Fall movie preview

It's that time of year again - fall blockbusters, Oscar hopefuls and the so-so films leading up to them. Summer 2010 has amounted to a rather weak tentpole season for movies, so I was initially a little worried the same would be true of the fall. But after perusing the September-December release calendar, it seems there are several movies worth getting excited about. Below are my top five most-anticipated movies of the fall:

Honroable mentions: Jack Goes Boating, Buried, It's Kind of a Funny Story, RED, 127 Hours, Morning Glory, Love and Other Drugs, How Do You Know

5. Never Let Me Go (Sept. 15)

Kathy (Carey Mulligan), Ruth (Kiera Knightley) and Tommy (Andrew Garfield) are childhood friends who grow up at a seemingly traditional English boarding school. When they enter the real world, they explore love, friendship and a life they can never have, as their own reality is something much darker.

Mark Romanek's bleak adaptation of Kazuo Ishiguro's acclaimed novel looks like an intriguing blend of "Atonement" and "Children of Men" in terms of tone and style. I've never read the book, but I've heard it's an emotional ride with twists too good to reveal. It's gotten rave reviews so far and could potentially be the path to second Oscar nominations for Mulligan and Knightley. It's also the first of two major fall releases for Garfield, known to most as the next Spider-man.

NEVER LET ME GO: Movie Trailer. Watch more top selected videos about: Never Let Me Go, Mark Romanek

4. The Town (Sept. 17)

Ben Affleck plays Doug MacRay, a Boston bank robber who falls in love with a bank employee (Rebecca Hall) he and his band of thieves hold hostage. As he pursues a relationship with the one woman who could bring the thieves down, Doug faces pressure from his best friend and fellow robber (Jeremey Renner), his incarcerated father (Chris Cooper) a desperate old flame (Blake Lively) and the FBI agent (Jon Hamm)determined to put him behind bars.

Affleck proved he has directing skills with "Gone Baby Gone," and "The Town" is his chance to prove that wasn't a fluke. If the intense trailer is any indication, he's about to have another winner on his hands with "The Town."

THE TOWN: Movie Trailer. Watch more top selected videos about: The Town (2010 film), Jon Hamm

3. Black Swan (Dec. 1)

Natalie Portman stars as Nina, an uptight young ballerina who wins the coveted lead role in her company's production of "Swan Lake." She has what it takes to play the pure and innocent White Swan, but her teacher (Vincent Cassel) tries to persuade her to evoke a darker, seductive side for the dual role of the Black Swan. A new rival dancer, Lily (Mila Kunis) possesses these qualities and soon becomes Nina's alternate. They form a strange friendship as Nina's growing dark side threatens to consume her.

Darren Aronofsky's follow-up to "The Wrestler" looks as dark and twisted as it does visually stunning and meticulously detailed. Early reviews have been positive, many saying Portman and Kunis give career-best performances.

BLACK SWAN Trailer #1 - Funny home videos are a click away

2. The Social Network (Oct. 1)

Based on Ben Mezrich's book "The Accidental Billionaires," "The Social Network" tells the story of the founding of Facebook and Mark Zuckerberg's rise to success. While an undergraduate student at Harvard, Zuckerberg (Jesse Eisenberg) has an idea to bring the social aspect of college to the Internet. His project exploded into Facebook, and he became the youngest billionaire in history. But along the way, he falls out with his best friend and Facebook co-founder Eduardo Saverin (Andrew Garfield) when Saverin claims he was ousted, and faces a legal battle with the Winklevoss twins, fellow Harvard students who claim he stole the idea for Facebook from them.

"The Social Network" will undoubtedly get a lot of people talking about the founding of the Web site that has attracted 500 million users. Zuckerberg has already expressed his distaste for the film. Though people may have mocked "the Facebook movie" at first, the somber tone of the trailer proves director David Fincher isn't taking the subject lightly.

THE SOCIAL NETWORK: Movie Trailer. Watch more top selected videos about: Andrew Garfield, Brenda Song

1. Harry Potter and the Deathly Hallows, Part 1 (Nov. 19)

In the first part of the "Harry Potter" series' final installment, Harry (Daniel Radcliffe), Ron (Rupert Grint) and Hermione (Emma Watson) choose not to return to Hogwarts for their seventh year so they can track down the remaining horcruxes, the objects containing pieces of Voldemort's (Ralph Fiennes) soul that must be destroyed before the dark lord himself can be killed. Part 1 deals largely with the physical and emotional toll of the trio's task leading up to the epic final battle of Part 2, which will be released next July.

