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In our pharmaceutically inclined society, side effects are ever-present hazards of prescription drug usage. Whether they are minimized in print, or spoken in a hushed tone at the close of television commercials, side effects have become a shady companion of prescription drugs. Side Effects, Steven Soderbergh's alleged final film, focuses on the consequences visited upon a young couple after the side effects from the wife's medication cause her to commit an alarming act. As the chasm opens beneath this young woman, her psychiatrist struggles with his responsibility for her predicament, and confront his lingering suspicion about his patient's state of mind.

Ever the auteur, Soderbergh remains delightfully unpredictable with this latest feature. Side Effects initially presents itself as an indictment of the pharmaceutical industry, wearing its heavy-handed message on its sleeve, but promptly converts into a psychological suspense thriller. Soderbergh stares you directly in the eyes while he rips the rug from beneath your feet, sending you spiraling toward a conclusion that is equally unexpected and pleasing. Soderbergh and screenwriter Scott Z. Burns (Contagion, The Bourne Ultimatum) channel Hitchcock, creating an in-depth narrative that remains unpredictable until its final scene.

Soderbergh is known for generating a positive film environment for his cast, and maximizing the actors' potential in his films. Although the cast for Side Effects is comprised of actors who have previously provided impressive performances, each actor presents a character that rivals any prior roles. Rooney Mara plays the young woman at the epicenter of the conflict. Mara is extremely engrossing, creating an aura of discontent and depression within her situation. She acts as the film's catalyst, holding all the characters together while prompting them toward their conclusions. Attractive, graceful, and erratic, Mara is the wounded girl who isn't all that she seems.

While the film's driving force is Mara, Jude Law is its principle focus. As Mara's overwhelmed psychiatrist, Law provides his most empathetic role to date. Law establishes a flawed character who struggles with the consequences forced upon him, and transforms into a protagonist worthy of our admiration. Law and Mara provide such intriguing characterizations, Soderbergh seems to have difficulty deciding which to devote more time to. The scenes they share are the most arresting in this film.

There are few things more satisfying than a film which receives little attention, but creates an unexpectedly entertaining experience. Though Soderbergh has billed Side Effects as his swan song, he confirms that he is a cinematic mastermind in a film that would be an impressive conclusion to an eccentric career. Indulge in this unconventional thriller; you won't mind the side effects.

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Man possesses a dualistic nature: we are constantly struggling with our own personalities. Often times we are compassionate, but at other times we are selfish and apathetic. At times, depression creeps into our minds, but then positivity and optimism guide us through our difficult moments. When we are least expecting it we can revert back into our animalistic tendencies of aggression. We can be so cruel, even to those closest to us, but we also enjoy the ability to love. Humans are an enigma, and we can still manage to surprise each other. Rust and Bone, the latest film from French director Jacques Audiard, runs through the gambit of human emotion.

The story follows two characters forced to grapple with their emotional and physical malformations. Ali (Matthias Schoenaerts) is an amateur fighter who uproots his young son from a life of squalor in Belgium, and relocates to France. Ali is forced to contend against numerous factors upon his arrival in a new country. Having never before been solely responsible for his child, he is ill-prepared to handle the challenges facing a single parent. As if to confound matters further, he begins a tumultuous career as a street fighter. Throughout the film, he develops relationships that provide him structure, but others that strip away at his psyche. The most interesting relationship that stems from his activities is with an orca trainer named Stephanie (Marion Cotillard). Soon after their initial meeting, Stephanie is involved in an accident with an orca that costs her the lower portion of her legs. Faced with the gravity of this new handicap, Stephanie must learn to adapt to her physical loss, and restructure herself mentally as well. The film has numerous layers, focusing on each uncomfortable transition in its characters lives. Relationships are established, destroyed, and occasionally mended, but the evolution of these characters is enriched by each interaction.

