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Shut up, crime!

The H-Bomb: Frank D’Arbo (Rainn Wilson) is a schlubby everyman who lives an utterly unremarkable, and even slightly depressing life. He works as a short order cook in a dingy, disgusting, greasy spoon shit pit of a diner, and is married to Sarah (Liv Tyler), an ex-drug addict who doesn’t seem to be all that interested in him these days. One day he comes home to find that she has moved out. If that’s not bad enough, he then learns that she left him for local drug kingpin Jacques (Kevin Bacon), a walking, talking oil slick with a spine made of jello.

After confronting Sarah and unsuccessfully begging her to come home, Jacques’ men (including Henry himself, Michael Rooker) kick the shit out of Frank and leave him bleeding in the gutter. Later that night, after praying intensely, Frank has a dream (or is it a vision?), in which he’s touched by the “fingertip” of God. Inspired by this, and by an uber-lame Christian Superhero show he’s been watching, Frank realizes what he must do in order to win back his wife… become a real-life costumed vigilante and take on all the city‘s criminals.

So Frank transforms himself into the Crimson Bolt, a masked avenger who stalks the streets looking for crime. His costume is a crude, homemade red suit, his weapon of choice is a pipe wrench, and his credo is simple: You don’t steal! You don’t deal drugs! You don’t molest little children! You don’t butt in line! You break any of his rules, and he’ll break your fuckin’ head, just ask the poor fool who tried to cut in front of him in line at the movie theater. Needless to say, this “hero” is more Travis Bickle than Bruce Wayne.

Along the way, he meets Libby (Ellen Page), a comic store clerk who declares herself his sidekick and christens herself “Boltie.“ Her enthusiasm for crime fighting gives the word “overzealous” a whole new meaning. If anyone so much as keys a car, this rabid little Chihuahua will grab the heaviest bronze horse she can find and beat their bitch ass to death with it. Even Frank is put off by her bloodthirsty vitriol.

Together, they make criminals crap their pants and the public cheer their names, but Frank has not forgotten about his true mission; to rescue his wife from the clutches of Jacques, who has turned her into an addict all over again. Unfortunately, it won’t be that easy, because Jacques has discovered the Crimson Bolt’s true identity, and dispatches his thugs to take him out. Will the Crimson Bolt be able to bring down the drug gang and win back his bride? Or has Frank bitten off more than he can chew by trying to take a bite out of crime?

If some of this sounds familiar to you, don’t fret, you’re not the only one. Yes, “Super” sounds an awful lot like “Kick Ass“ on the cheap, and they do share superficial similarities. Both have “Average Joe” protagonists who become vigilantes without having any real clue what they’re doing. Both attempt to satirize the superhero genre. Both are subversive and audaciously violent. But that’s about where the similarities end, and when all is said and done, I say “Super” flat out kicks the ass of “Kick Ass”’ (and mind you, I liked “Kick Ass“ quite a bit).

So what makes “Super” the superior film in my view? A little thing called heart. “Super” has one, and “Kick Ass” doesn’t really. “Super”, while laced with darkly comic humor that weaves throughout the film, isn’t afraid to turn dramatic and sincere when the time is right. There are many introspective moments with Frank that are sincere and moving. One scene, in which Frank loses someone close to him, and another, in which he passionately espouses his philosophy, show that genuine emotions do exist in the world of “Super”, with the heroes’ motivations coming from a real, human place, where as in “Kick Ass”, with the exception of Big Daddy’s back story and fate, things are pretty much glib from start to finish.

That’s not to imply that “Super” is ever that dramatically weighty. This is, after all, a film from writer/director James Gunn, who got his start writing “Tromeo & Juliet”, for crying out loud. The way he blends the violence and humor in the film is pitch black and almost perversely funny. When Crimson Bolt drops a cinder block on the head of a tranny drug dealer, I was completely in stitches. Many of the laughs found within are of a “Oh my fucking God, I can’t believe they just went there” variety. You may feel guilty, even a tad creepy, for laughing at a lot of what goes on in this flick, but believe you me, you won’t be able to help yourself.

Gunn also takes a few choice swipes at religion, like the cheesy Christian superhero show which, among its many problems, shows what are supposed to be High School kids dressed in very inappropriately provocative clothing. Also, Frank’s own religious views are the catalyst of his many violent actions, things that Jesus most definitely would not do. Some will surely take particular offense to this, but me… I couldn’t fuckin’ get enough of it!

Another aspect I loved was how Gunn played on a number of superhero conventions. Batman won’t kill people, but the Crimson Bolt ultimately comes to believe that killing is the only way to shut crime up. Also, in an amusing running joke, people are always recognizing the Crimson Bolt as Frank, despite him being in mask and costume. I always thought it was a stretch how heroes were never recognized because parts of their faces were covered, so this was definitely a clever touch.