Like the books, the "Potter" films have continued to get darker and darker, and "Deathly Hallows" looks like the darkest yet. Based on the trailer, director David Yates isn't shying away from the themes of death and political corruption that are so crucial to the book. Eduardo Serra's cinematography looks breathtaking, and Radcliffe, Grint and Watson appear to be giving it their all in their final turn as Harry, Ron and Hermione.

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 Movie Trailer. Watch more top selected videos about: Daniel Radcliffe, Rupert Grint

Emmys 2010: Predicting the winners

The past few years I just haven't been able to get into the Emmys. They frequently award the same people or shows year after year, leading to an overly long and unintersting ceremony. But for the first time in a long time, this year's nominees actually piqued my interest, with a few familiar faces and lots of new ones. The 2010 ceremony, hosted by Jimmy Fallon, is just a few days away, so who will walk home a winner and who will leave empty handed?

Best comedy series

Curb Your Enthusiasm

Glee

Modern Family

Nurse Jackie

The Office

30 Rock

Will win: "Modern Family." "Glee" took home the Golden Globe and is probably the hottest show on television right now, but unlike "Modern Family," it's not a straight-up comedy. Some of the most memorable moments from "Glee" this season leaned on the dramatic side, such as the moving scenes between Kurt and his father. "Modern Family" puts a hilarious new spin on the traditional family sitcom, which will likely resonate more with voters.

Should win: "Modern Family." I do love "Glee," but the back nine weren't nearly as strong in quality as the first part of the season. "Modern Family" was consistently hilarious and is one of the smartest family comedies to emerge in a long time.

Should have been nominated: "Community," "Parks and Recreation," "It's Always Sunny in Philadelphia."

Best drama series

Breaking Bad

Dexter

The Good Wife

Lost

Mad Men

True Blood

Will win: "Mad Men." The AMC drama is an Emmy favorite, and that's unlikely to change this year.

Should win: "Lost." Sure, the sci-fi drama's final season had its weak spots, but overall it was a stellar end to what is possibly television's most original show. "Lost" was such an intelligent, mind-bending and emotional show, and try as they might with shows like "Flash Forward" and the upcoming "The Event," the networks will never be able to replicate it. An Emmy for "Lost" this year would be just as much about awarding the show's overall excellence as recognizing its finale.

Should have been nominated: I honestly don't watch any dramas that weren't nominated, but I hear fans of "Friday Night Lights" and "Fringe" are pretty livid that those critically acclaimed shows were ignored.

Best actor - comedy

Alec Baldwin - 30 Rock

Steve Carell - The Office

Larry David - Curb Your Enthusiasm

Matthew Morrison - Glee

Jim Parsons - The Big Bang Theory

Tony Shalhoub - Monk

Will win: Jim Parsons. He was widely regarded as the favorite to win last year but lost to Alec Baldwin. But given that "Monk" ended this year, it's possible that Emmy favorite Tony Shalhoub could pull an upset.

Should win: I love Parsons and would be thrilled if he takes home the trophy, but given that Steve Carell's reign as Michael Scott is about to draw to a close and he has yet to win, I'd love to see his work recognized.

Should have been nominated: Joel McHale - "Community," Ed O'Neil - "Modern Family" (Yes, I know he submitted himself as supporting like the rest of the cast, which makes me respect him all the more. But Jay is the true patriarch of the family, and if he submitted himself in the lead actor category, he likely would have won.)

Best actress - comedy

Toni Collette - United States of Tara

Edie Falco - Nurse Jackie

Tina Fey - 30 Rock

Julia Louis-Dreyfuss - The New Adventures of Old Christine

Lea Michele - Glee

Amy Poehler - Parks and Recreation

Will win: Edie Falco. This is a tough category to call because there are so many strong contenders here, but Falco is an Emmy favorite in the drama category, and voters love it when an old favorite wows them with something new. Her darkly comic performance on "Nurse Jackie" should secure her the statuette.

Should win: Amy Poehler. "Parks and Recreation" saw a huge leap in quality in its second season, thanks in large part to Poehler's performance. She makes Leslie Knope just as intelligent and lovable and she is daffy and awkward.

Should have been nominated: Courteney Cox - "Cougar Town." Honestly, what is Emmy's problem with her? She was the only member of the "Friends" ensemble to never be nominated and now they have to snub her again? As "Cougar Town" evolved as the season progressed, so did Cox. Maybe next year...

