of one of the world's greatest comediennes, Joan Rivers.

.

What makes this documentary so refreshing and rewarding is the unfiltered honesty with which Rivers herself assesses her own life and career. She never attempts to sugarcoat her struggles. Rivers speaks readily and openly about her trials, tribulations, and tragedies. When talking about these downfalls, Rivers expresses the type of raw, authentic emotion that makes her such an endearing presence onscreen. One cannot help but walk out of this movie with a deeper appreciation and admiration for Joan Rivers.

.

But make no mistake: "Joan Rivers: A Piece of Work" is in no way maudlin or patronizing in its' portrayal of Rivers, nor is the film grounded in moments of her career tumult. In fact, the overall tone of this film is one of radiant joy, a celebration of Rivers' larger-than-life personality. Rivers is unquestionably one of the greatest stand-up comedians of all-time, and she is at her comedic best in this film. Scenes of her stand-up acts, past and present, all deliver enormous laughs. Very few comics are able to mix extreme raunch and irresistible charm as seamlessly as Rivers. She is a true comedic genius.

.

Now even if you do not share my appreciation for Rivers' comedy, and even if you view her as nothing more than a poster girl for plastic surgery mishaps, I strongly urge you to see "Joan Rivers: A Piece of Work". This is a wonderful documentary from Ricki Stern and Annie Sundberg, a film that is hilarious, heartfelt, and unflinching, much like Joan Rivers herself.

It Has Something To Do With Dreams

"Inception", Christopher Nolan's highly anticipated foray into the world of the subconscious, is the most maddening film of the year. Rife with breathtaking visual splendor and a fascinating premise, "Inception" is nonetheless impossible to connect to emotionally. How are we expected to respond emotionally when we have no idea what the hell is going on? There is a lot to admire in "Inception", most notably the eye-popping imagery. Ultimately, however, I was left rather emotionless and bored.

.

Many great films have been extremely confusing. For instance, I love "Vanilla Sky", perhaps the most convoluted movie ever made. That movie, however, struck a chord of intense fascination, and it hit a raw emotional nerve. In comparison, "Inception" seems somewhat shallow and materialistic, more concerned with awesome special effects than compelling coherence. I knew that the movie had something to do with dreams. Other than that, I was in the dark. Maybe that was the intent of Christopher Nolan. Maybe he wanted to emphasize the confounding nature of dreams. Whatever his intention was, the end result instills relentless frustration.

.

There is, though, a lot to admire about "Inception". In purely visceral terms, "Inception" is entirely transfixing. As he did in "The Dark Knight" (a MUCH better film), Christopher Nolan creates a world that is visually extraordinary. I was in awe of the folding skyscrapers and winding staircases. Furthermore, the acting here is top-notch. Leonardo DiCaprio is fantastic, throwing himself in the middle of all the chaos with remarkable conviction. Joseph Gordon-Levitt is terrific. Fresh off the heels of his outstanding work in "The Lookout" and "(500) Days of Summer", Gordon-Levitt remains one of the world's most criminally under-appreciated actors. Excellent supporting work is also turned in by Ken Watanabe, Ellen Page, Tom Bergeron, and Marion Cotillard. Page and Cotillard are especially impressive. I am in love with the supremely talented, wonderfully charming Page, and Cotillard gives her second consecutive tour-de-force, following her Oscar-winning work in "La Vie en Rose".

.

The fact that the acting and imagery is so strong in "Inception" only adds to its' overall letdown. I am still a fan of Christopher Nolan, one of our most ambitious and inventive filmmakers. He has made great films in the past, and I am entirely confident that he will make great films in the future. But "Inception" does not come close to scaling the heights of its' wild ambition.

.

*(I am fully aware that this review puts me at odds with the vast majority of the public. I am also aware that I am the only person on the planet who considers "Vanilla Sky" to be a masterpiece.)

Quick Takes: "Greenberg" and "Grown-Ups"

Let today's quick takes column serve as a juxtaposition between two wildly different films. On the one hand, you have an intensely fascinating, painfully funny, and uncompromising masterwork that features some of the most daring, challenging, and unique material of any film in recent years. On the other hand, you have a juvenile, disastrous big-budget groaner that goes for easy, cheap comedic targets. Extraordinarily talented people are involved in both movies. So how can one be a symbol of sharp wit and audacity, while the other a symbol of cringe-inducing formula?