Themes and content aside, a film is only as strong as the actors who populate it, and in this case, Gunn has cast just about every role to perfection. It may be difficult to imagine Dwight Schrute as a head busting vigilante, but Wilson pulls it off marvelously. He especially impressed me with his handling of the more dramatic material, which I had never seen him do before. There’s a charm, sadness, and clumsiness mixed in with the darker, violent aspects of Frank/Crimson Bolt, and Wilson fuses them all flawlessly, making Frank one of the more interesting characters, not to mention superheroes, to come along in a while.

Page as Libby/Boltie… what is there to be said? She almost steals the whole fucking show. Think Juno dropped in a blender with her sick-as-fuck character from “Hard Candy”, and you only begin to get a picture of her in this. Watching this jacked up, over-caffeinated, pint-sized crime stopper doling out justice is downright disturbing. I have never seen Page like this, and if she and Wilson don’t at least receive Independent Spirit nods for this, then I’ll just as soon say fuck the ISA’s!

Tyler doesn’t really get much to do as Frank’s wife, but truth be told, I’ve never been her biggest fan, so for that I’m grateful. Bacon does a nicely slimy turn as Jacques, the big, bad villain of the picture, who’s neither all that big nor bad, but is enough to give the Crimson Bolt a run for his money. With his sleazy smile and cowardly demeanor, Bacon almost makes the guy likeable, in a weird way.

Gunn gives the movie a gritty, realistic look and does a fine job of handling the film’s various tones. While it’s mainly a black comedy, the serious and heartfelt moments don’t feel out of place. One could argue that things get off to a slow start, but I don’t agree. I think just the right amount of time was taken to establish Frank as a character, as well as his motivations.

In a time when it seems all superhero films must be 100% dark and somber, “Super” is a very welcome break from the pack. It’s an offbeat, eccentric comic book yarn (that’s not based on a comic) that’s brutally violent, shamelessly subversive, and wickedly funny… for those with a wicked sense of humor and a strong stomach. The prudish and squeamish, on the other hand, should probably seek their entertainment elsewhere.

“I don’t know if I should help you or euthanize you.”

The Berggren Bottom Line: Crazy, Stupid, Love is sweet, smart, and moving. It is not carefree and lighthearted. Instead, it humorously brings the viewer through the monotony and difficulties of relationships. The story weaves through this maze of the grey areas of life with intelligence and depth. It made me laugh, reflect, and want to be a better person. Truth be told, it even threw dust in my eyes a couple times. This is a great film and you should see it.

Crazy. That’s what life is.

Stupid. That’s what we can become if we aren’t vigilant in the most important areas of our lives.

Love. It all seems to converge here. If we say we love, but our actions and words do not perpetually represent this, it dies.

Crazy, Stupid, Love is not just a movie. It is a very entertaining and worthwhile message about marriage and family. Yes, this is a great date movie. But you will carry it with you home as you process your own life in light of the circumstances and outcomes it presented.

“I want a divorce.”

It begins with these words. Let’s be honest. If you aren’t a heartless robot, those are hard words to hear. Most of us today are affected by divorce on some level, and it isn’t a pleasant memory. And although it seems a heavy place to begin a story, it effectively hooks the viewer immediately. With that, the maze begins. And don’t worry, it is filled with plenty of hilarity.

Steve Carell is likeable. Is there any question of that? He is the main character in this film. Sure, I am sad he is leaving The Office, but I think it’s the right call—especially considering roles like this. He can play the sarcastic and senseless jester bringing guiltless laughs flawlessly, but he can do so much more. Somewhat similar to Dan In Real Life, Carell once again plays a lost and dull aging man that desperately needs to rediscover a passion for life. And he does it splendidly, in a different context, in a way that is both fresh and heartrending.

It was both painful and hysterical to watch Carell clumsily thrust into the singles scene as a middle-aged man trying to blend in. He resembled a bull in a China shop wearing New Balance sneakers. This is all new to him since he married his High School Sweetheart. But these are the kinds of scenes you can watch over and over and laugh like it’s new each time.

Supported by a great cast including Julianne Moore, Ryan Gosling, Emma Stone, Marisa Tomei, and even Kevin Bacon. This film is a freight train of charm, insight, and wisdom traveling together with humorous momentum toward positive resolutions. And it was not predictable. In fact, there is a big reveal that I totally didn’t see coming.

Crazy, Stupid, Love was deep, moving, and refreshing and thank you Hollywood for putting a high value on marriage in this movie.

Parents: Not for kids. This is for couples. That’s it.

Have you ever wondered the reaction Conan O’Brien had after NBC yanked him from the Tonight Show or what he really wanted to do about it? “Conan O’Brien Can’t Stop” delivers the goods!  The exact moment the decision is made to get around the whole “legally prohibited from being funny on TV” is revealed in this excellent documentary. 