Best actor - drama

Kyle Chandler - Friday Night Lights

Bryan Cranston - Breaking Bad

Matthew Fox - Lost

Michael C. Hall - Dexter

Jon Hamm - Mad Men

Hugh Laurie - House

Will win: Bryan Cranston. This is another one of those categories where the past winner is likely to remain the favorite.

Should win: Though I'd love to see Hugh Laurie recognized for his fantastic work on "House," I'm going to have to go with Matthew Fox. He really pulled out all the stops this year, and his performance in the finale alone should be enough to secure him the win.

Should have been nominated: Peter Krause - "Parenthood," Kiefer Sutherland - "24"

Best actress - drama

Connie Britton - Friday Night Lights

Glenn Close - Damages

Mariska Hargitay - Law and Order: SVU

January Jones - Mad Men

Julianna Margulies - The Good Wife

Kyra Sedgwick - The Closer

Will win: Julianna Margulies. She's swept every other award for her role on "The Good Wife" so far, and I don't expect that to stop here. She's a phenominal actress, and most critics and fans alike seem to agree she should win.

Should win: Julianna Margulies

Should have been nominated: Anna Paquin - "True Blood," Lauren Graham - "Parenthood"

Supporting actor - comedy

Ty Burrell - Modern Family

Chris Colfer - Glee

Jon Cryer - Two and a Half Men

Jesse Tyler Ferguson - Modern Family

Neil Patrick Harris - How I Met Your Mother

Eric Stonestreet - Modern Family

Will win: Ty Burrell. It's tough to choose between the three "Modern Family" men because they all turn in such consistently hilarious performances, but Burrell takes a character that could be grating and makes him completely lovable.

Should win: Ty Burrell

Should have been nominated: Charlie Day - "It's Always Sunny in Philadelphia," Danny Pudi - "Community"

Supporting actress - comedy

Julie Bowen - Modern Family

Jane Krakowski - 30 Rock

Jane Lynch - Glee

Holland Taylor - Two and a Half Men

Sofia Vergara - Modern Family

Kristen Wiig - Saturday Night Live

Will win: Jane Lynch. Is there even a question about this? She's the epitome of comedic awesomeness.

Should win: Jane Lynch. Although Julie Bowen and Sofia Vergara are also consistently hilarious.

Should have been nominated: Busy Phillips - "Cougar Town," Christa Miller - "Cougar Town," Kaitlin Olson - "It's Always Sunny in Philadelphia"

Supporting actor - drama

Andre Braugher - Men of a Certain Age

Michael Emerson - Lost

Terry O'Quinn - Lost

Aaron Paul - Breaking Bad

Martin Short - Damages

John Slattery - Mad Men

Will win: Michael Emerson. Especially in the final season, he turned Ben from pure villain to one of the show's most complex characters.

Should win: Michael Emerson

Should have been nominated: Josh Holloway - "Lost," Nestor Carbonell - "Lost," Sam Trammell - "True Blood"

Supporting actress - drama

Christine Baranski - The Good Wife

Rose Byrne - Damages

Sharon Gless - Burn Notice

Christina Hendricks - Mad Men

Elisabeth Moss - Mad Men

Archie Panjabi - The Good Wife

Will win: To be honest, I don't watch any of these shows, so I can't judge the performances. But most critics are choosing Christina Hendricks as the frontrunner, so we'll just go with her.

Should win: Christina Hendricks, for the same reason as above. Or Elisabeth Moss, because I like her even thought I don't watch "Mad Men."

Should have been nominated: Deborah Ann Woll - "True Blood," Khandi Alexander - "Treme" (another show I don't actually watch, but Alexander is an incredible talent, and the fact that she has never been recognized for her television work is a crime)

Review: Scott Pilgrim vs. the World

How is it that movies like "Transformers," with their massive explosions, scantily-clad young actress, cringe-worthy writing and directing that's about as original as a cardboard box, continue to rake in hundreds of millions at the box office while gems like "Scott Pilgrim vs. the World" fall by the wayside?

Maybe it's just because I'm a 20-something dork, much like Scott and his friends, that this movie resonates so strongly with me. But "Scott Pilgrim" is one of the most refreshingly original films I've seen in a long time and is a welcome change of pace from the sequels, reboots and remakes that so often dominate the box office.

Scott Pilgrim (Michael Cera) is a 22-year-old slacker from Toronto whose only job is playing bass with the band Sex Bob-omb. He's dating a high schooler named Knives Chau (Ellen Wong), and he lives with his gay best friend and confidant Wallace Wells (Kieran Culkin).