.

Let's start with the film that demands to be seen. "Greenberg", the sixth directorial effort from the always interesting writer-director Noah Baumbach ("The Squid and the Whale"), takes us inside the life of Roger Greenberg (Ben Stiller), an incessantly prickly, deeply insecure man who bristles at what he views as the vast emptiness of life and the ignorance of the people around him. Greenberg finds a modicum of happiness when he temporarily moves to Los Angeles to care for the house of his brother, who is out of town. There, he meets his brother's assistant Florence (Greta Gerwig), a quiet, kind-hearted soul of unique charm and beauty. Whereas most people are repulsed by Greenberg, Florence is drawn to his neurosis. The two strike an on-again, off-again romance that goes through some tumult, as both Greenberg and Florence try to adjust to the other's oddities. Their bond is hard to break, however, as each finds solace in the other amidst the turbulence of their everyday lives.


.

This material makes for some of the most beautifully nuanced, endlessly fascinating scenes of any movie I've seen in recent years. Baumbach's focused direction strikes just the perfect note, and his writing is honest and darkly funny, sometimes painfully so. Ben Stiller is a revelation, giving the type of gritty performance that we have rarely seen from him. It is a tremendous piece of acting, the best work that Stiller has ever done. And Greta Gerwig is also outstanding. A heretofore unknown name, Gerwig is bound to dazzle us with her remarkable talent in the years to come. Stiller and Gerwig work perfectly together, and both should receive Oscar consideration. And so should this movie. Now out on DVD, "Greenberg" is a wonderful gem.


.

From one of the best movies of 2010 to one of the worst, let's shift our focus to "Grown-Ups". The latest entry in the Adam Sandler filmography has a truly great cast, but it is such an enormous waste of talent. Chris Rock is one of the funniest people on the planet, but the screenplay (co-written by Sandler) here has him saying and doing absolutely nothing of comedic value. Adam Sandler and David Spade are restricted to making lame jokes about sex and flatulence, Kevin James is simply the victim of some truly tired physical shtick, and Rob Schneider......well, he has never been funny, so his futility in this movie should not come as a surprise. And what are Salma Hayek and Maria Bello, two magnificent actresses, doing in this mess?!


.

Despite this misfire, I remain a fan of Adam Sandler. He always comes across as funny and charming in his talk-show appearances. Of his commercial comedies, I enjoy "Happy Gilmore" and "50 First Dates", and I love "The Wedding Singer". In his best films ("Spanglish"; "Punch-Drunk Love"; "Funny People"), Sandler has also displayed some serious acting chops. But in the Sandler filmography, "Grown-Ups" is in the same lowly category as "Billy Madison", "The Waterboy", "Mr. Deeds", "Anger Management", and "Little Nicky", all very bad films that rely far too heavily on third-grade humor for easy laughs.

As Andy Heads Off to College, What Will Happen to the Toys?: Another Masterpiece From Pixar

At a time in which many animated movies are pandering to the kids with lazy jokes about flatulence and so on, Pixar remains a remarkable symbol of greatness and intelligence. Over the course of the last few years, Pixar has given us "Cars", "WALL-E", and "Up", three wonderful films that will be remembered for years to come. And now they have delivered "Toy Story 3", the third and final installment in the magnificent "Toy Story" franchise. And once again, Pixar has struck gold. This is one of the best movies of the year, a funny, engaging, and heartwarming adventure.

.



"Toy Story 3" takes place as Andy prepares to take off for college. Thus, he has to decide which of his beloved toys he wants to take with him, and which toys he wants to leave behind. For Woody, Buzz, and the rest of the gang, this ordeal is immensely worrisome. When Andy decides to take Woody to college and leave the rest behind, the toys' response is one of dejection. Even Woody is sad at the prospects of leaving his friends behind. The letdown of the toys is at first only momentary, however, as they become enthralled at the seemingly ideal environment of their new home: the local day care center. Much to their fright and dismay, however, the day care center turns out to be a horrible place in which immature kids toss around the toys with reckless disregard and abandon. Making matters worse, the day care center is ruled by a selfish, controlling toy bear named Lotso. Thus, Woody and the gang must try and escape, and get back to Andy before it is too late.