Director Rodman Flender (yes, that is his real name) starts the tell-all with Conan explaining on the day of his last show that he was already planning a tour to keep himself fresh.  Conan just can’t stop entertaining people – EVER! Capturing the initial reaction to NBC’s decision to replace Conan with Jay Leno and the upheaval that followed, Flender gives an earnest backstage view of the tedious machinations that go into producing a seamless delivery for Conan’s millions of fans.  There are countless meetings with his writers to get everything set up: dates have to be realized; jokes have to be written; songs have to be prepared; and an order for everything has to be determined.

In an attempt to see if people will take to the dream, Conan decides to announce his tour dates and locations while the tour is still only a reality in his incredible imagination. Less than 30 minutes into the first day of ticket sales, venues in the East and Midwest already start selling out. (I admit I was at the first of two Chicago performances.)

Conan quickly learns how vast his nation spreads as their loyalty and dedication to him has, seemingly, no end.  They are willing to pay any price to let him know how much they appreciate the consummate entertainer.  They also make sure to let him know how much he would be missed on the Tonight Show.

We learn as the production is coming together, jokes are being written, and the first show is rapidly approaching; Conan has to tell his children that he is going on the road for a while, but he will do all he can to chat with them every day. Flender manages to capture a rare glimpse into the softer side of Conan, and the audience really feels how much this funny man loves his family.  And, while he feels the need to tour, it doesn’t mean he won’t miss his wife and kids.  It was something that I always assumed was the case, but seeing it first-hand had an amazing impact on me, and it only served to strengthen my admiration for him and seal my place as one of his followers.

While it is no secret that a lot of work goes into these tours, the film does a great job of showcasing that as we follow Conan and see how much he personally puts into each show every night. A person never goes without an autograph when asked, and he even has V.I.P. meet and greets at EVERY one of his shows. Conan gives back to his fans, and you can tell that it isn’t because there is a film crew present, it’s because he appreciates the support. Yet, as the tour continues on, Conan grows more and more frustrated and tired. He still does what he can to appease his flock, but it takes a toll on his body and it really comes across in this documentary.

The tour winds down, and Conan still does all he can to make his fans happy. His performance at the Bonaroo Music Festival in Tennessee becomes more than just putting on a show, as he is booked to start introducing performers, which leads to one of the more humorous goings on in the movie. The tour finally wraps up, and there is a lot of talk about how much fun it was regardless of the physical tolls paid.

Conan O’Brien truly can’t stop! This film brilliantly shows how much he loves to entertain and how it’s become the only thing he knows how to do anymore. The time he spends on the road and everything that is documented in the movie really shows that Conan cares about everyone around him.  His audience is the real reason he continues to do what he has done for the past 26 years now, and I hope he has at least that many years ahead of him.

I was fortunate enough to see this at the Peoria Theater, and I openly support local independent theaters. Places like the Peoria Theater, easily found at www.peoriatheater.com, show independent and foreign films that most times get overlooked. If you want to see young directors and movies that you will hear about later; get out and support your local independent theater while you can. . . let’s keep the screens dreaming.

You can get to the official site and see if any theaters are lucky enough to be showing this right now in your area, just click on Conan’s mug above.  I highly recommend you see this film; even Conan detractors will find it hard to dislike him after this backstage pass into the Conan O’Brien machine.

Swift shot: This one isn’t for the really young’uns – mature themes throughout, and I counted five deaths and one rather vicious torture scene leading to the demise of Bruce Campbell – that dude is everywhere!  Cars 2 is not a toddler friendly film, it is a spy thriller played out with cars.  It was incredibly ingenious, mind you, with spectacular style and beyond-comparison cinematography.  The grandiose feeling never got old, but what cost this a perfect five stars was that many of the Tow Mater jokes just didn’t cross the finish line.  McQueen’s story takes second place to Mater’s big international adventure.

The film flashes on screen with a top secret message to one Finn McMissile (Michael Caine) to rendezvous with his contact in the middle of the Pacific Ocean.  From the first shots in the sea, the detail (in Disney 3D) was near impossible to believe – and sets the pace for the rest of the film.  These guys really spent some loving quality care to ensure the digital world was as real as possible.  Much like a James Bond film, Finn’s first encounter with the bad-guys is over-the-top as he uses all manner of devices to escape his demise.  And, as mentioned above, at least one death happens in the opening scene.  Words like death and kill were used with stark frankness, I hardly remembered this wasn’t Daniel Craig at times.  In short, there was violence and cars died.