Schoenaerts and Cotillard are remarkable in their respective roles. As Ali, Schoenaerts is a hulking brute who displays little emotion when dealing with his son and family, but is surprisingly delicate where Stephanie is concerned. Like his phenomenal character in Bullhead, Schoenaerts is massive in stature, but manages to exhibit a tortured personality. Ali is quite unlikable in many scenes, but never is he unsympathetic. Cotillard commands a level of passion that few actresses have previously achieved. Stephanie is a formidable character, forced through significant hurdles, and in the hands of a less qualified actress would have been overwhelming. Cotillard portrays the character with a restrained vigor. Her face shifts ever-so-slightly with each nuance of the character. Cotillard and Schoenaerts collaborate very effectively, creating a bond between their characters that transcends the script.

Audiard and Stéphane Fontaine (cinematographer) give severe concentration to the visuals in this film. Ali's fight scenes are particularly well shot. Each fight appears to be meticulously choreographed, but avoids any appearance of simulation. The scenes beautifully compliment the gravity of this picture and magnify the emotions being articulated. The most stunning scene in the film features a revitalized Cotillard returning to the orca habitat for the first time after her horrific accident. The scene captures a moment of rebirth for the character, and emphasizes the magnificence of her progress.

Rust and Bone is a spectacular film, but does have several obstructions keeping it from achieving perfection. Pacing and editing are the main issues restraining this film. Although it only lasts two hours, many scenes seem to drag and several others could have easily been discarded. The film is very heavily layered, which provides an intricate plot line, but also serves to bog the action quite a bit. Audiard's previous feature, A Prophet, also suffered from a convoluted plot, but managed to retain its intensity, as does Rust and Bone.

Rust and Bone is emotionally gripping and showcases two remarkable actors at the top of their craft. Ali and Stephanie are two of the most enticing characters to ever form a relationship in a film. The chemistry between Cotillard and Schoenaerts, the rich soundtrack by Alexandre Desplat, and the emotional stamina of these characters make this one fantastic film. This film hits with an aggressive fervor, and pulls no punches.

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Few films manage to capture a story of devastation without stumbling into clichéd, sappy moments, but The Impossible—the newest film by director Juan Antonio Bayona (The Orphanage)—holds its head above water to deliver a visually beautiful and emotionally captivating feature.

The Impossible recounts the true story of a Spanish (British in the film) family caught amidst the colossal devastation of the 2004 tsunami that ravaged Thailand. Maria (Naomi Watts) and Henry (Ewan McGregor) Bennett are enjoying a holiday at a picturesque beach resort with their three young boys: Lucas (Tom Holland), Thomas (Samuel Joslin), and Simon (Oaklee Pendergast). The family's vacation is interrupted by a massive wave that separates the family, and causes massive destruction throughout the mainland.

The film's main focus is Maria—embodied perfectly by Naomi Watts—and the struggle she must bear with her eldest son, Lucas. When the family is torn apart, Maria and Lucas must travel through the wreckage, seeking shelter. While the entire cast provide brilliant performances (McGregor never ceases to amaze.), it is Watts and Holland who display the pinnacle of emotional fortitude. Sergio G. Sánchez, who penned the screenplay, demonstrated his ability to craft an engaging relationship dynamic between a mother and her child in Bayona's previous film, The Orphanage, and the emotional dependence he creates between Maria and Lucas is astounding.

The film is a spectacle of chaos. When the tsunami strikes the beach, the magnitude of the impact is personalized through Naomi Watts' point of view. After she is delivered from the ocean's turmoil, Bayona pulls back, revealing the shear scale of the devastation. All that is visible lies in utter ruin. The scope of this event is frightening, and Bayona does not shy away from his material. The 2004 tsunami was one of the deadliest natural disasters in history, and this is respectfully envisioned by Bayona. Though the storyline concentrates chiefly on the Bennetts, the audience retains a sense of the desolation visited upon this community.

The Impossible is a shocking film. Bayona manages to capture some riveting images, thrusting the audience directly into the horror of a natural disaster. Through this particular family, Bayona displays the necessity of human solidarity, the power of physical and emotional pain, and the joy of deliverance. This is the first movie I watched this year where I was unable to take notes while viewing it; my attention was consistently on the screen. The film is severe in its presentation of devastation, but enthralling in its display of human resilience.