.



This premise is so exciting and compelling that at times I felt as if I was watching a first-rate action thriller. In addition to being fast and energetic, however, "Toy Story 3" retains the loving spirit and charm of the first two films. Director Lee Unkrich and screenwriter Michael Arndt ("Little Miss Sunshine") deserve heaps of praise for the remarkable manner in which they blend scenes of kinetic energy with scenes of quiet nuance. By the end of the film, I was on the verge of tears. You can't help but get swept up in the beautiful emotions of this beautiful film.


.

Once again, the animation and voice-over acting is top-notch. The colors jump off the screen, creating a magical experience for the viewer. Tom Hanks, Tim Allen, Joan Cusack, Don Rickles, Estelle Harris, John Ratzenberger, Wallace Shawn, Jeff Pidgeon, Jodi Benson, R. Lee Ermey, John Morris, and Laurie Metcalf all bring delightful heart and energy to the proceedings. And it is a hoot to listen to the very funny Michael Keaton as Barbie's soul-mate, Ken.

.

If there is justice in the world, "Toy Story 3" will receive a Best Picture nomination at the end of the year. Smart, funny, and powerful, "Toy Story 3" is a joyous ode to the magic of youth.

Quick Takes: The A-Team, Shutter Island, It's Complicated

Martin Scorsese is my favorite filmmaker of all-time. From "Taxi Driver" to "Raging Bull" to "GoodFellas" to "Casino" to "The Departed", Scorsese has crafted some of the greatest movies ever made. But I am sad to say that "Shutter Island" is the worst film that he has ever constructed. Scorsese's first foray into the thriller realm, 1991's "Cape Fear", was a masterful exercise in brooding mood and atmosphere, a frighteningly scary gem that leaves a lasting impact long after the final credits have rolled. "Shutter Island", on the other hand, is a plodding and, frankly, quite boring misfire that plays more like a tedious melodrama than an actual thriller. Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, and Michelle Williams are all outstanding actors, but astonishingly, they all give bad performances, emoting at every turn. And the shock ending feels ripped from a bad M. Night Shymalan movie. "Shutter Island" is proof that even the great ones make bad films once in a while.

.

The A-Team? More like the D-Team. "The A-Team" is a loud, interminable, and mostly incoherent mess that is nothing more than a series of lazy CGI action sequences. This bomb is not the fault of the cast---Liam Neeson, Bradley Cooper, Jessica Biel, Sharlto Copley, and newcomer Quinton "Rampage" Jackson all seem at ease onscreen---but rather the fault of a confusing screenplay and the insufferably chaotic direction of Joe Carnahan. Carnahan throws a ridiculous amount of flying objects at the viewer, and the result is a Hollywood blockbuster that you should avoid at all cost.

.

I have saved the best for last. "It's Complicated", the latest romantic comedy from the superb writer-director Nancy Meyers, is a wonderful, richly satisfying slice of life that mines some excellent humor from truly authentic moments. The characters in this movie behave like mature adults, and---how refreshing is that! As she showed in the great 2003 film "Something's Gotta Give", Nancy Meyers is an extraordinary writer who has a keen sense of how relationships really work. The masterminds behind such trainwrecks as "What Happens in Vegas", "When in Rome", "Leap Year", "A Lot Like Love", etc. would be wise to study the intelligent manner in which Meyers treats her characters. Meyers is also aided by the strength of her amazing actors. It is a joy to watch Meryl Streep, Alec Baldwin, and Steve Martin---three amazing performers---share the screen. I love this movie.

Charm and Romance In the Face of Danger

There is not a shred of believability in "Knight and Day", but I had an absolute blast. For 2 hours and 10 minutes, I gleefully suspended all logic and basked in the glory of the breathlessly exciting action sequences and the sexy, irresistible rapport of stars Tom Cruise and Cameron Diaz. Many action blockbusters annoy you with nothing but insanely farfetched chase scenes and clunky dialogue. Insanely farfetched chase scenes are at the very essence of "Knight and Day", but they are executed in such a wildly entertaining manner that it is easy to forgive the absence of anything approaching realism. And the dialogue is not clunky at all. Rather, Patrick O'Neill's screenplay is breezy and engaging. James Mangold's direction is fast and compelling, and "Knight and Day" is a richly satisfying action-comedy extravaganza.