A famous thrill-seeking billionaire, Sir Miles Axelrod (Eddie Izzard) has found a natural alternative to oil, called Allinol and wants to showcase his discovery to the world with a series of races across the globe – the World Grand Prix.  Back in Radiator Springs, Tow Mater is vying for time with McQueen who is back in town, briefly, and it seems he never took Tow Mater to any of his Piston Cup races.  More on that later.  Mater manages to get McQueen involved in the World Grand Prix, but being Mater, he manages to get himself in trouble at the first location, Tokyo.

There, Mater (Larry the Cable Guy) meets both Finn and his partner, Holley Shiftwell (Emily Mortimer) as a desperate American agent stows vital intelligence with Mater.  But, Mater keeps doing really stupid crap that starts to grate on McQueen (Owen Wilson).  When Mater costs McQueen one of the races though, he finally lays into his friend about always causing trouble.  He explains that’s why he never wanted him there at any of his Piston Cup races.  Mater, though devastated, hardly has the time to think as he is swept into a whirlwind spy thriller.  Very similar to “The Man Who Knew Too Little” or “The Man With One Red Shoe”, his British cohorts are convinced his stupidity is just a brilliant cover.

You have to pay attention while watching this film.  I know a lot of parents are expecting to take their kids to this and think they can shut off their mental engines and just enjoy the film – not so.  Your kid will not get the subtle, mature-themed intrigue – so get ready to do a lot of explaining, which will no doubt piss your neighbors off in the theater.  But, don’t worry, I imagine a steady chorus of kids pestering their parents about why Mater is shooting bullets or has to defuse a bomb.  It’s an interesting statement of the times I think, as we are in three theaters of combat as I write this review.  Maybe I am just old-fashioned, but I expect a tamer, kid-friendly experience when I see a Disney film.  Not sure how Walt would have felt about this one.  Still, the film was highly entertaining!

This film doesn’t come close to a “G” rating.  Sure, there is a moral message squeezed into the spy-thriller story as well, where McQueen reminds himself that he loves Mater because of his care-free, albeit foolish attitude . . . and at the end he encourages Mater to just be himself.

It was a lot of fun and the level of detail throughout was professional as you would expect from the Pixar team – and even the “Toy Story, Hawaiian Vacation” didn’t cut corners in production.  This is a film you should probably check out in theaters, much like “Super 8″, it deserves a vast screen so your eyes can take in all the fine points.  One thing I know for sure, this film will require several screenings to completely capture all the subtle nuances that add to the capacity to really immerse yourself in a completely fictional world, where there are no humans, just motor-craft.  Made me wonder, after seeing this movie, what might a Rick Swift car look like?  Heck, I wager you will be asking yourselves the same question.

You know his name. You know his number.

[ Rick Swift disclaimer - one of our old writers really was a pompous "critic type" - he's been shown the door, so I asked H-Man to replace his review - a review he didn't even sign I might add.  So you tell me, who got it right? ]

The H-Bomb: Back before “Casino Royale” was released in 2006, I was pretty much done with James Bond. I had been a fan of 007 since I was about 007 years old, but over the course of the Pierce Brosnan films, my interest in the series started to wane. Yes, Brosnan seemed like an ideal Bond, but let’s face it, his films (“Goldeneye” aside) were truly mediocre at best. After Pierce’s final outing, the campy crapfest that had him driving around an ice palace in an invisible car, dodging space lasers and Super Nintendo quality CGI, I had pretty much given up all hope for this series.

Then “Casino Royale” came along, and after its two and a half hours of ass kicking awesomeness, my faith was restored. Excising much of the silliness of the more recent films, it was darker, grittier, with a strong story based on Ian Fleming‘s first Bond novel, and a believably menacing, yet surprisingly human new Bond in the form of Daniel Craig. This was the James Bond film I had been wanting for years, and it did not disappoint. I was completely jazzed by the time the credits rolled on this baby, and I couldn’t wait to see it again. It instantly became my favorite Bond movie of all time. That was how I felt back in November of 2006. Now the question is, does it hold up some 4 ½ years later? Straight up answer: yes, it does.

The film, unlike other Fleming Bond adaptations, actually follows the plot of the book pretty closely, though granted, the story has been updated from the Cold War era to the post-9/11 world. Being that this is a reboot of the series, the film starts off with James Bond as a newly minted 00-Agent. It’s important to bear in mind that this is the beginning of 007’s career, because the James Bond on display here is often hotheaded, reckless, and at times overly cocky. His boss M (Judi Dench) considers him “a blunt instrument” and constantly frets over his bull-in-a-china-shop methods, but she can’t deny his effectiveness.