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The greatest manhunt in history is chronicled in Kathryn Bigelow's latest film, Zero Dark Thirty. The Academy Award winning director of 2010's The Hurt Locker, returns with another gritty, intense military thriller. Established through firsthand accounts from eye-witnesses, Zero Dark Thirty presents a fictional portrayal of the CIA's efforts to capture the most infamous terrorist of all time: Osama Bin Laden.

The film opens with audio recordings of phone calls made during the morning of September 11, 2001. Voices—some fearful and panicked, others calm and committed—play against a black screen, hollowing out the years between the present and that horrible event. We are instantly reminded of the powerful emotions evoked during that day, and how deeply that attack affected us, and continues to do so. Bigelow took a big risk in replaying those phone calls: Her decision could have easily been interpreted as a shoddy appeal to the audience's emotions, but instead acts as a harrowing reminder of the heartrending situation the nation had thrust upon it. The few minutes of audio have an intense sting, putting us in a reflective mindset for the remainder of the film.

The film then leaps forward a year, beginning its journey of documenting the plot to capture Bin Laden. The lump developing in your throat is quickly jammed into the pit of your stomach as a torture scene ensues. It is not the only scene of aggressive interrogation in the film, but it is certainly the most severe. Much has been written about the length at which Bigelow chose to depict these episodes of torture, and has provided the film much controversy. If you have read the tremendous essay by the late Christopher Hitchens regarding waterboarding ('Believe Me, It's Torture'), it is sure to come to mind as you watch this gruesome scene. I will not attempt to infer Bigelow's intention in depicting this action, but the viewer should ponder whether they are more disturbed that this practice is featured in a factual retelling, or that such actions actually take place.

The film's lead actor is the prevalent Jessica Chastain. As Maya, a young CIA operative passionately intent on locating the Al Qaeda leader, Chastain creates a character unlike any other in her repertoire. Her restrained emotions shadow an insatiable obsession that begins to consume her as months evolve into years, and failure begins to loom over each new lead. Maya begins as an avatar for the audience, but through the evolution of the film, slips beyond our grasp, becoming a creature of her own passion. Chastain possess the remarkable ability to adapt into any role thrust upon her.

Zero Dark Thirty is brimming with familiar faces. Kyle Chandler, Édgar Ramírez, Harold Perrineau, Jennifer Ehle, Mark Duplass, James Gandolfini, Joel Edgerton, and Chris Pratt all lend their talents to this production. Mark Strong is featured as a CIA section chief who serves to epitomize the frustration felt by the nation after numerous years of fruitless investigations. Although Chastain deserves the lion's share of credit for shouldering the heaviest role of the film, Jason Clarke—who gave an excellent performance in last year's Lawless—appears as a chief interrogator for the CIA. His acting in the film's opening scene is a dichotomy of human persona. He immediately shifts between raw brutality and jovial exclamations. Clarke is being sorely overlooked by many, but manages to stun with his callous demeanor and severe magnetism. Look for him to start making significant waves in the future.

Zero Dark Thirty is a rare film that exemplifies the emotions of an entire nation, yet manages to focus upon the mentality of the individual. Teamed, once more, with Mark Boal (The Hurt Locker), Kathryn Bigelow accomplishes a remarkable feat in pragmatism. Shunning conventional thematic embellishments, Bigelow and Boal produce a film that is tense, graphic, and harsh: the very nature of reality. The film describes an event that is all too real, and it achieves greatness through that realism.

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Leo Tolstoy's most prolific tragedy, Anna Karenina, is currently one of the most adapted novels of all time. There is little surprise in that fact, seeing as Karenina is one of the highest regarded books of our time, and few people can resist a love story. While Tolstoy's novel had plenty to say about Russian society, capitalism, and religion, most film adaptations have focused chiefly on the love aspect of Anna Karenina. Joe Wright, who is responsible for this latest adaptation of Tolstoy's work, does not deviate much from the common formula of Karenina adaptations. He does, however, mark it with a specific style, which makes this version impressively unique.