.

There will be no mention of plot in this review. Because let's face it, saying that the plot is important in a film like this is like saying that a sliver of parsley is the most important part of an entree. No, we don't enjoy going to movies like this for a coherent storyline, although to its credit, "Knight and Day" has a storyline that is far more intelligent than most films of its kind. We enjoy movies like this because they are just plain fun. The real secret behind the success of "Knight and Day", however, is the vibrant energy of the two leads.

.

Tom Cruise and Cameron Diaz are a match made in heaven on the big screen. Their chemistry in this film cannot be overstated. Though there is no overt sex in "Knight and Day", Diaz and Cruise crackle the screen with the type of sizzling romantic heat so rarely seen in movies these days, conjuring memories of their last collaboration, 2001's thrilling "Vanilla Sky". Their sexiness and energy together feels completely genuine, and that gives the movie a refreshing feel.

.

You may be thinking that I am a hypocrite for recommending "Knight and Day". After all, how can I hate a movie like "Transformers: Revenge of the Fallen" and like a movie like "Knight and Day", when both films rely on scenes of ridiculously implausible action. Well, that's simple. It is all about attitude. The soul-crushing, insufferably long disaster known as "Transformers: Revenge of the Fallen" carries itself with a smug seriousness that prevents any semblance of fun and humor from creeping into its gloomy corridors. "Knight and Day", however, is light on its feet, never taking itself too seriously. This allows viewers like me the chance to revel in all of the films gloriously impossible antics. On a scale of pure fun, it doesn't get much better than "Knight and Day".

Catching Up On What I Missed

Over the course of the last few weeks, I have had the opportunity to catch up on some films that I have missed. Here are my quick takes:

"Get Him to the Greek": This sequel-of-sorts to the hysterical 2008 comedy "Forgetting Sarah Marshall" is 109 minutes of absolute chaos, and I mean that as a compliment. The great Russell Brand reprises his role as drug-addicted rock star Aldous Snow, and the very funny Jonah Hill plays the man responsible for bringing the wild rock star from London to Los Angeles in time for a special anniversary concert. Brand and Hill have terrific comic rapport, and Sean "Diddy" Combs is very funny as an egotistical record executive. "Get Him to the Greek" is hit-and-miss, often relying too heavily on cheap physical shtick. But even though this movie does not match the excellence of "Forgetting Sarah Marshall", it is still a hilariously raunchy gem.

"Orphan": This 2009 horror movie is surprisingly involving, genuinely scary, and superbly acted. It is inevitable that a movie about an orphan from hell is bound to tread in some familiar waters, but "Orphan" does an admirable job of sidestepping cliches, for the most part. The movie does derail in its final act, as the climax is based on a somewhat laughable plot twist. But overall, I was thrilled throughout "Orphan", thanks in large part to the outstanding performances from Vera Farmiga, Peter Saarsgard, and Isabelle Fuhrman as the murderous orphan from hell.

"Role Models": This hard-R comedy starring Paul Rudd and Seann William Scott as two guys forced into being a Big Brother to two seemingly difficult kids is one of the funniest films in recent memory. Rudd (who also co-wrote the film) and Scott are hilarious, as is the great Jane Lynch in a priceless supporting role. In addition to delivering enormous laughs, "Role Models" also features moments of surprising heart and tenderness, all of which feel authentic.

"Harold and Kumar Escape From Guantanamo Bay": Ok, so I have already recommended two extremely raunchy comedies in "Get Him to the Greek" and "Role Models". Here comes a third raunchy comedy. However, unlike those two aforementioned films, "H & K Escape From Guantanamo Bay" is not funny at all. In fact, this is one of the most desperately unfunny, disgustingly offensive movies I have ever seen. In the words of the great Roger Ebert, I hated hated hated hated hated hated this movie.


So there you have it. I think "Role Models", "Orphan", and "Get Him to the Greek" are well worth your time. But please, whatever you do, stay away from the horrific "Harold and Kumar Escape From Guantanamo Bay".