The story starts out with Bond tracking the source of funding of a vast terrorist group. A couple of chase scenes and a few dead bodies later, Bond finds himself on the trail a rather shady fellow known only as Le Chiffre (Mads Mikkelsen). Le Chiffre acts as sort of a banker/money launderer for many terrorists the world over. However, unbeknownst to his clients, he has been playing the stock market with their money. After a major bet of his goes south, thanks to Bond, Le Chiffre is forced into a high stakes poker game in order to recoup the lost money so his “clients” won’t replace it with his blood. Unfortunately for him, James Bond happens to be the best poker player working for MI6, and he aims to clean Le Chiffre out so he’ll have no choice but to seek asylum and cough up any information he has on the terrorist network.

Since Bond is not fully trusted by the upper management, they send an accountant from the Treasury, a lovely young lady named Vesper Lynd (Eva Green), along to more or less keep tabs on Bond. Their relationship starts out strained, but eventually a mutual respect and attraction forms between them. This is about as far as I can go without crapping out spoilers (for the ten of you who haven‘t seen the movie at this late date), so I’ll sum it up with these questions: Can Bond keep his cool and beat Le Chiffre at his own game? Does Le Chiffre, literally or figuratively, have any tricks up his sleeve? Can Bond trust those around him? And, last but not least, how many hits with a thick, knotted rope can his testicles take?

Now, like I said earlier, having recently re-watched “Casino Royale”, I think it’s still pretty much as badass now as it was back in ‘06. Not only is this my favorite Bond film, it’s high up on my list of favorite action movies of all time. This is the first 007 adventure to come along in ages that felt fresh and energized and that wasn’t just going through the motions with generic villains planning generic, take over the world schemes.

The action scenes, from the amazingly staged Parkour chase, to the brutal, dirty stairwell fight, had a visceral feeling that the action from past movies didn’t have. They’re violent (by PG-13 standards), ugly, and genuinely exciting in a way that they have never been. It also helps that these scenes, unlike other modern action flicks, were shot and edited in a way that we, the audience, could actually tell what the hell was going on, instead of relying on shaky cam and super quick editing (if only “Quantum of Solace” had done the same).

Another thing I like is the real suspense that the film manages to build throughout. It would seem impossible to have suspense in a Bond movie, since we know that Bond won’t die. But this film figures a way around this. Yes, Bond won’t die, but, unlike in the past, this is a Bond who is not an indestructible superhero. This is a Bond who sweats, bleeds, makes mistakes, and could potentially fail a mission.

To me, this is what sets Daniel Craig apart from the other Bonds, aside from his blond hair. He has a human quality that the others lacked. He is one tough motherfucker, but there’s also a vulnerability to him. As his relationship with Vesper develops, we find that there is a heart under the muscular exterior… a heart that can be broken. His Bond also doesn’t make jokey quips after killing someone. He is all business and no bullshit when it comes to this aspect of his work, as demonstrated when, after a particularly messy kill, he runs straight to a bottle of bourbon to calm his nerves.

What also makes this one stand out from the rest is that there is no Moneypenny for him to banter with, and no Q giving him any high-tech gizmos to get him through a mission. Some fans have bitched about this, but I’m glad they’re not there. The scenes with Moneypenny just wasted screen time in the later films, and I prefer Bond having to use his brains to get out of a jam, rather than relying on some Sci-Fi what-have-you from Q branch. I also like that they held off on using the famous Bond theme music, saving it for the very end after Bond utters his legendary introductory line. It made me appreciate it all the more.

Many people pitched a fit when Craig was initially cast, but I was not one of them, and now I sit back and smile at how vindicated I feel. He truly makes this iconic character his own, and I can’t get enough of his two-fisted take on the role. I take one look at his intense, blue eyed stare, and I have zero doubt that this guy is a trained killer who could seriously fuck people up. I would definitely not want to get on his bad side.

Craig’s Bond is matched perfectly by Eva Green’s Vesper. She has a mysterious, almost ethereal air to her, and she plays the role with both heart and intelligence. She is far more interesting than the average Bond Girl, and when the two characters fall for each other, I believe it, despite the fact that Green is given a truly awful line of dialogue to deliver at one point during their romance (Hint: It has to do with smiles and little fingers). Overall, Vesper is a very welcome break from the many vapid women that 007 has bedded over the years.

Mads Mikkelsen is terrifically slimy as Le Chiffre, a cowardly little weasel with a bleeding eye whose goal is not world domination, but simply to save his own bacon. He’s not the cackling, over-the-top megalomaniac that we’ve come to expect from this series, and I love him for it. Jeffrey Wright has a few great moments as Bond’s CIA ally Felix Leiter, I just wish he was given more to do, and Judi Dench makes a welcome return as Bond’s boss, M. The scenes where she goes toe-to-toe with Craig are dynamic, and she gives bar none her best performance as this character.