The majority of the story takes place in a theater, literally. Characters can be seen not only stepping out onto the main stage for a specific scene, but may also climb the stairs backstage to arrive at another location. Though this feature is never clarified in the film, it does not detract from the substance of the story. Although such a decision could easily have decayed into a garbled mess, Wright securely controls the film's tempo so that each scene dissolves into the next seamlessly.

One advertisement for Anna Karenina claimed the doomed affair was the "greatest love story of all time." I have personally never heard the novel spoken of in such a way, and would be surprised if anyone could draw that conclusion after seeing Wright's film. Love abounds in Karenina, but it is not generated from the source one would expect. Keira Knightley and Aaron Taylor-Johnson, who play the secret lovers Anna and Count Vronsky, exhibit almost zero charisma as a couple. They are constantly declaring their love at each other, but never truly showing the proper emotions. Johnson particularly is as ridiculous as his odd hairstyle. He has a complete lack of charisma. I find most of Knightley's films dull, but have always enjoyed her in Wright's films; they seem to have a fantastic partnership. However, she seems miscast as our title character. She does not exude the quiet strength which humanized Anna in the novel, but rather comes across as a spoiled brat determined to claim her prize. When the lovers finally commit their adulterous act, it is filmed in such an absurd fashion that one feels equally uncomfortable and amused.

Fortunately, where Knightley and Johnson stumble, Domhnall Gleeson and Alicia Vikander ascend. Gleeson and Vikander portray Kostya Levin and Kitty, respectively. Levin collects the entirety of the audience's sympathy when he is disregarded by Kitty, and maintains a tender grip on our emotions as he puzzles over his failure. The couple is the highlight of this picture. If love is to be even remotely ascertained from this story, Levin and Kitty are the real embodiment of it. This is an aspect of the novel that Wright brilliantly captures.

Another Wright alum returning to an endearing role in this film is Matthew Macfadyen, playing Stiva Oblonsky. Macfadyen is the comedic energy in this picture. His role is as grandiose as his comical mustache. Macfadyen is popular for his conservative roles, but proves to have a true knack for comedy as Stiva. Jude Law and Kelly Macdonald are two more actors to note. Law as the cuckolded Karenin is a role that demands an ability to display genuine emotional ache, and Law delivers. Macdonald is wonderful as the disparaged Dolly, who struggles to forgive her husband's infidelities. Macdonald's role is minute, but she hammers a fierce personality into her brief time on screen.

Anna Karenina is an enjoyable film, though it lacks a few characteristics to make it grand. The theater concept has many people scratching their heads, and condemning the film as pretentious, but Wright and Tom Stoppard, who wrote the screenplay, have managed to place an interesting mark on a popular story. I am not one for congratulating something based solely on attempt, but Anna Karenina does enough right that I would be remiss to dismiss it entirely.

It is a rare opportunity to see a film in which every frame evokes miraculous imagery. So it is with Life of Pi: Director Ang Lee translated the bestselling novel by Yann Martel into one of the most visually arresting cinematic events of this year. Like a fever dream that occasionally transforms into a nightmare, before delivering you back into a state of nirvana, Life of Pi is at its best breathtaking, but also looms with a mysterious energy prepared to pounce when you become comfortable.

The story of Piscine "Pi" Patel (Suraj Sharma) unfolds through the narration of the elder Pi, who recounts his story for the benefit of a writer, in search of a story that will "make him believe in God." It is unlikely that Pi's engrossing story will have any effect on your religious inclinations, but it will certainly entertain. Pi's life is completely upended when a cargo ship carrying Pi and his family, as well as numerous animals from their zoo, is lost at sea. Being the sole human survivor, Pi is forced to contend with a troop of animals that also managed to seek refuge on his lifeboat. As the days pass, the group of four animals is cut down to a single animal: an adult Bengal tiger named Richard Parker. The two survivors are faced with serious challenges on their journey across the ocean, and none is more terrifying than the close proximity they share. What develops is a volatile relationship that ultimately saves Pi's life.