The Pursuit of Happiness in the Malaise of Life

Here is a film that perfectly captures the angst and complexities of life, a film that resists the temptation to neatly wrap its characters in succinct stereotypes. "Please Give" understands the deeply flawed fabric of the human race. Every character in this movie is glaringly imperfect, but the movie does not ask us to judge or criticize these imperfections. Rather, we are simply asked to understand them. By expressing such a refreshing comprehension of life's realities, "Please Give" is one of the most authentic, moving films of the year. I love this movie.

.

Catherine Keener and Oliver Platt star as Kate and Alex, a seemingly happy married couple living in New York City who make a living out of buying furniture from the children of the deceased and re-selling that furniture at a higher price. Beneath the surface, however, Kate and Alex are consumed with angst and guilt. Kate views her profession as unethical, and is thus confounded by a moral dilemma, a dilemma that she attempts to reconcile by constantly giving money to the homeless, a self-serving habit that frustrates her plucky, insecure teenage daughter Abby (Sarah Steele). Alex, meanwhile, is guilt-ridden the moment he starts an affair with the snarky, sexy granddaughter (Amanda Peet) of his cranky next-door neighbor.

.

I have just briefly glossed over the plot, but I will go no further in plot description, because part of the magic of "Please Give" is in its subtle nuance and surprise. This film does not follow down the familiar path that one might expect from a movie like this. Writer-director Nicole Holofcener does a beautiful job of taking the viewer in unexpected directions. "Please Give" deals with some pretty gloomy material, but thanks to Holofcener's mastery and maturity, the end result is life-affirming.

.

Holofcener is aided by the strength of her superb cast. Catherine Keener, appearing in her fourth Holofcener film, is magnificent. Keener never ceases to amaze me with her impeccable ability to show the bare emotions of her tormented characters. The same can be said of Oliver Platt, one of the world's greatest, most under-appreciated actors. Platt gives one of the best performances of his career here as a man who can't seem to reason why he started an affair when his marriage is so functional. Amanda Peet is spectacular as a woman who is eventually forced to self-evaluate her superficial lifestyle. Rebecca Hall is a revelation as a woman who is emotionally worn down by the demands of caring for her curmudgeonly grandmother. And Sarah Steele is wonderful as the adolescent daughter who is plagued with self-doubt. All of the aforementioned actors give "Please Give" a genuine feel.

.

The movie industry frequently tackles the issues of angst and family dysfunction, and often the result is dissatisfying and self-indulgent. But "Please Give" is a masterpiece, a movie that personifies the complicated essence of life.

Where Are the Laughs? Another SNL Sketch Flounders on the Big Screen.

If you like movies that feature its characters dancing around with celery stuck up their butt, then MacGruber is the film for you. Here is an incessantly stupid, mindlessly vulgar, and desperately unfunny bomb that further proves an already established fact: "Saturday Night Live" sketches just do not translate onto the big screen. With the exception of "Blues Brothers" and "Wayne's World", every movie based on an SNL sketch-----"Coneheads", "A Night at the Roxbury", "The Ladies Man"-----has been a dud. "MacGruber" makes for a consistently funny three or four minutes on SNL, but the movie is lifeless and soul-sapping.

.

I'm all for extremely raunchy and offensive humor. Some of my favorite comedies of the last 25 years include "The 40-Year-Old Virgin", "Knocked Up", and "Superbad". So it's not the vulgarity itself in "MacGruber" that bothers me. Rather, it's the fact that the vulgarity is totally gratuitous and completely devoid of creativity. Take the scene where MacGruber has sex in a cemetery with the ghost of his deceased wife, for example. This scene lingers with no semblance of humor whatsoever. Rather than making me laugh, this scene just made me want to take a shower. It is painfully obvious that the minds behind this film's material deliberately clogged with the film with nudity and profanity. All of which is fine by me, as long as it is funny. And believe me folks, funny is something this film is not.

.

Perhaps the most disappointing aspect of "MacGruber" is the vast waste of talent. I like Will Forte and Kristen Wiig, especially Wiig, whose enormous talent and charming quirkiness is evident on SNL and also in her scene-stealing roles in "Knocked Up" and "Date Night". I'm also a fan of Val Kilmer and Ryan Phillippe, two terrific actors that are utterly lost in this material. Kilmer is especially laughable in his egregiously overacted role as the villain. But hey, I guess we all do things for the paycheck occasionally.

.