Director Martin Campbell, who helmed Brosnan’s debut, “Goldeneye”, completely tops himself here. He gives the film a classy, sophisticated look that recalls the early Connery films. Not only does he manage to make the lengthy poker scenes not boring, but actually wrings some real tension out of them. And did I mention that his handling of the action scenes is absolutely amazing. And if it was his idea to tweak the iconic gun barrel shot in the ingenious way that it has been tweaked, then bravo!

Is there anything for me to whine about? Sure. I could complain about how most of the movie’s action is loaded into the first act, and that it takes a little too long for the actual story to get going, and that the theme song by Chris Cornell kind of sucks… but I won’t. Those things don’t take away from my enjoyment of the film at all. “Casino Royale” is the defibrillator shock to the heart that this aging franchise desperately needed, and it made me into a 007 fan all over again. I’m really intrigued by the direction the series is taking with Craig, and all I have left to say is, bring on Bond 23 already!

Limacher Low Down: Source Code is a well told story full of WHAT THE F^!K moments that will keep you on the edge of your seat trying to figure out not only what happens next, but also what just happened! I rarely find myself sitting in a movie not questioning the reality of what is going on, but also to be so drawn into what is going on that makes every scene more intense and fulfilling than the last. Rest assured that this movie packs more punch in a PG-13 rating than many of its R Rated counterparts in this day. If you want to go for a ride that as soon as the credits roll, you’re ready to go again; then I suggest you enter the Source Code.

Source Code is an intriguing story which takes a soldier and uses him to enter the mind of someone else. Colter Stevens (Jake Gyllenhaal) is the first person to test a unique and new system of doing this very science called “the Source Code”. He is asked to have his mind “transported” into the body of a passenger on a train that has been blown up outside of Chicago, which is an apparent terrorist attack. Colter has eight minutes to seek and find the person or persons responsible for the attack, and do what he can to thwart the attempt.

Colter has distorted visual and audio contact with the people overseeing the project, Colleen Goodwin (Vera Farmiga) and Dr. Rutledge (Jeffrey Wright). These two are the only contact he has to give him the greater understanding of his mission, and to also fill him in on any possible background information. He observes everything that happens around him and starts looking for suspicious people any way he can. The only person who knows the person he is in the body of on the train is Christina Warren (Michelle Monaghan), whom Colter starts to feel closer to each time he enters the train once again.

Colter has multiple attempts to figure out who might be the terrorist or terrorists and has difficulty pin-pointing the culprit. The only fortunate thing for him is that people don’t remember what he did the last time before his time “ended”. Colter, working against the clock, and with the help of Colleen and Dr. Rutledge, starts to get more information about how to make the mission successful. While trying to figure out who may be behind the attack, he also attempts to figure out why he was chosen to be the first person to attempt this new science. This doesn’t skew away from the plot, in fact it adds a whole new dimension of holy shit!

The closer Colter comes at times, the further he gets away from something else which makes this more than just a mission for him, but a set of missions that he only has eight minutes at a time to piece together. Every piece of the puzzle that is this movie fits together nicely, and right when you think you may know what is going on, you realize DAMMIT I was wrong AGAIN! The movie does an excellent job of telling a unique story of vision and heroics, while also having something for everyone to enjoy. Well timed humor, drama, and more explosions than Michael Bay would employ makes Source Code not only a movie, but an unforgettable experience!

Unlike Halloween and Christmas, there aren’t many movies about Easter.  Well hold on to your bunny ears ladies and gentlemen, because here comes “Hop”!!

The Easter Bunny (voiced by Hugh Laurie) is about to retire.  His son E.B. (voiced by Russell Brand) is set to take over.  However, E.B. has no desire to take over for his father.  See, E.B. has a dream…he wants to be a drummer!!  He practices drumming in his room on Easter Island, which is where Easter treats are made (think of it like Santa’s toy shop, only instead of toys, there is candy, and instead of elves, there are chicks.  They even have a flying sleigh, pulled by chicks!!).

To follow his dream, E.B. runs away from Easter Island and straight to Hollywood.  His first stop??  After consulting his Map to the Stars and Crime Scenes, he heads for the Playboy Mansion (bunnies, get it??).  Unfortunately, he’s not allowed past the gates, and he begins to get a little discouraged.

Now, let’s meet Fred O’Hare (James Marsden).  Fred is unemployed and living back at his family’s house.  His parents (Gary Cole and Elizabeth Perkins) and sisters Sam (Kaley Cuoco) and Alex (Tiffany Espensen) (who claims that she was adopted by Fred’s parents because Fred was such a disappointment) stage an intervention, where they tell Fred he has to get a job and his own apartment.  Fred is depressed and leaves to go sleep in his car.  Sam takes pity on him, and offers him the keys to the house where she is supposed to house-sit, because she is afraid of the big dogs that live there.  She also gives him a lead on a possible job.  So Fred heads to the house, oh excuse me, ginormous mansion.  Once he gets on the property though, he accidentally hits a bunny with his car.  Guess who that might be??  Yes, E.B.!!

