2009: An amazing year for sci-fi and fantasy, led by "District 9"

It seems as though my best movies of the year so far list was pre-mature. Today I saw "District 9," which undoubtedly deserves a spot on that list. But before I move on to my review of "District 9" and my revised list of the top 5 best movies of the year so far, it's worth noting what an incredible year 2009 is for sci-fi and fantasy films.

The genre got off to a great start in March with "Watchmen." Although the film certainly had its flaws, Zack Snyder probably gave us the best adaptation of Alan Moore's complex graphic novel anyone could hope for. Things got even better for sci-fi in May with J.J. Abrams' "Star Trek" reboot, which made a killing at the box office and received rave reviews. And July's "Harry Potter and the Half-Blood Prince" is considered by many to be the best of the franchise. I certainly think that cinematically, it stands out above the rest.

Now we have "District 9," a fresh take on the genre that is already earning raves from critics and audiences in its opening weekend. And if the early buzz from Comic-Con holds true, "Where the Wild Things Are" and "Avatar" will continue this trend of high-quality sci-fi and fantasy films in 2009.

But on to my thoughts about "District 9." I've been looking forward to this movie ever since I was first exposed to its brilliant viral marketing campaign, but I was absolutely astounded by this film. It far surpassed my highest expectations. When the movie ended, a few people at my Saturday afternoon showing clapped, and I was so stunned I couldn't get up until several minutes into the credits.

"District 9," an expansion of director Neill Blomkamp's 2005 short "Alive in Joburg," focuses on a group of aliens whose ship mysteriously stopped over Johannesburg, South Africa, more than 20 years earlier. The aliens have since been confined to slums in what has been dubbed District 9. Control of District 9 has been overseen by Multi-National United since the aliens first arrived. But when MNU field worker Wikus Van de Merwe (Sharlto Copley) is exposed to the aliens' biotechnology, his life begins to take a different course, leading to some dramatic changes inside District 9.

Newcomer Blomkamp combines more traditional sci-fi storytelling with a faux-documentary style that makes the story seem much more real. His direction is seamless, and he clearly made the most of his $30 million budget, a small figure for a summer action film. The CGI is spectacular, especially for a film with such a small budget. The aliens look so lifelike and are so expressive that they become relatable characters.

The story is also rife with commentary about discrimination and apartheid, but it never feels forced or overbearing. It also says a great deal about how people deal with the things they fear or don't understand. Some scenes are downright brutal and hard to watch because they are so plausible, albeit set against a sci-fi backdrop.

Setting a sci-fi film in a Johannesburg slum is such an original spin on the genre, and the social commentary it provides integrates beautifully with the movie's intense and suspense-filled action sequences. A summer action film with this much depth is a rare creation.

The film features only unknown actors, and I think it benefits from this. Newcomer Copley turns in a phenomenal performance as Wikus, growing flawlessly from a somewhat naive MNU worker who is in over his head to an unlikely hero. Copley and Blomkamp, who had virtually no experience before this movie, certainly have long careers ahead of them now, especially with Peter Jackson behind them.

Everything about this film - directing, acting, writing, special effects, marketing - is simply brilliant. Any film lover should not end 2009 without seeing "District 9." A

So now that I've seen "District 9," my list of the top 5 best movies of the year so far is as follows:

1. The Hurt Locker
2. District 9
3. Star Trek
4. (500) Days of Summer
5. Up



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The best movies of the year so far

Most of the likely Oscar contenders haven't even been released yet, but there have already been several amazing films this year that should continue to resonate with audiences and critics alike as the year goes on. Here's a look at five of the best movies of the year so far. (A few honorable mentions are "Adventureland," "The Hangover," "Watchmen" and "I Love You, Man.")

5. Up
It comes as no surprise that Pixar has done it again. Part of the reason the Academy decided to honor 10 best picture nominees this year instead of the traditional five is probably because of all the backlash they received last year for not giving "WALL-E" a best picture nomination. While not quite the masterpiece "WALL-E" was, "Up" comes very close to that level of excellence.

Most of the trailers made it look like more of a kids' comedy, but it's so much more. The characters, from distant and heartbroken Carl to wide-eyed Russell to lovable Dug, are all well-developed. Even though "Up" is heavily based in fantasy, every character, even Dug the talking dog, feels real.

The film's opening montage is one of the best I've ever seen, with its ability to tell Carl and Ellie's entire love story in a span of mere minutes with no dialogue. Pixar has always had the ability to weave its storytelling with laughter, tears and an incredible amount of heart, and "Up" is no exception.

4. Harry Potter and the Half-Blood Prince
The penultimate installment in this successful franchise has received some backlash from fans who were disappointed that some significant scenes from the book were cut. But what makes a great book does not necessarily make a great movie, something director David Yates clearly knows.