Lorne Michaels is a smart guy, so why does he continue to allow his show to get embarrassed on the big screen? After "MacGruber", here's hoping SNL sketches stay on the small screen. Film buffs have suffered enough.

Tony Stark Is Back, and So is the Art of the Summer Blockbuster.

I am an ardent supporter of independent cinema. Few things in life are as rewarding as discovering a little-known cinematic gem, then watching as that film makes its way around the country through word of mouth. However, there are some big-budget, smash-hit movies that absolutely demand to be seen. "Iron Man 2" is one of those films. Like its wonderful predecessor, "Iron Man 2" is equal parts brains and brawn, a wildly entertaining blockbuster that also happens to be full of wit and heart.

The sequel takes place as Tony Stark, a.k.a Iron Man, continues to profit off of his superhuman powers and worldwide fame. He has opened a gargantuan convention center entitled Stark Expo in New York, and he is reveling in the fact that his heroic efforts have helped to maintain world peace. Still, Stark's outward appearance of fame and fortune serve to disguise his inner turmoil. He is being investigated by the Senate, and his Iron Man suit has raised his blood toxicity level to dangerously high levels. Making matters worse, a Russian convict named Ivan Vanko possesses the technology to challenge Stark and damage his legacy. Alas, all is not well in the life of Iron Man, and this film examines Tony Stark's struggle to maintain his health all the while carrying the lofty expectations of an awestruck public.

The fact that "Iron Man 2" even dares to explore these issues of internal crisis shows that this film has far more intelligence than your typical summer blockbuster. Yes, there are a great amount of action sequences, all of which are perfectly executed and exhilarating. But this film, with an astute script by Justin Theoreoux and skilled direction by Jon Favreau, balances scenes of thrilling action with scenes of quiet nuance. This is due in large part to the fantastic cast. Robert Downey, Jr. is superb in the title role, brilliantly managing to show both Tony Stark's immense egocentrism and his burgeoning humility. Gwyneth Paltrow is wonderful as Stark's loyal but concerned boss and romantic interest Pepper Potts. Sam Rockwell----one of the world's most under-appreciated actors----is hilarious as a sleazy defense contractor. Scarlett Johannson gives a sexy, charming performance as an undercover agent who catches the eye of ladies man Tony Stark. And it is a blast to watch the great Mickey Rourke as the buff, tough Russian villain. I haven't even mentioned the fine work turned in by Don Cheadle, Samuel L. Jackson, Jon Favreau, and Garry Shandling in a very funny cameo as an irritated Senator.

.

"Iron Man 2" is not quite as consistently satisfying as the original----the film briefly meanders in its middle act----but it is still sharp, funny, rollicking fun. This is what summer blockbusters should be: rife with breathless action, while at the same time maintaining a welcome sense of realism and humanity.

Struggling to Find Meaning in the Wake of Tragedy

There is a certain weariness to the somber expressions of George Falconer. Falconer, a gay British college professor living in early-1960's Southern California, is struggling to cope with the tragic death of his lover. Each morning he arises with fear and loathing, each day is a struggle. The only thing preventing Falconer from suicide is his friendship to Charley (Julianne Moore). Charley is the only person to whom George feels fully comfortable confiding his emotions and fears. That is until George gets to know one of his students, an attractive, deeply introspective young man who challenges George to ponder the true meaning of his life.

.

This is the very weighty material that comprises "A Single Man", Tom Ford's uncommonly mature and emotionally powerful gem. At any moment in this film things could have easily slid into the world of insufferable melodrama, but Ford's precise screenplay, stylish direction, and the film's tremendous acting prevent such a demise from happening. Ford, a fashion designer making his directorial debut, writes with the intelligence and confidence of a veteran of the screen. His directing is especially impressive, as Ford infuses the screen with a fascinating color scheme to reflect the myriad of emotions that pervade the daily life of the protagonist. When George Falconer is mired in a state of depression, for instance, the cinematography is bleak. When George Falconer sees something that reminds him of life's beauty, a young girl playing in the garden, for example, the screen is filled with bright colors. This is an immensely rewarding and innovative technique that illustrates Tom Ford's limitless potential as a film director.

.