After the unfortunate bunny-hitting incident, Fred flashes back to when he was younger, when he saw the Easter Bunny delivering Easter baskets and chocolates to his house.  That’s when he realizes, the Easter Bunny is real, and this is him!!  Once E.B. shares his dream with Fred, Fred agrees to help E.B. audition for a talent show.

Meanwhile, back at the ranch, Carlos (voiced by Hank Azaria) is the Easter Bunny’s most trusted advisor.  However, he is tired of bunnies ruling Easter.  He plots to overthrow the Easter Bunny and hopes that E.B. never comes back.  Then the world will meet The Easter Chick!!  Unaware of the treachery, the Easter Bunny has dispatched the Pink Berets, a trio of fierce (mostly, two were fierce, one was a little slow) female bunnies tasked with finding E.B..  They have lots of fancy gadgets and mad ninja skills.

Will Easter be saved??  Will E.B. return to Easter Island??  Will Fred ever make his parents proud??  Go see “Hop” and find out!!!

One thing I did notice that I found strange was that nobody (except for Fred) found a talking bunny unusual.  But hey, they WERE in Hollywood.
I was pleased that not all of the funny parts of “Hop” were in the previews.  I was also glad that it escaped the dreaded current “Everything Must Be in 3-D” fad.  The animation was seamlessly blended with the live-action, and the story was well-written and flowed well.  For the “Despicable Me” fans, minions do make a brief appearance.  Also, don’t leave when the credits begin to roll because there is a scene after the credits.
“Hop” is a great family flick, appropriate for the kids with enough humor, pop culture references and cameo appearances for the grown-ups (or those masquerading as grown-ups).  A very funny, egg-cellent movie.

It’s no “Raging Bull”, but it does pack a punch.

The H-Bomb: After watching “The Fighter”, I can now proudly say that I have seen five of this past year’s Best Picture Nominees, the other four being “127 Hours”, “Black Swan”, “The Social Network”, and “Inception” (still haven’t checked out the big winner, “The King’s Speech” yet, sorry). And out of those five, I believe that every single one most definitely deserved to be on that list, with “The Fighter” deserving a spot high up on the list.

The story revolves around Micky Ward and Dicky Eklund (Mark Wahlberg and Christian Bale), two half-brothers in Lowell, Massachusetts. Dicky is a washed up, has been boxer turned crackhead who’s big claim to fame is that he once knocked down Sugar Ray Leonard, though whether or not it was a legit knock down is up for debate. In the early parts of the film, he’s being followed around by a documentary crew from HBO as they make what he believes is a film about his comeback, when in reality what they’re making is an up close and personal portrait of a drug addict.

Dicky also ostensibly works as trainer for his younger brother, struggling up and comer Micky. However, when it comes time to train, Dicky is usually too busy getting his fix at the friendly neighborhood crack-house. Micky’s career has stalled lately, as he’s gained a reputation for being a “stepping stone,” a chump fighter who other boxers take on because they figure he’s an easy win and a way to move on to bigger and better fights. Matters are not helped when Micky lets his brother and mother, Alice (Melissa Leo), a domineering, hard-as-nails broad who acts as his manager, talk him into taking a fight at the last minute with a guy who’s twenty pounds heavier than him.

Goes without saying that Micky’s career is shaping up to be even less impressive than Dicky’s. Then Micky meets a woman, a tough bartender named Charlene (Amy Adams), who helps convince Micky that his family (mother and brother, specifically), aren’t necessarily the best ones to manage his career. When Dicky is sent away to do a stretch in prison, Micky comes under new management and actually starts to win a few fights. He then gets his shot at a title bout in London, but he runs the risk of alienating his family forever. He does care about them, but he recognizes that they’ve done his career more harm than good.

“The Fighter” is a few genres in one. It’s part boxing movie, part family drama, and part underdog film, and it succeeds with flying colors as all three. It, being based on a true story (the most over-used words in Hollywood), is authentic, moving, and inspiring. It’s the kind of film that’s been made before, but much like “The Blind Side”, I thought it worked so well that it didn’t really matter to me. Yeah, it’s no big surprise who’s going to win the climatic title fight, but it’s so satisfying when the inevitable conclusion does happen, that I didn’t mind.

What makes this movie a cut above others of its ilk is the authenticity of its look and feel, as well as the actors. Everybody gives it their all and then some in front of the camera. Wahlberg is as good as he’s ever been as a boxer who dreams of winning a title, but who also loves and wants to do right by his family. He’s a stellar lead, but regrettably he is out shined by Bale, who is simply incredible in the much showier role of Dicky. Once again drastically altering his physicality and his voice, Bale plays that kind of almost hopelessly deluded, broken down substance abuser who only lives through drugs and past glories to perfection. He really puts everything he’s got into this role, making Dicky equally pathetic and sympathetic, and delivers what in my humble opinion is his best performance to date, which is saying a lot.

