Solid romantic dramas are precious these days. Few and far between, like something on the verge of extinction. Rarity like that breeds cynicism, especially when the merits of a “solid romantic drama” are decided by some of the most cynical people in the entire world – movie critics.

So it is that despite the middling reviews and unnecessarily cult-like Robert Pattinson fandom, Remember Me, directed by the very capable Allen Coulter (Hollywoodland), is a simple, well-made love story about two young, tortured souls and the families that torture them.

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CJ Entertainment | South Korea | 128 mins

[reposted from Hawaii International Film Festival]

The mother is the origin of all life in this world. The single point of love, passion and life from which all things can be traced back to. Our gatekeepers, guardians and guides throughout life, the mother is there whether we want them to be or not. They stand by their children regardless of fallacy or folly ready to fight to the death for the sparks of life they ushered into this existence. Bong Joon-Ho paints the story of a widowed mother and her emotionally and intelligently inept child with vivacious fervor and visceral emotion that solidly displays the immutable bond of a mother and child. How far will a mother go for the protection of her child? What sins can be committed to guard her child from harm? Bong Joon-Ho pushes the audience to the edge of this question. Read the full story

Green Zone isn’t entirely what most people are expecting. It’s not Bourne 4, as people joke, and it’s not non-stop action. Is there action? Absolutely, and it’s handled masterfully in the way you’d expect from a pro like Paul Greengrass. In the end though, this isn’t an action movie. It’s a sharp, smart and very effective conspiracy thriller.

To get this out of the way early on, there’s one major flaw that holds Green Zone back from being a truly great film. At times, it’s quite heavy handed and loses sight of subtlety when it needs it the most. While it’s not scene after scene of pandering, there’s still a handful of moments that hit you over the head. There’s a specific moment towards the end that displays this. Without spoiling much, it involves someone getting shot and the shooter explaining himself. You know why the person did it, the meaning behind it and yet Greengrass goes on to let him explain why. Scenes similar to that are scarce, but are at times quite bothersome. That said, everything else about this film is top notch.

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A film featuring Johnny Depp and a story full of surreal imagery should have been a home run for Tim Burton. This is the man who made Edward Scissorhands, Big Fish, Sweeney Todd and even Batman. It’s a wonder how someone as visually impressive and original as Burton could deliver something so utterly generic. On paper Alice in Wonderland sounds like gangbusters, but instead it’s a hollow and meandering run-of-the-mill adventure film. Read the full story

Years ago, director Antoine Fuqua showed great promise with the truly excellent Training  Day. Over the past few years he’s been unable to live up to that bart set with King Arthur, Tears of the Sun, and the even the decent B-movie Shooter. While most of those films suffered from studio interference, they still didn’t serve as the best follow-ups. Does Brooklyn’s Finest? For the most part, yes.

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The Ghost Writer is Roman Polanski’s slick new political thriller, and it’s a bit too slick for its own good. It has a premise and feel to it that is rightfully intriguing and, to the film’s credit, answers all of our questions by the end. But it’s told in such a cold and distant way that the characters simply seem like Polanski’s puppets rather than actual human beings. Sympathy towards the film’s main characters is virtually nonexistent, and the two-hour-plus running time doesn’t help its cause either. Read the full story

Who doesn’t like Kevin Smith? He’s a good writer and even a solid director. For years he’s continued to deliver a heap of solid work, Clerks and Chasing Amy being his best. Where does Cop Out rank amongst his body of work? Not too high. It may not come close his best work, but this is still an enjoyable parody that pokes fun at 80’s cliches and conventions. Read the full story

George A. Romero’s original The Crazies is no classic. In fact, it doesn’t even come near a good amount of his work. How does Breck Eisner’s remake compare? Quite favorably. The 1973 film was a strict B-movie. This remake rises above that standard.  Read the full story

Remember Cape Fear? Where Scorsese bombarded and frightened us with surreal images and a more-than-unsettling atmosphere? Shutter Island represents that side of Scorsese. It’s quite possibly his most tense film yet. While it’s difficult to label it as “scary”, it certainly knows how to make one feel consistently uneasy. This is a wonderfully crafted psychological horror film. Read the full story

Never say Martin Scorsese wasn’t willing to try something new. Much like Spielberg or Coppola, the auteur jumps at the opportunity to tackle subject matter not immediate to the modus operandi that developed his reputation: tough-talking New York City Italians with a penchant for violence.

So it is with Shutter Island, the closest thing we’ll get to a Hitchcock film these days: a fresh experiment in fear and psychoanalysis. And not an Italian in sight. But violence personified.

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