Ford is aided in large part by the strength of his actors. Colin Firth gives the best performance of his career in the lead role. Firth does a brilliant job of making the viewer relate to George Falconer's torment and vulnerability. For his fine work, Firth deservedly received an Oscar nomination. Julianne Moore is also terrific as George's loyal friend Charley, a woman who maintains a sunny exterior but who is herself battling some internal unhappiness. Strong work is also turned in by Matthew Goode as George's lover, and by Nicholas Hoult as George's student.

.

The final scene of "A Single Man" illustrates the film's beauty. Without revealing too much, all I will say is that the ending is bittersweet, a poignant reminder of the bitter irony of life. The scene is perfect. This movie is pretty damn close to flawless also.

Trying to Repair That Crazy Heart With Love and Music

The story of a down-and-out entertainer struggling to rebuild his impoverished life is a familiar one to movie fans. But of the long list of films that have followed this premise, few have been as moving and authentic as "Crazy Heart". This is a beautiful film that grabs a firm hold of your emotions without feeling the slightest bit manipulative.

"Crazy Heart" tells the story of Bad Blake (Jeff Bridges), an aging, once-famous country music star who is now forced to play gigs at dusty saloons and bowling alleys just so he can earn some much-needed cash. Bad Blake's world has come crashing down. He is an alcoholic who hasn't seen his son in twenty-four years. The one person he mentored, a handsome young country star named Tommy Sweet (Colin Farrell), has gone on to be far more famous and beloved than Bad himself ever was, something that has instilled in Bad a sense of bitterness toward his one-time pupil. A welcome respite from the doom of Bad's life comes in the form of a sexy young reporter (Maggie Gyllenhaal) from a local New Mexico paper who has come to interview Bad Blake about his career. She becomes won over by his unique charm, and the two commence an unlikely romance. It goes without saying that their romance goes through the ups and downs of his alcoholism. That is par for the course in a movie like this. But what is so rewarding about "Crazy Heart" is that the relationship between Bad and the reporter feels genuine and real, even as it takes us down a familiar road.

"Crazy Heart" shares several parallels to Darren Aronofsky's "The Wrestler". And just as Mickey Rourke did in that film, Jeff Bridges gives the performance of a lifetime in this film. Bridges is one of the most under appreciated actors to have ever graced the screen, and his work here is absolutely stunning. Bridges perfectly embodies the drunken charm of Bad Blake. In several scenes, Bridges is so convincing that you can actually sense the smell of whiskey and cigarettes coming off the screen. Here's hoping that Bridges walks away with the Oscar that he so richly deserves on March 7. Maggie Gyllenhaal is also fantastic. The role of a single mother has been so often portrayed in trite fashion, but Gyllenhaal never hits a false note, giving the best performance of her career. Fine work is also turned in by the great Robert Duvall as Bad's loyal bartender friend, and by Colin Farrell as Tommy Sweet.

"Crazy Heart" was written and directed by first-time filmmaker Scott Cooper, and rarely does a first-time filmmaker have such a keen grasp of atmosphere and mood. Cooper's writing and directing is pure and honest. As a director, Cooper wisely lets the story do all the talking, avoiding any unnecessary, flashy techniques behind the camera. The music in "Crazy Heart" is simply amazing. All of the songs in this movie, most of which were written by Ryan Bingham and T-Bone Burnett, will amaze even those who are usually averse to the country genre. The fact that Jeff Bridges and Colin Farrell do all of their own singing make the songs all the more satisfying.

There is nothing particularly revelatory about the material in "Crazy Heart", but it is handled with effortless grace. There is just something life-affirming about this movie, a film that is indeed bound to win over your crazy heart.

Isolated in the Friendly Skies

"Up in the Air", the third feature-length film from writer-director Jason Reitman, is the defining film of our times. Here is a movie that is sure to stand the test of time, a wonderful, breezy, effortlessly entertaining masterpiece that perfectly captures the complexities of recession-era America. In the decades to come, people will look back at this Capra-esque gem with great fondness and nostalgia. Ladies and gentlemen, we have a new classic.

.

