thecinemaview

Every once in a while, you see a film that has been so praised by both critics and audiences that the hype is astounding and yet the film manages to meet all of your many expectations. Then, there are times when the film fails to be as great as you hoped it would be; such is the case with "Drag Me to Hell", the return to horror for acclaimed writer/director Sam Raimi. Though not a bad film by any stretch of the imagination, it is also not the masterpiece that many will have you to believe. Rather, it is a pleasantly average slice of cinema that, despite a nearly masterful blend of humor and horror, almost seems insignificant in the grand scheme of cinema and even Raimi's career. Its biggest flaw arrives in its final two minutes, in which the film takes an ironic twist that anyone could have seen coming from a mile away. Bleak and cheerless, the ending is not flawed so much in what happens, but rather in how it happens.

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"Ghosts of Girlfriends Past" is, in terms of its most basic formula, a distinctly unoriginal film. Hitting each cliché and stereotype squarely on the head, it is often threatened by the possibility of becoming far too predictable to even function. However, each time the story takes yet another color-by-numbers turn, we are greeted by the presence of a ghost…the ghost of girlfriends past, the ghost of girlfriends present, or the ghost of girlfriends future, played by Emma Stone, Noureen DeWulf, and Olga Maliouk, respectively. Whenever one of these ghosts appears, drawing inspiration from Charles Dickens's "A Christmas Carol", we are reminded that, when a film is willing to incorporate plot points from a story that is well over 100 years old, it might not be a bad thing that the focus is on the classic story and not on anything that mainstream Hollywood can develop. Let us remember: Dickens is not responsible for films like "Couples Retreat"; Hollywood is.

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With "Trick 'r Treat" proving to be a surprisingly effective chiller for the straight-to-video market and "Paranormal Activity" (I can't wait to see and review it!) impressing almost everyone in theaters, the horror genre seems to be having a small pre-Halloween resurgence. Unfortunately, "The Shortcut" is here to serve as a nagging reminder that the current state of horror is sadly pathetic. Released by Scary Madison, an offshoot of Adam Sandler's Happy Madison production company, this film is shockingly inept for one that is trying to prove its company's worth in an already saturated genre. In fact, the only thing that "The Shortcut" proves is that Scary Madison will live a short, unfulfilling life before being dismantled in favor of more comedic mediocrity starring Sandler. Here, despite the presence of his brother, Scott Sandler, as a screenwriter, Adam was wise enough to stay far away. Given the caliber of much of his recent work, you know that "The Shortcut" has got to be bad.

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"State of Play" is a near-perfect thriller, specifically designed for intelligent audiences who can find excitement in situations and dialog rather than just violence and action. Russell Crowe plays Cal McAffrey, a street smart reporter for The Washington Globe who has finally found what will probably be his career-defining project. Ben Affleck plays Representative Stephen Collins, Cal's former college roommate turned hotshot U.S. congressman. Rachel McAdams is Della Frye, an upstart, young news blogger with a passion for politics. When one of Stephen's employees dies mysteriously (and violently), these three people converge in a taut, cat-and-mouse mystery that exposes both the brutality of politics and the viciousness of news media. When effectively combined on-screen, these two worlds, simultaneously in conflict with and dependent on each other, make for superb subject material. When they are brought to cinematic life in such a fascinating and exciting way, well, they make for one of the best thrillers of the year.

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Much like the trip at the center of "Couples Retreat", this film has so much potential, but ultimately becomes painful and tedious. Unlike the trip, however, there is no joyous ending that makes it all worth while. Instead, it ends with a predictable fizzle that not only betrays what I believe the film was trying to say, but also falls victim to the most woefully-overused conventions of the genre. Its likable cast, all well-trained in comedy and prepared to do anything for a laugh, feel like they are drowning in a bad screenplay that, just when they get their heads above water, pulls them back down again. Admittedly, many people in my theater laughed all the way through it; I credit that to the fact that interrupted masturbation and erections are so uncomfortable, you cannot help but to laugh. The problem, however, is that "Couples Retreat" wants to have it both ways: it wants to be an R-rated sex comedy, but also a PG-13 romantic comedy. It falls into an awkward and ineffective area somewhere in between.

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"Away We Go" is a film about a road trip that I wanted to be a part of with people that I wanted to know. As the film ended, however, I realized that I felt as though I did both. The story, itself, is simple. Burt and Verona (Krasinski and Rudolph, respectively) are a perfectly adorable couple who find themselves in a jam when, soon after discovering that Verona is pregnant, they also learn that Burt's parents, the only grandparents their child will ever know, are moving to Belgium for two years. Verona, whose own parents died a few years earlier, is distraught because, after all, they did move there so they could be closer to her in-laws (or whatever a boyfriend's parents are to his longtime girlfriend) when they decided to have a child. Growing used to their newfound unrestrained life, they figure that this will be the perfect time to travel around the United States and Canada to find the perfect home for their growing family.