The entire weight of Life of Pi is balanced on newcomer Suraj Sharma's back. The true beauty of this film may be its cinematography, but considering how much of this movie focuses on a solitary human in a boat with a tiger, casting a weak actor in the role of Pi would have been as disastrous as flinging acetone on a painting. The range of emotions conveyed by Sharma makes it difficult to believe that he earned this role accidentally (He only attending the casting call to support his brother's audition, and ended up winning the role out of 3,000 actors.), and has no previous acting credits. If Life of Pi is any indication of what Sharma is capable of, we shall be seeing a great deal of this talented young man in the coming years.

Life of Pi is substantial achievement in storytelling. The film covers a variety of topics: spirituality, mortality, maturity, death, and survival. The film is incredibly dense, and having little knowledge of the novel beforehand, I was not prepared for how intense a film this would be. The quality of trailers shown before the movie seemed to indicate that many might treat Pi as a children's film; it is most certainly not. While a story of a young man on a boat with a tiger might sound like the beginning of a children's fable, the substance of this film would be difficult for a child to stomach.

Ang Lee has proved himself a master of stylized film and Life of Pi is possibly his most visually stunning motion picture to date. Life of Pi illustrates the ability of a story to captivate our imaginations, and attests to the wonderment of storytelling.

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After nearly two decades in production limbo, the story of Abraham Lincoln arrives on the big screen courtesy of Steven Spielberg. Lincoln— which could more appropriately be titled The 13th Amendment—shows the trials surmounted by our sixteenth president in ratifying the Constitution in order to abolish slavery. Though the film's focus is chiefly on this particular amendment's passage, the scope of the film is nothing short of magnificent.

Daniel Day-Lewis personifies Lincoln, characterizing him as an imposing figure in stature, but a jovial, soft-spoken leader of an adoring public. Day-Lewis has garnered recent prestige for his grand, ominous roles as Bill the Butcher in Martin Scorsese's Gangs of New York, and Daniel Plainview in Paul Thomas Anderson's There Will Be Blood (Best Actor Nomination, and Win respectively). However, as the titular character in Lincoln, Day-Lewis's methods are subtle and reserved. He does not impose himself upon each scene, but rather observes silently: speaking only when articulation is necessary or a humorous anecdote will rouse his compatriots. Though he expresses less grandeur in this portrayal than previous outings, Day-Lewis is as brilliant playing Abraham Lincoln as ever.

Day-Lewis isn't the only one whose acting abilities should be commemorated though. Lincoln is brimming with astonishing character actors. Tommy Lee Jones embodies Thaddeus Stevens, a stringent abolitionist, and vicious tongued debater. Jones is sure to reap numerous award nominations for his fierce portrayal of the reluctant Stevens. James Spader, Tim Blake Nelson, and John Hawkes play a trio of seedy contractors charged with persuading several Democrats to adopt Mr. Lincoln's cause. The scenes containing this trio are thick with humor, and contain some of the best dialogue in the film. If nothing else comes of this terrific film besides Spader increasing his presence in cinema, it will not be a waste. David Strathairn, Hal Holbrook, and Jackie Earl Haley showcase their impressive talents in this film. Lee Pace (Pushing Daisies) is superbly wretched as Fernando Wood, one of the main opponents to the anti-slavery legislation. Another actor certain to receive some acclaim for her depiction is Sally Field. Field plays Mary Todd Lincoln, the depressed, yet supportive, wife of Lincoln. She shares a few overwrought scenes with Day-Lewis that remind the audience that Abraham is not the only Lincoln being studied here. A particular scene shows her matching barbs with Jones, and winning out against his imposing character. Lincoln is filled with actors whose names may slip your mind presently, but you are sure to recognize in future films.

Spielberg creates an intriguing political drama with Lincoln. He paints a delicate portrait of Abraham Lincoln, but also manages to infuse the film with a pounding political momentum. The script for Lincoln was crafted by Tony Kushner (Angels in America, Munich). Kushner and Spielberg create Congressional hearings that are fascinating to behold. Some of the greatest scenes in this film are void of Lincoln, and concern the fiery debates between members of the House of Representatives. It's as if someone has switched to an exciting presentation of C-SPAN, or an actual meeting of the Houses of Parliament.