He coasts by in a world of hipsters, gamers and slackers, but everything changes when he meets Ramona Flowers (Mary Elizabeth Winstead), an American punk who works as a delivery girl for Amazon. She's hesitant to his dorky advances at first but ultimately falls for him because unlike her former lovers, he's actually a nice guy.

But being with Ramona is no easy task. Scott soon discovers if they want to be together, he'll have to fight and defeat her seven evil exes, ranging from macho skater-turned-movie star Lucas Lee (Chris Evans) to pint-sized punk Roxy Richter(Mae Whitman) to slick record exec Gideon Gordon Graves (Jason Schwartzman).

If you're reluctant to see "Scott Pilgrim" because of Cera's "he always plays the same role" stigma, think again. True, he does play another scrawny, nerdy underdog here, but he does it with a renewed vigor that has been missing from many of his other recent performances. His comic timing and line delivery is perfect in this film.

Director Edgar Wright has assembled quite the who's who of up-and-coming young talent for his supporting cast. In addition to Winstead, Wong and Culkin, Alison Pill, Johnny Simmons, Mark Webber, Anna Kendrick and Aubrey Plaza round out Scott's ragtag group of friends. All of them click as an ensemble but Pill and Culkin emerge as the standouts, her with her stone-cold glares and him with his matter-of-fact wit.

Wong and Simmons are also frequently scene stealers, with her over-the-top attempts to re-gain Scott's affections and his mellow, deadpan reactions to his friends' zany adventures.

All of the actors playing the seven evil exes are perfectly cast, especially Evans and Schwartzman, but Brandon Routh as vegan bassist Todd Ingram is an absolute riot in his scene. Between this movie and his "Zack and Miri Make a Porno" cameo, it's clear Routh needs to leave his Superman image behind and pursue more comedic roles.

Wright and Michael Bacall's sharp script is some of the sharpest writing I've seen in a long while, and Wright's direction, as usual, is practically flawless. With "Spaced," "Shaun of the Dead" and "Hot Fuzz" already under his belt, he's quickly proving to be one of the most innovative directors working today. Fast-paced action, eye-popping visuals and quick cuts are all trademarks of his that work wonders with "Scott Pilgrim." All of the movie's elements fall neatly into place, but it is Wright's imaginative vision that makes all of that possible.

True, its paltry fifth-place opening makes it a box office disappointment, but since when has box office been a good indicator of the quality of a movie? (The fact that a stale amalgam of pop culture references like "Vampires Suck" could outgross the raw brilliance of "The Hurt Locker," for example, is astounding.) It might not be resonating with the mainstream right now, but "Scott Pilgrim" is the type of movie that years down the road a generation of gamers, hipsters, punks and nerds will remember fondly as the film that captured their youth. A-

SCOTT PILGRIM VS. THE WORLD: Movie Trailer. Watch more top selected videos about: Chris Evans, Kieran Culkin

Review: Inception

When I first started reading about "Inception," the latest film from Christopher Nolan, the tagline "Your mind is the scene of the crime" was enough to pique my interest. Those eight words alone seemed to capture the essence of a great Nolan movie - complexity, intrigue, unexpected twists and turns. In a season often dominated by fun but ultimately lackluster popcorn flicks, Nolan takes the intelligent blockbuster to a new level.

In the world of "Inception," technology exists that allows people to explore the depths of other people's minds through dream invasion. We don't know how or why this technology was developed. We know only that it exists, eliminating tedious exposition and allowing the audience to jump right into the intracies of this new world.

Perhaps no one is more knowledgable about dream invasion than Cobb (Leonardo DiCaprio), a man shaken by tragedy who has mastered the craft of idea theft, or extraction. After attempting to steal an idea from a powerful man named Saito (Ken Watanabe), Saito hires Cobb to plant an idea in someone's mind, a much more complex process known as inception that few have attempted. If Cobb succeeds, Saito promises to help the broken man get his life back.

Cobb assembles a team of experts, including an architect (Ellen Page), a point man (Joseph-Gordon Levitt), a forger (Tom Hardy) and a chemist (Dileep Rao) to assist him in planting an idea in the mind of their mark Robert Fischer (Cillian Murphy), a corporate big shot who recently inherited his father's empire.

While trying to accomplish the inception, the process is complicated by Mal (Marion Cotillard), Cobb's dead wife who he frequently manifests in his dreams. And as Cobb and his deam travel deeper and deeper into the dreamscape, it becomes difficult to distinguish between what is real and what is merely a dream.