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I love Halloween and, even more, I love finding fun and frightening films to watch when that beloved holiday rolls around each year...so imagine my enthusiasm when, as "Trick 'r Treat" ended, I stood up to go to the bathroom and found myself hesitant to walk down the dark hallway into the dark room. For the first time in a long time, I had actually been spooked by a film! Hearkening back to the days when films made being scared fun and not sheer torture, "Trick 'r Treat" is an anthology film, telling several interconnected stories that all occur on the same Halloween night in the same town. However, this film doesn't just take place on that special night; it effectively exploits it, drawing on the natural fears of such a celebration and warping the traditions associated with it in profound ways. Combined, the four (or some might say five) tales are expertly-crafted to work both as standalone features and as a single creation.

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"Monsters vs. Aliens" is an oddball family film that is as charming and likable as it is inventive and whacky. Sporting a top-notch voice cast and electric animation, it tells an interesting story in an equally interesting way. Certainly, its story is rather basic at its foundation (it is, after all, in its simplest form, a story of good vs. evil), but the unique twists on that foundation are what really put it ahead of its competition. In an ironic twist on classic monster films and alien invasion films, "Monsters vs. Aliens" pits a group of five monsters against aliens looking to invade the earth. When the American military proves to be useless and the President (voiced by Stephen Colbert) cannot begin peaceful negotiations, these monsters are our last hope against total annihilation. Had this been an adult-themed film, it would have probably dealt with the monsters' reluctance to protect the same people that have imprisoned them for years. As it is, it is more concerned with how cool it would be to be an indestructible blue blob. That is not a bad thing.

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The hype surrounding "The Hills Run Red" is really the most impressive aspect of this film. Mr. Disgusting of "Bloody-Disgusting" called it "a really solid horror film that many horror fans will be pleasantly surprised with." Gareth Jones of "Dread Central" adds to that, saying, "If you're a fan of slasher flicks, or even just truly inventive and twisted horror, you owe it to yourself to pick it up." Doesn't that sound absolutely wonderful? Could it be that there is a straight-to-disc horror film that actually delivers the goods? Having bought into the hype, I eagerly anticipated this film and began to watch it with a sense of giddy excitement…only to find that it is actually quite bad. No, that is a little too nice. "The Hills Run Red" is undeniably terrible. Its initial premise is basic and fascinating. A young documentarian, trying to track down a supposedly horrifying film that has been missing for decades, heads to its shooting location with the director's daughter, only to discover that the disturbing images in the film were actually real. But then, this story becomes mired in weird plot twists and an unnecessary sense of strangeness.

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The 1980 original, "Fame", was a gritty depiction of life at a public performing arts high school in New York City. The 2009 remake, "Fame", is a puff piece, never daring to handle any of the intense (yet still relevant) subject matter that was handled so eloquently by its predecessor. Rather than abortion and sexual assault, it focuses on stuff like troubled teen love and disapproving parents. Staying well within the parameters of its PG-rating (the original was rated R), it lacks the edginess and aforementioned grittiness that defined the film it emulates and, instead, closely resembles something that Disney might have produced as a vehicle for the likes of Miley Cyrus or the Jonas Brothers. Fortunately, I like Miley Cyrus and the Jonas Brothers...and, all flaws aside, I surprisingly enjoyed "Fame". It is not the important and relevant film than it probably wants to be, but it is a fun, well-made, and nicely-acted display of its young stars' undeniable talent.

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Just as "Deadgirl" was conflicted with what approach it should take to its noticeably compelling subject matter, I am conflicted as to how I should critique it. Certainly, it is a well-made film and I would be lying if I said that I did not develop some sort of morbid fascination with it. But, I must also say that I was offended by it, disgusted by the depravity of most of its characters, and perplexed by the actions of others. In a film that seems to be dripping with subtexts and more profound social commentaries, I could not find any; instead, it was displaying such vile imagery simply for shock value. I believe that film is the perfect medium to deal with such difficult topics as rape and misogyny, but I also believe "Deadgirl" is not the type of film to do it. Its awkward blend of drama and humor translates poorly, seeming more inappropriate than intelligent.

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Aiming considerably lower than she did in her breakout hit "Juno", screenwriter Diablo Cody tackles the challenging world of teen horror comedy. Instead of a wise-cracking pregnant teenager, she is now delivering us a gorgeous, cannibalistic cheerleader. The product is inferior, but certainly not bad. In fact, it is undeniably good. Featuring every teen boy's fantasy, Megan Fox, as the titular Jennifer Check, the film has its tongue planted firmly in its cheek right from the get-go, and is noticeably proud of it. Fox, widely-recognized for her beauty rather than her talent, is surprisingly effective, though she never quite grasps the purpose of Diablo Cody's quirky dialog. Often, she says humor-laced dialog with complete seriousness and vice-versa. Ultimately though, when she dares to let her hair down and have some fun with her performance, she epitomizes the guilty-pleasure-esquire appeal that Cody was aiming for. Amanda Seyfried, on the other hand, proves to be the film's strongest performer, hitting the nail on the head every time.