"Up in the Air" tells the story of Ryan Bingham (George Clooney), a man who makes a living out of firing people. When a company needs to let go of employees, they hire Mr. Bingham to do the job that the company's executives are too cowardly to do themselves. Thus, Ryan Bingham literally lives up in the air, flying 270 days a year across the country to inform devastated workers of their unfortunate fate. Bingham, afraid of commitment and without a steady home, loves his lifestyle. He carries on his life with a suave, carefree demeanor, detached from his family who view him as an absent outsider. When a young, confident Cornell graduate (Anna Kendrick) starts to question the ethics of their profession, she starts to get Bingham pondering the true meaning of his life. He is in the midst of a casual romantic tryst with a fellow frequent flyer (Vera Farmiga), but is that enough to bring him long-term happiness? Is he living a life of isolation? Should he become more attached to his family?

.

The aforementioned questions, in a lesser film, would have been answered with cliches. But "Up in the Air" is brilliant in the way it tackles these weighty issues. There is a refreshing maturity to the way this film plays out. The conclusion is bittersweet and real. Jason Reitman's direction is a sublime exercise in versatility. This film is funny when it needs to be, sad when it needs to be, romantic when it needs to be, as Reitman masterfully strikes a perfect balance in tone. Fresh off the heels of "Thank You for Smoking" and "Juno", Reitman has cemented his status as one of the world's best filmmakers.

.

It is a joy to watch such beautiful acting. George Clooney gives the best performance of his accomplished career in the lead role. Clooney is the epitome of a perfect movie star in the classic sense of the term, a flawless actor who graces the screen with the charm of Cary Grant and the bravura of Marlon Brando. With "Out of Sight", "Good Night and Good Luck", "Syriana", "Michael Clayton", and "Up in the Air", Clooney is crafting a career for the ages. Clooney shares the screen here with two beautiful, wonderfully talented actresses, Anna Kendrick and Vera Farmiga. Kendrick gives a hilarious, enchanting performance as the perky, idealistic Cornell grad, while the criminally underrated Farmiga is outstanding as Ryan Bigham's lover. It is also a joy to watch Jason Bateman, J.K. Simmons, Danny McBride, and Zach Galifianakis shine in small yet crucial supporting roles.

.

"Up in the Air" is the favorite to win the Best Picture Oscar, and rightfully so. Very few movies manage to be both an urgent reflection of our anxious economic climate and a funny, moving character study. "Up in the Air" is an exercise in perfection. I love this movie.

The Power of Perseverance in the Face of Hardship

The mark of a great film is the ability to emotionally transport the viewer into the lives of its characters. "Precious: Based on the Novel "Push" by Sapphire" has that ability. It takes us inside the life of Precious Jones, a sixteen year-old, morbidly obese teenager who has had two children after being twice raped by her father. Precious fails at school, barely mutters a word, and is the victim of constant verbal and physical abuse from her drug-addicted mother. Living in 1987 Harlem, Precious lives a life of impoverished misery, keeping her spirits afloat by fantasizing herself as a beloved supermodel. These dream sequences are among the most powerful moments in the film.

"Precious" is unyielding in its depiction of hardship, and watching the movie is an emotionally draining experience. It is a testament to director Lee Daniels and the stunning ensemble cast that this film has such a profound emotional impact. Daniels' direction is sharply focused, and he infuses the fantasy sequences with bright color and effervescence. Daniels made his directorial debut in 2005 with the wildly uneven "Shadowboxer". With "Precious", he fully realizes his potential as a gifted filmmaker. The most impressive aspect of "Precious", however, is the incredible acting. Newcomer Gabourey Sidibe makes one of the most astonishing first impressions of any actor in cinema history. The way in which Sidibe beautifully conveys the pain of Precious' life is heartbreaking. Sidibe deserves a golden statuette on Oscar night. Another actor who is likely to walk away with an Oscar is Mo'Nique. Known primarily in the United States for her work as a stand-up comedian, Mo'Nique delivers a fiercely powerful tour-de-force as an abusive mother who attacks Precious as a way to cope with some serious internal demons. The scenes between Sidibe and Mo'Nique crackle with scintillating energy. "Precious" also receives superb work from an unconventional supporting cast that includes Mariah Carey, Lenny Kravitz, Paula Patton, and Sherri Shepherd.

Ultimately, "Precious" ends on a note of uplift. The conclusion does not feel the slightest bit forced or sentimental, but rather life-affirming and profoundly moving. Here is a film that has a keen awareness of the ups and downs of life, a trait not as prevalent in cinema as one might expect. This is precisely what makes "Precious" a must-see.