From "Memento" to "The Prestige" to "The Dark Knight," Nolan never shies away from convoluted plots that make his audience - gasp! - actually have to think at the movies. "Inception" is perhaps his most perplexing film to date, and consequently, one of his best.

Not only is the story well plotted and the script well written, but it's refreshingly original. In an industry dominated by sequels, remakes and adaptations, Nolan dared to take a gamble on a new story and new characters that audiences didn't have pre-existing ties to, and Warner Brothers trusted him to make it a smash all the same.

It's engrossing. It's mind-bending. It's innovative. It's visually stunning, intellecutally stimulating and emotionally engaging. It succeeds and connects on so many levels that more and more blockbusters are unfortunately failing to do.

And rather than banking on popular but hollow actors, Nolan once again assembles an impeccable cast. From the well-known DiCaprio to the little-known Hardy, every actor succeeds in the nuances of character for which such a daunting story calls.

Sharp editing, haunting cinematography, a commanding score and a doozy of an ending worthy of its own separate discussion round out the exceedingly impressive "Inception."

If you haven't seen it yet, step away from the computer and make your way to the nearest multiplex. And even if you have seen it, step away from the computer and make your way to the nearest multiplex. "Inception" is one film for which multiple viewings can only enhance the experience. A

Inception: Movie Trailer. Watch more top selected videos about: Ellen Page, Christopher Nolan

Review: The Twilight Saga: Eclipse

Ah high school - those were the days. Finding yourself. Getting lost in the feeling of first love. Having a vampire and a werewolf fight for your affection while they save you from another vampire who's trying to kill you. What, that wasn't your experience?

The teen angst and melodrama of the vampire-human romance at the heart of "The Twilight Saga" won't appeal to everyone. But given the $176 million it banked in its first week and the droves of screaming "Twihards" who flocked to cinemas in their Team Edward and Team Jacob attire, "Eclipse" is only making the Twi-fever grow stronger.

Sure the first two films were successful, but "Eclipse" is the first of the "Twilight" films that feels deserving of a blockbuster summer release.

In the franchise's third installment, supernatural drama is hitting Forks, Wash., full-force. A string of murders in Seattle has the media crying serial killer, but the Cullen clan knows the real culprits are an army of newborn vampires - those whose lust for blood is still so new that it can't be controlled. But why the army was created remains a mystery.

The personal lives of Bella (Kristen Stewart), Edward (Robert Pattinson) and Jacob (Taylor Lautner) aren't much prettier than the carnage and mayhem the newborn vamps have wreaked on Seattle. Bella is still set on becoming a vampire, but she's reluctant to meet Edward's condition that she marry him first. Jacob refuses to come to terms with Bella's choice, and his feelings for her only continue to grow stronger.

If Edward turns Bella, the Cullens' treaty with the werewolves is off, but if he doesn't, they'll have to face the wrath of the Volturi, the ruby-eyed, creepy vampire government who may have alterior motives of their own. And then there's still the matter of Victoria (Bryce Dallas Howard), who wants Bella dead as vengeance for Edward killing her mate, James.

What's a girl to do with a charismatic vampire and a studly werewolf vying for her affections? Convince them to team up to take down Victoria and the vampire army for good, of course.

A few parts of "Eclipse" feel a little slow, but overall the film is a vast improvement from its predecessors. The visual effects are superior to the previous two installments, though the vampire makeup is still too pasty and gaunt, even for the undead.

"Twilight" and "New Moon" often relied a bit too much on romance and melodrama and not enough on plot. Bella and Edward are still swooning over each other and exchanging angsty glances - after all, it wouldn't be "Twilight" without that element. But "Eclipse" boasts a more defined plot and a lot more action, maybe even enough to keep the dragged-along boyfriends and husbands interested.

As with the previous two films, the script is the weakest element, although I don't completely blame screenwriter Melissa Rosenberg. Stephenie Meyer's sappy dialogue may read well enough on the page, but it just doesn't translate when spoken onscreen. It would breathe more life into the script if Rosenberg took a few liberties, but given the fervor of the "Twi-hards," hardcore fans would likely revolt if she changed too much.

"Eclipse" still isn't the best showcase of Stewart's, Pattinson's and Lautner's acting chops, but all three seem more comfortable in their roles this time around. The film also makes better use of the supporting players, who were barely present in "New Moon." We get a glimpse of Jasper's and Rosalie's backstories, which gives the underused Jackson Rathbone and Nikki Reed more to do. But as usual, Billy Burke as Bella's dad emerges as the movie's scene stealer.