No, the battle from the end of the book is not present, with the scene instead focusing on the connection between Harry and Dumbledore at a critical point in the film. No, Dumbledore's funeral is not included, while in its place is a more intimate scene in which the trio sever their ties as Hogwarts students and face the dangerous task at hand.

The book "Half-Blood Prince" serves mostly as a bridge between Voldemort's return at the end of the fifth book and Harry's battle to defeat him in the seventh. Yates makes a bold choice in downplaying the action in the film, but what results is an intimate character drama in which we get to know these characters who we've watched for six films on a much deeper level at this crucial turning point in their lives.

The acting, the storytelling, the directing and the visual effects are all a step up from the previous films. Cinematographer Bruno Delbonnel, of "Amelie" and "Across the Universe," creates some truly visually stunning shots, particularly the cave sequence toward the end of the film. "Half-Blood Prince" may even best Alfonso Cuaron's masterful "Prisoner of Azkaban." All of the "Potter" movies have been great adaptations. This one is a great film.

3. (500) Days of Summer
In a season of stale blockbusters like "Transformers: Revenge of the Fallen" and "GI Joe," what could be more refreshing than this unique Sundance charmer from newcomer director Marc Webb? We are told from the beginning that this is not a love story. Rather than feeling the need to satisfy the Hollywood cliche of the good guy always getting the girl, "(500) Days of Summer" recognizes that even the relationships that don't work out can still be significant relationships that make a lasting impact.

The film takes a number of risks in its storytelling. The story is non-linear, jumping back forth from Tom and Summer's relationship to how Tom deals with their break-up. There are animated sequences and even a musical number that reflect Tom's changing feelings toward Summer, first elation after their first night together and later despair following their break-up. At times a split-screen is even used to show viewers what Tom is fantasizing and what is actually happening. The soundtrack is also expertly crafted, serving as an emotional backdrop to the story.

Indie darlings Joseph Gordon-Levitt and Zooey Deschanel, two of the most underrated actors in the business, turn in brilliant performances. Each character has their own motivations and desires, and nothing about their relationship is black and white. Neither is the good guy or the bad guy. The film's original and offbeat approach to storytelling has a strong element of fantasy, but "(500) Days of Summer" presents a very realistic portrayal of the relationship between a guy and girl who, though they both have the best intentions, just aren't meant to be.

2. Star Trek
Speaking of "Transformers" and "GI Joe," films that are more special effects than plot and care little about anything but action, "Star Trek" does the exact opposite. It takes the action genre and turns it on its head. J.J. Abrams, known mostly as a producer of shows like "Lost" or movies like "Cloverfield," proves his ability as a director with this film.

Rather than making just another action movie, Abrams combines well-rounded characters, a very complex plot, eye-popping visuals and intense action sequences to create a film that serves both as a crowd-pleasing blockbuster and critically acclaimed cinematic wonder.

When the "Star Trek" logo fades onto the screen after the film's action-packed opening sequence, loud, commanding music playing behind it, my heart was pounding. As someone who has never cared for "Star Trek" in the past, I was surprised at how even the opener took my breath away. That's part of what makes "Star Trek" such a great film. It appeals to new fans and hardcore trekkies alike, serving both as an homage to the original while simultaneously creating a new universe full of exciting possibilities.

Abrams also made a good call in casting mostly unknown actors. Rather than going for big names that would guarantee big crowds, Abrams cast actors that best fit the characters and are able to embody their wit, their fear and their bravery. Chris Pine, Zachary Quinto and Zoe Saldana should all have huge career boosts thanks to this film, and I can't wait to see what the team behind this film does with the next installment of what is sure to be a powerhouse franchise.

1. The Hurt Locker
If this little movie that could fails to secure a best picture nomination at next year's Oscars, then the Academy's new 10-nominee system clearly doesn't work. This Iraq-war drama started making the film festival circuit last fall and came out of nowhere this summer as a critical juggernaut.

Masterfully directed by Kathryn Bigelow from a script by Mark Boal, "The Hurt Locker's" premise is simple yet intricate at the same time. The film isn't plot driven, simply following the last few weeks of a bomb squad's rotation in Iraq. But the whirlwind of emotions the three squad members experience about being in Iraq, the overwhelming pressure that comes from a job that means life or death and the constant fear that no matter what one is doing, one is never safe prove being an American solider in Iraq is infinitely more complex than the film's one-line description.

Relative unknowns Jeremy Renner and Anthony Mackie absolutely shine as Staff Sergeant James and Sergeant Sanborn, both undoubtedly deserving Oscar nominations for the nuanced performances. And in smaller, almost cameo roles, better-known actors Guy Pearce, Ralph Fiennes, David Morse and Evangeline Lilly commit to their characters without stealing the scene from the leads.