The other standout is Leo, who makes the mother of these two fighters one of the fiercest matriarch’s ever put on film. Not only is she practically unrecognizable, her Alice is fiery, ferocious, and could shout down (and possibly beat down) just about anyone who would be stupid enough to try and get in her face. She’s iron willed and self-serving to a fault, but the film remembers that she too is human, and ultimately wants what’s best for her sons. Leo and Bale both took home Oscars for their work, and both awards are richly deserved. Their turns alone make the movie worth watching.

Adams is also strong as Micky’s love interest, Charlene, who is the only character with the testicles to effectively stand up to Alice, and to motivate Micky to rethink his career strategy. She offers the perfect balance of strength, brains, and warmth, and she can add this to her long list of stellar performances (this officially erases her annoying, crybaby turn in “Julie & Julia”).

Director David O. Russell, who in the past gave us the stylized war film “Three Kings” and the off-puttingly odd “I (heart) Huckabee’s”, brings us his most straightforward and sincere film to date. He sidesteps his usual visual tricks and quirkiness in order to just let the story tell itself. The character relationships and the drama are believable, and Russell’s handling of the boxing scenes are masterful. I could almost feel those killer punches to the liver that Micky socks his opponents with throughout the film.

Sadly, I do have to deduct a point from this fighter for playing out in such a foreseeable way at the end, but, predictability aside, I give it half a point back for delivering an emotionally satisfying conclusion without feeling forced or turning sappy on our asses. Though I hear that Russell and Wahlberg are already mapping out a sequel… erm… yeah, don’t know how I feel about that, yet.

In terms of boxing movies, “The Fighter” doesn’t quite contend with “Raging Bull” (Greatest… Boxing Film… Ever!) or the original “Rocky”, but it is far superior to that nauseatingly over-rated pile of fertilizer, “Million Dollar Baby”. It most certainly is one of the best films to come out last year, and if you missed it in theaters, then now is the time for you to right that wrong.

We’d like to thank guest writer, Alyn Darnay of Chaos Films for sharing this review for our readers. -Swift

Directed by: Mike Leigh (‘Happy-Go-Lucky,’ ‘Secrets & Lies,’‘Vera Drake’)
Starring: Jim Broadbent (Tom), Ruth Sheen (Gerri), Lesley Manville (Mary)

Something there is about the English and their gardens, how they tend them, take their time with them, care for them, cherish them, bring warmth and joy to them, even staying with them when the weather turns nasty. And so to is it with Mike Leigh’s latest ensemble piece “Another Year.” Here the talented 67-year old director again brings us a statement about the human condition in the form of a happily married 60something couple who act as protective gardeners for a variety of their world tortured friends. As a film, “Another Year” is a slow paced slice of life, slightly ironic, very sweet, with thoroughly engaging characters, a strangely realistic story, and exceptional acting performances by all.

Over the course of one year, introduced through seasonal gardening as our guide to time passage, we meet an easygoing London couple (Jim Broadbent and Ruth Sheen) who are enjoying their fifth decade together. He’s a working geologist and she’s a therapist for the National Health. They live a quiet life on a quiet street somewhere in a quiet London suburb. They’re still very happy together and enjoy many shared interests, none the least of which is to socialize with friends and family, mostly over lunch, dinner or the frequent bottle of wine at the kitchen table.

Basically, the story is about the problems raging around the friends of this loving couple and how they are unaffected by it as they provide comfort and support to all these lost and lonely souls who’ve entered their life. I was however left wondering if they were really as warm as they appeared, or if they actually drew satisfaction about their own lives through the trials and tribulations of those around them. That’s the beauty of this movie; it’s so close to reality that you as an audience are left with decisions about the characters in the same way you are in life.

The standout performance, in an ensemble of standout performances, is that of Lesley Manville, a 54 year old veteran of Leigh’s films and the British Theatre, who jumps to center stage with an award worthy performance. Her character, Mary, is an attractive but desperately neurotic female, constantly conjuring up romances in her head and then drowning herself in copious amounts of wine when they fail to present themselves. It’s Manville’s brilliant performance that raises the bar in this film, she literally takes over the screen and turns Mary into a true tragic character that we as an audience just want to shake and say,  “Come to your senses girl!”

The film’s screenplay has received an Oscar nomination for Leigh’s compelling script, and deservedly so, it tells a universal story in a most unique way. Granted, the film could be a little shorter, but “Another Year” will slowly grow on you, that’s Leigh’s style, well mannered and English, but the journey is worth your time. I liked the film very much.