Much of the film's success can be attributed to director David Slade. His experience with darker fare like "Hard Candy" and "30 Days of Night" gave "Eclipse" more of an edge, but he still never lost sight of the romance at the heart of the story.

If you liked the other "Twilight" movies, you'll like "Eclipse." If you hated the other movies, you'll probably hate "Eclipse" too. But if you're neither a Twi-hard nor a Twi-hater, odds are you'll find it's at least entertaining enough to be worthy of a summer blockbuster release. B-

Review: Letters to Juliet

Romeo and Juliet. The ultimate couple. They may have met a tragic, premature end, but their love story has lived on for centuries as a representation of true, unconditional love. Now, the timeless tale is the basis for the token rom-com of the summer movie season.

In "Letters to Juliet," Amanda Seyfried plays Sophie, a hopeless romantic and a fact-checker for the New Yorker who longs to be a writer. Her overzealous fiancé Victor (Gael Garcia Bernal) is opening a new restaurant immediately after their wedding, so they decide to turn Victor's business trip to Italy into an early honeymoon. But Victor's passion for Sophie pales in comparison to his passion for Italian cuisine, and Sophie is left to sight-see on her own.

She visits the supposed location of Juliet's house and stumbles upon her dream story, one she hopes will prove to her boss she has what it takes to be a journalist. Women from all over the world travel to Verona and leave letters for Juliet, asking her for advice about their love lives. A group of women, who have dubbed themselves the Secretaries of Juliet, answer every letter with a return address.

Sophie discovers a letter that has remained hidden for 50 years and sends its writer, Claire (Vanessa Redgrave), a reply, only to be met a week later by Claire's angry grandson, Charlie (Christopher Egan). Claire has come to Italy to find her first true love, but Charlie is afraid she'll end up with a broken heart and blames Sophie for encouraging her. Claire refuses to relent and invites Sophie to accompany them as they travel the Italian countryside in search of Claire's long-lost love.

"Letters to Juliet" is filled with romantic clichés. The fiancé without one shred of a redeeming quality. The handsome newcomer who, despite being a bit antagonizing at first, melts the heroine's neglected heart. There's even a man who rides in on horseback. But the movie doesn't try to be anything it's not. Everyone involved knows it's just a mushy, sappy, feel-good romance. And because of its lack of pretense, it manages to find a certain charm.

Sure it's completely predictable, but one of the movie's strengths is its ability to be engaging throughout nonetheless, due in large part to its leads.

Seyfried is a likable lead, and Egan is delightfully snarky. But Redgrave and her real-life husband, Franco Nero, steal the show. Redgrave's Claire is the woman we hope to be one day - caring and carefree, having lived a long and happy life. But something is missing, and it's easy to get caught up in her quest to find it.

The only off-putting element of the film was Bernal's Victor. He's supposed to be irritating. He's supposed to be clueless. He's supposed to be selfish. But after less than five minutes onscreen, I could barely stand to listen to another word of his overblown, hyperactive babble. He made it too easy for me to root for Charlie instead.

"Letters to Juliet" won't be winning any Oscars. Heck, it probably won't even be winning any MTV Movie Awards. But if a feel-good sap-fest is what you're looking for, "Letters to Juliet" won't disappoint.

The story is unoriginal, the dialogue is mediocre and the performances are decent. But as cheesy, clichéd rom-coms go, "Letters to Juliet" sweeps you off your feet. B-

Review: Iron Man 2

Superhero sequels tend to fall on one of two extremes – they’re either vast improvements over the first installment like “X2: X-Men United” or “The Dark Knight,” or they’re huge disappointments like the debacle that was “Spider-Man 3.” The sequel to the surprise smash “Iron Man” isn’t quite as strong as the first film, though it’s a far cry from “Spider-Man 3.”

“Iron Man 2” picks up six months after “Iron Man” left off. The world knows that Tony Stark (Robert Downey Jr.) is Iron Man, he’s successfully made the world a peaceful place and all the attention is starting to go to his head.

But Tony is soon knocked off his high horse when he faces scrutiny from the press and pressure from the government to share his technology with the military, a point that causes tension with his best friend, Jim Rhodes (Don Cheadle).