Boal's script works so well because it doesn't have a political agenda. It doesn't tell audiences how to think but shows them the many facets of war. Bigelow's direction is at times more understated and almost documentary-like, focusing on the broader picture. Other times, she slows the action down and hones in on the little details that add to that broader picture. Rather than being uneven, these combined approaches make Bigelow's directing very well-balanced. This story is a lot to take in, but it's one audiences should see, need to see. It will resonate with you long after you've left the theater.

Review: Funny People

Judd Apatow's latest directorial venture may not be as side-splittingly funny as "The 40-Year-Old Virgin" or "Knocked Up," but it isn't supposed to be. Though the movie is called "Funny People," it's actually much more of a drama, examining the lonely underside of stand-up comedy, the competitiveness of Hollywood and the question of whether or not a person can truly change.

At the center of "Funny People" is George Simmons (Adam Sandler), a veteran stand-up comedian and movie star who learns he is dying of a form of leukemia. At this point in his life, George has a huge house, lots of money and success in his career, but he's lost the love of his life to another man and has no real friends.

After learning he is about to die, George begins performing stand-up again in comedy clubs. After his act is followed by Ira Wright (Seth Rogen), a struggling young comedian, George asks Ira to be his assistant. Ira serves as a surrogate friend for George and encourages him to reconnect with his family and Laura (Leslie Mann), his ex-girlfriend who he continues to pine over.

Anyone who has seen the first trailer for this movie knows that George finds out he is going to live. The movie is not about whether or not George will survive, but about whether or not he can change his self-centered ways after having had such a close call with death and coming out on the other side of it.

George tries to reconnect with Laura, who is now married with children, and while Laura is still in love with George, she's not sure whether he can actually change. George also struggles in his relationship with Ira, who cares about George and wants to be his friend, but George is so unfamiliar with what a real friendship means that he isn't sure how to treat him.

Another subplot involves Ira and his roommates' competing careers. While Ira can't seem to find his niche, crude Leo (Jonah Hill) has regular gigs at comedy clubs and stuck-up Mark (Jason Schwartzman) stars in the NBC sitcom "Yo Teach."

While "Funny People," isn't quite up to par with Apatow's last two projects, overall it's still an excellent film. One thing people should know going in is that "Funny People" is primarily a drama. Fans of Apatow's TV show "Freaks and Geeks" know that he can blend comedy and drama well, but people who go into the movie expecting it to be the next "Knocked Up" may be disappointed.

While the movie certainly does have a lot of humor and Apatow's trademark raunch comedy is present in the stand-up bits, the film is at its heart a character drama about funny people. It portrays well how easy it is to become narcissistic in Hollywood and the harsh toll that can take on one's relationships with others and one's self.

Overall the characters are very well-developed, which is what makes the movie. One issue I had with "Funny People" is that George stays so unlikable throughout the film that he is hard to relate to, but I understand why the character is written this way. Apatow is trying to show that sometimes the funniest people can be completely miserable, and having experienced the stand-up circuit in the past, it is likely Apatow knew people like George. He does give us a few tiny glimmers of hope that maybe deep down there is still something sympathetic within George, though so much of him has been lost to the Hollywood lifestyle. Sandler plays the part very well, having demonstrated his dramatic prowess before in films like "Punch-Drunk Love" and "Reign Over Me."

But the standout of the film, surprisingly, is Rogen, who shows depth here far beyond the crude slacker types he so often plays. I think he shows here that there is more talent in him than audiences have been able to see before. He has played the roles that people expect to see him in and seem to enjoy him in, but given the right material, Rogen does have range just like his veteran co-star.

Ira is more low-key than Rogen's typical parts. He wants so desperately to be a comedian, yet his friends don't seem to believe in him very much and George's refusal to open up to him doesn't help his esteem. He is shy, sensative and incredibly likable, only wanting to prove himself. Rogen gives Ira an innocent, good-guy charm that, in contrast to George, is extremely relatable and lovable.

Mann is quirky and funny like always, doing a solid job as a woman torn between her family and the man she used to love who broke her heart. Eric Bana is also surprisingly funny as Clarke, Laura's husband. Bana has some great comic chops, and I hope to see him in more comedies in the future. Clarke is like George in so many ways, but Bana is able to pull out the one thread that makes him different and get the audience to sympathize with him in a way they cannot sympathize with George.

The film's nearly two-and-a-half-hour runtime is a bit daunting, and the movie drags a little at times. The movie's constant stream of cameos from stand-up comedians also gets to be overwhelming, though a hilarious exchange between Eminem and Ray Romano particuarly stands out.

Overall I think this is a very well-acted and well-written movie. It has a few flaws, but I commend Apatow for not just sticking with the formula that made him famous and trying to branch out into other genres. And for the most part, he succeeds. Apatow definitely has the makings of a great director and storyteller, and while I hope he still brings us his typical raunch comedies with heart from time to time, I hope he continues to take risks like "Funny People" as well. B


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