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If "The Haunted World of El Superbeasto" was an example of crudeness run amok, then "Observe and Report" is an example of it managed effectively. This film, a dark comedy from the apparently warped mind of Jody Hill, is an exercise in the strange and offensive. With a plot that is set in motion by a man baring his penis to unsuspecting women, how could it not be? The difference is that, whereas Rob Zombie displayed vulgarity simply for the sake of displaying it, Jody Hill displays it to garner actual humor. "Observe and Report", drawing inexplicable inspiration from Martin Scorsese's "Taxi Driver", is gainfully self-aware, poking fun at itself as well as the conventions of the genre. When Ronnie (Rogen) saves the day and finally stands up to the people that hurt him along the way, the onlookers, in a twist of one of the most gag-inducing clichés ever, are so shocked by his odd behavior and excessive use of the f-word that they only clap halfheartedly and with perplexed looks across their faces. No doubt, he expected the thunderous applause that usually occurs at the ends of films like this.

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"The Haunted World of El Superbeasto" is what happens when a filmmaker becomes so obsessed with himself that he forgets he is making films that people will actually watch. It is so inexplicably awful and insanely repugnant that I can only wonder how it received a release, however slight or unnoticed, over a variety of other films waiting on some studio's long-forgotten shelves. How it recruited the voice talents of Paul Giamatti and Rosario Dawson can be only attributed to Rob Zombie's natural charisma, as the screenplay, penned by Zombie and Tom Papa (who also voices the titular El Superbeasto), is an awkwardly strange and, even worse, unbearably boring one. Though creativity abounds, none of it is particularly inspired and it rarely transcends developing new reasons for animated women to drop their tops and say a handful of forbidden four-letter words. When a song is employed that sings about it being okay to masturbate to a cartoon, I had an overwhelming desire to stop watching.

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"Hannah Montana: The Movie" had me firmly on its side…until the members of the country music trio Rascal Flatts showed up as, get this, three of Miley's relatives who lead the family in sing-alongs. It is the type of cheesy scene that, even if you like their music, makes you want to laugh…although not in a good way. From that point, this film, the big-screen adaptation of Disney's hugely-popular television show, had to do whatever it could to win me back. Fortunately, aside from a silly alligator attack and an all too sappy ending, it manages to mainly succeed. Much of the credit for this success can be directly attributed to its leading young lady, Miley Cyrus, who gives a spirited and charming performance. She is essentially playing herself in a role that she has been perfecting since 2006, so the chance of this film being her career-defining moment is slim but, regardless of how insignificant this performance will doubtlessly seem in the grand scheme of things, she deserves credit for making this film as good as it is.

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Early on in this glitzy documentary, legendary designer Valentino Garavani is asked what women want. "I know what women want. They want to be beautiful," he says. Notice, if you will, his word choice…not "feel beautiful," but rather "be beautiful." As you will soon see, in the multi-billion dollar fashion industry, there is very little room for feeling. Either you are beautiful or you are not. If you are not, then step aside because some emaciated girl who hasn't eaten solid food in three months is waiting to fill your position. In this highly-competitive world, Valentino is an enigmatic and beloved figure. He is opinionated, temperamental, and dramatic…but has become defined by his passion, creativity, and brilliance. This documentary, handled with care by Matt Tyrnauer, follows Valentino and his partner, Giancarlo Giammetti, as they prepare for his 2006 Spring/Summer runway show and then his 45th anniversary retrospective, both events acting as signals for the quickly-approaching conclusion of Valentino's illustrious career.

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There are not many comedies that would have the courage to begin with a man walking into a hunting store and shooting himself in the head with a shotgun. But, "Sunshine Cleaning" is not like most comedies; let's be honest, crime scene cleanup is not exactly the most humorous of topics, because it always follows someone getting shot, stabbed, or otherwise killed. Normal people do not laugh when someone dies tragically, a fact that "Sunshine Cleaning" is tactfully not out to change, but only mildly prod. It's a good thing too, because I was fully prepared to abandon this charming little film at the mere mention of a dead body falling on someone. Instead, "Sunshine Cleaning" is about the emotional process that occurs when two people must first venture into the site of a brutal slaying. The film, though gentle and never too graphic, hardly sugarcoats such a career. Blood is splashed across the walls and furniture; and, in one scene, a finger is found in the sink, a product of a lovers' quarrel gone horribly wrong.

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I hesitate to label "Grace" a horror film, despite the abundance of horrific elements that permeate this film's scant runtime. "Grace" is a complex, multilayered story of a mother's obsession with protecting her child. That the child has developed a curious thirst for blood is really quite inconsequential; Grace, the infant in question, could have been born with a rare physical deformity and much of the film would have remained the same. The key factor is that she is somehow different than every other child in the world and that no one, with the exception of her mother, would ever understand. Her mother is Madeline, played beautifully by Jordan Ladd, a young woman still reeling from the car accident that killed her husband, Michael (Park), and was thought to have killed her unborn child. Three weeks after the accident, having decided to carry her dead infant to full term, she miraculously delivers a living, breathing baby. Madeline names her Grace, the name being obviously symbolic.

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