Unable to keep up with his Iron Man duties and running Stark Industries, he promotes his assistant Pepper Potts (Gwyneth Paltrow) to CEO of the company. But business pressures are the least of Tony’s worries. Ivan Vanko (Mickey Rourke), a Russian physicist who’s recreated his technology, wants him dead and Tony’s business rival, Justin Hammer (Sam Rockwell), will do just about anything to bring him down.

Tony must also contend with a mysterious new assistant (Scarlett Johansson), the increased presence of S.H.I.E.L.D.’s Nick Fury (Samuel L. Jackson) and Agent Coulson (Clark Gregg) and a borderline midlife crisis.

This time around the story doesn’t feel quite as fresh as in the first “Iron Man,” but the snappy dialogue and Downey’s charisma still make it a fun ride. It’s action-packed, hilarious and a surefire crowd pleaser.

It’s also clear that director Jon Favreau is setting the stage for something greater – the upcoming “Avengers” film that unites Iron Man with fellow Marvel heroes Thor, Captain America and The Hulk. “Iron Man 2” contains a few shout-outs to the other Avengers that are sure to please fans of the comics.

As in the first installment, Downey’s performance really carries the film. He’s so funny and so charming that it’s impossible not to love him despite his ever-increasing narcissism. Tony isn’t anywhere close to perfect, but that’s exactly what makes him such an interesting hero.

Paltrow’s chemistry with Downey is particularly magnetic in this film, and Cheadle seems to be a better fit for Rhodey than his predecessor, Terrence Howard.

The whole supporting cast is strong, but Rockwell in particular is a scene stealer. His Justin Hammer is delightfully slimy. His desire to be as powerful as Tony is overwhelming, but his cowardice always gets in his way. Rockwell is probably one of the most underrated actors working today, and he really has the chance to shine here.

“Iron Man 2” might not be as complex as “The Dark Knight,” but it’s the perfect blockbuster to kick off the summer movie season. Especially for fans of the first film, the sequel is a fun-filled adrenaline rush that will leave audiences walking away smiling. B

Top 5 summer movies

From highly-anticipated blockbusters to small Sundance favorites, summer is never a dull season at the movies. Starting Friday, moviegoers can say goodbye to uneventful weekends at the multiplex as summer movie season officially begins. Here are five summer movies I'm particularly looking forward to:

Iron Man 2 (May 7): Most superheroes go to great lengths to protect their true identities. Not Tony Stark (Robert Downey Jr.). At the end of the first installment of John Favreau's smash-hit franchise, Stark revealed that he is Iron Man. In "Iron Man 2," he has to deal with the ramifications of that. Gwyneth Paltrow is back as Pepper Potts and Don Cheadle steps into the role of James Rhodes, who gets a superhero alter ego of his own this time around.

Stark also has to contend with three villains: Whiplash (Mickey Rourke), Black Widow (Scarlett Johansson) and Justin Hammer (Sam Rockwell). Hopefully "Iron Man 2" will follow in the footsteps of "X2" and "The Dark Knight" and fare even better than its predecessor, but trying to balance three villains could land the film in "Spider-Man 3" territory.




The A-Team (June 11): As soon as Bradley Cooper jumps out of a plane with a parachute attached to a tank and starts firing mid-air, you know you've got an insanely fun movie on your hands. "The A-Team" looks over-the-top and ridiculous, the perfect combination for an enjoyable summer blockbuster that isn't meant to be taken seriously. With an overload of action and explosion and a cast including Cooper, Liam Neeson and "District 9" star Sharlto Copley, what's not to love?




Toy Story 3 (June 18): It's been more than a decade since the last "Toy Story" film graced the big screen, but the series is just as beloved as ever. If anyone knows how to deliver an amazing sequel, it's Pixar. This time around, Andy is heading off to college and Buzz (Tim Allen), Woody (Tom Hanks) and the gang are shipped off to a daycare center.

If it's anything like the previous two films, "Toy Story 3" should be funny and touching for kids and adults alike. Pixar has yet to release a bad movie, so it will be a complete shock if "Toy Story 3" doesn't deliver.




Inception (July 16): Not much is known about Christopher Nolan's follow-up to his last directorial success, "The Dark Knight." But Nolan has earned a reputation for telling such original, engaging and mind-bending stories that "Inception" is still one of the most highly-anticipated movies of the summer.

The story involves dream invasion, the complexities of the mind and the quest to steal an idea. It will undoubtedly be complex, and it boasts the talent of Leonardo di Caprio, Joseph Gordon-Levitt, Ellen Page, Cillian Murphy, Marion Cotillard, Michel Caine and Ken Watanabe.