Lincoln does have a few brief lifeless moments: the beginning is ridiculously heavy-handed, and the closing segments feel entirely unnecessary. Seated near me during the showing was a young boy; when the credits close after Lincoln has been declared dead, he declared: "I knew he was going to get shot in the head." I couldn't help but chuckle. He highlighted an interesting point though: It feels excessive to include Lincoln's demise. We are all aware of his death, and it isn't handled in an interesting way, but rather shoehorned in at the close. It's almost as though Spielberg, or a studio executive, figured audiences wouldn't know about one of the most infamous assassinations in history. Although for a brief few minutes in the beginning of this film, as well as the close, there is a dry spell; the majority of Lincoln thrives.

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Robert Zemeckis returns to the world of live action film with Flight, the story of a plane crash that has grave consequences for the pilot. Denzel Washington embodies Captain Whip Whitaker—an alcoholic whose life was spiraling before the accident—in a harrowing performance. Flight is a tense character study that will resonate with addicts, and impress audiences.

When we first meet Whip, he has just awoken from a bender. He is disheveled, sluggish, and recovering from a night of ecstasy with a member of his crew (Nadine Velazquez). The room he inhabits at a cheap motel is completely in shambles, similar to the present state of his life. A snort of cocaine rouses the captain, and sends him off into his element: flying. During the beginning of the flying scene, the audience witnesses the passion which drives this being. Whip is an incredibly talented pilot. He handles himself less than professionally, and his staff is quick to realize it, but the man can fly a plane. A mechanical failure sends the plane into a nosedive, rocketing all the passengers to a sure grave, but Whip commands the situation and brings the plane to a secure landing. However, casualties are unavoidable. The film then details the ensuing fallout from the accident, placing a focused spotlight on the behavior of the pilot and his part in the catastrophe.

Denzel Washington is outstanding as Whip. He exudes such a level of magnetism in this film that it is difficult to dislike him, even when you realize how obnoxious he truly is. Washington is a master of facial expressions: When Whip is thrilled, his smile gleams like sunshine, but when sorrow creeps upon him, the full brunt of pain is evident in his eyes. He is a character drowning in his own disastrous tendencies, and the film is very careful to remain vague on whether or not he will be vindicated. Washington deserves limitless praise for his portrayal, but other actors do actually manage to steal the spotlight, if only momentarily. John Goodman is a wrecking ball of charisma whenever he is featured. Goodman plays Whip's confidante and dealer. He's covered in grime from head to toe and enjoys every moment of it. Kelly Reilly is apt in her role as a former user, who develops a romantic relationship with Whip and strives to pull him from the wreckage of his life. Don Cheadle plays Whip's lawyer to smarmy perfection. He has less than pure intentions, but zero reservations about gaming the system and clearing his client. John Badge Dale shows up as a cancer patient for a brief scene, but he completely steals the show for the few minutes he spends delivering a palpable monologue. This film soars due to the remarkable cast assembled.

Since this is a film about the subsequent events of a plane crash, it would be irresponsible of me to exclude the crash from this review. Zemeckis films the crash in such a manner that you are nervously anticipating the conclusion. To say that the scene is intense would be egregious; the scene is thick with emotion. Dread clings to each twist and shift that the plane makes. The focus is mainly on the plane's cabin, but when the turbulence begins to fling passengers it is difficult to keep your eyes on the screen. Anyone who suffers from aerophobia is advised to arrive fashionably late to a screening of this movie.

The film is very well done. It is certainly not Zemeckis' or Washington's greatest achievement, but is a fine character study none the less. The only grievance I had with the film was its tendency to become unnecessarily preachy. While I'm sure Alcoholic Anonymous is a worthwhile organization for many struggling addicts in the world, the film seemed to fervently promote AA and its philosophy. The film was very subtle in presenting Whip's realization of his faults, so it makes the ham-fisted AA propaganda all the more obvious. Addicts definitely need help: I hope this is the message derived from this film, and not that you need AA to surmount your short-comings.

Flight is quite a spectacle. It is great to see Washington at the peak of his abilities. I hope that he garners some recognition for the extraordinary effort he committed to this role. Flight has a phenomenal crash scene that is terribly gripping, but the fierce unraveling of the film's protagonist is equally severe.

It isn't easy being the bad guy, especially when you are the villain in a video game forced to repeat your destructive tendencies on a daily basis. The title character of Wreck-It Ralph faces this particular dilemma. Ralph is tired of being the "bad guy" in the game: Fix-It Felix Jr. Ralph's role puts him at odds with his adversary, Felix Jr., who garners all the praise and adoration from the townspeople after he fixes Ralph's destruction. Ralph's jealousy of Felix comes to a head on the thirtieth anniversary party for Fix-It Felix Jr. Upon being shunned from the party, Ralph decides that the only obstacle keeping him from achieving the rank of hero is a golden medal. Determined to win the respect of his fellow game characters, Ralph sets out to accomplish something that is forbidden in the arcade world: stealing an item from another game.

Wreck-It Ralph beautifully combines animation that audiences have come to love with a nostalgic look at the wonders of the arcade world. In a time when arcades are rapidly waning in popularity, Ralph revitalizes characters from classic games, and introduces unique new characters into the Disney pantheon. Pac-Man, Q*bert, Sonic the Hedgehog, Bowser, and numerous other characters from arcade classics have cameos in this movie. Whether you are a hardcore video game aficionado, or someone who has spent little-to-zero time in an arcade, Wreck-It Ralph is a film that you are sure to enjoy.

Disney sans Pixar has had some difficulty creating films that entice both children and parents. After a long string of pandering sequels, and weak features, Disney Animation Studios appears to have their formula down. 2010's Tangled was a welcomed surprise, and Wreck-It Ralph is equally enjoyable. Director Rich Moore does an excellent job blending a morality play into the video game world. Screenwriters Phil Johnston (Cedar Rapids) and Jennifer Lee compose a script that is packed with references to video games, candy, and classic cinema. One of the funniest segments in the film involves Ralph attending "Bad-anon", a support group for video game villains (think AA, but with a Pac-Man ghost and Zangief from Street Fighter). When Ralph enters the game "Sugar Rush", Johnston and Lee inundate the dialogue with references to candy and sweets, which grows stale as time progresses, but carries a sugary taste in the beginning. The talents of the director and writers are on full capacity during the majority of this feature.

John C. Reilly, Jack McBrayer, Jane Lynch, Sarah Silverman, and Alan Tudyk all lend their voice talents to this production. John C. Reilly (Ralph) continues to be one of my favorite actors, voicing Ralph so fluidly that one can't help but think this role was written precisely for him. Jack McBrayer is lovable as always, playing an overeager Felix, whose charm lies in his quirky euphemisms and doe-eyed stares. Felix, swooning for Jane Lynch's Calhoun, delivers one of the greatest lines in the movie: "Oh, that's not from blunt force trauma ma'am. That's just the honey glow in my cheeks." Sarah Silverman (Vanellope) plays a character ostracized in her game due to being a "glitch". She is the annoying sidekick who demeans Ralph constantly, but still manages to earn his adoration. The role was developed with Silverman in mind, and her raspy voice compliments her character's brashness perfectly. Alan Tudyk plays one of the most divisive roles in the film. His character, King Candy, is a bubbling buffoon, who has dark motives, and an inexplicable drive to see Ralph and Vanellope fail. Moore himself supplies the voices of a number of characters in the film—his turn as Sour Bill is delightfully droll.

Wreck-It Ralph is currently the highest-grossing film of the weekend, and is sure to remain among the top features of this season because of its dynamic appeal and heartening story. Although the second portion of the film seems hustled, and several scenes in "Sugar Rush" are clichéd and lazily scripted, the film as a whole exceeds. The ending is very satisfying, and features a plot manipulation that is brilliant. Ralph is sure to become one of the prized characters in the Disney catalog. Wreck-It Ralph is anything but a disaster.