Scott Pilgrim vs.The World (Aug. 13): Yes, this looks like Michael Cera playing Michael Cera again, this time in the big screen adaptation of the "Scott Pilgrim" graphic novel series. But this ecclectic vehicle is from the brilliant mind of "Hot Fuzz" and "Shaun of the Dead" director Edgar Wright. As Scott (Cera) tries to defeat the seven evil exes of his new girlfriend, comic book stylings mesh with live action in the most colorful, delightful way.




Honorable mention - The Kids Are All Right (July 7): This Sundance favorite puts a new spin on the dysfunctional family dramedy. A lesbian couple (Annette Bening, Julianne Moore) are living happily with their teenage kids (Mia Wasikowska, Josh Hutcherson), but the kids feel like they're missing a father figure. They track down the sperm donor that fathered both of them (Mark Ruffalo), and all five try to adjust to their new family dynamic.

The film received rave reviews at Sundance for being topical without letting politics outshine the relationship aspect of the story.

Review: Date Night

There are few things that are worse for a moviegoer than eagerly anticipating a good movie only to have it ruined by a miscast actor. The screen adaptation of “Hairspray” had the potential to be every bit as fun as the Broadway show, but John Travolta’s awkward turn as the protagonist’s mother, Michelle Pfeiffer’s lack of vocal chops and Christopher Walken’s expressionless performance drag down an otherwise decent film. The brilliance of Jackie Earle Haley and Jeffrey Dean Morgan in “Watchmen” is sometimes overshadowed by the woodenness of Malin Akerman and Matthew Goode. It’s a rare occurrence that the opposite is true – when good performances have the power to turn a lackluster film into an enjoyable experience.

When looked at as a film overall, “Date Night” is a bit of a mess. The latest movie from director Shawn Levy shares many of the same flaws as his “Night at the Museum” series. It’s a film that doesn’t know what it wants to be, but Levy tries to mask it with unbelievable action and a seemingly never-ending stream of stars (the supporting cast includes Mark Wahlberg, Kristen Wiig, Mark Ruffalo, James Franco, Mila Kunis, Taraji P. Henson and Ray Liotta). But while Ben Stiller couldn’t elevate “Night at the Museum” above silly action comedy, Levy was lucky enough to lure two secret weapons to “Date Night” that make it feel like a better movie than it actually is – Steve Carell and Tina Fey.

Carell and Fey have the uncanny ability to be completely charming no matter what they do. Even in the decidedly less funny episodes of “The Office” and “30 Rock,” Carell and Fey dedicate themselves fully to their roles and they sell the material with everything they’ve got. “Date Night” is absurd. Carell and Fey probably knew it was absurd when they read the script. But they are so funny individually and work so well as a pair that they took what should have been a poorly constructed story, a lifeless script and one-note characters and turned it all into a rollicking good time.

Carell and Fey play Phil and Claire Foster, a long-married New Jersey couple growing weary of their mundane lives. When they learn their closest friends (Ruffalo and Wiig) are getting divorced, they’re motivated to breathe life back into their relationship. Phil and Claire leave the kids with a baby-sitter and head to New York for a night on the town. When the upscale restaurant they go to is booked, they take someone else’s reservation, which naturally leads to a case of mistaken identity and a game of cat and mouse with the mob.

There are worse scripts out there. The directing isn’t terrible. The supporting players do a fine job with the material they’re given. But without Carell and Fey, “Date Night” would be completely forgettable. When they’re onscreen (which, thankfully, is the majority of the film’s 90-minute run time), it’s impossible to take your eyes off of them. I kept telling myself the movie is ridiculous and I shouldn’t be enjoying it, but I couldn’t help but laugh at even the cheesiest lines because Carell and Fey delivered them with such charisma. If nothing else, the movie is a testament to their skill as comedians. It makes you wonder what the two of them could do with a fantastically funny script given what they were able to achieve with this mediocre piece of filmmaking.

During the movie’s closing credits, viewers are given the chance to see Carell and Fey in action, improvising hilarious line after hilarious line. It makes you appreciate the fact that Levy gave them the opportunity to add their own special touch. In less capable hands, “Date Night” would have been a disaster. It’s one of those fateful films that leaves you wondering, “How did he get them to do that?”

Academy Awards are handed out every year for stellar performances in stellar films, but sometimes it’s the good performances in bad films that really prove an actor’s worth. I don’t think it’s any coincidence that Meryl Streep received some of the greatest box office success of her career following her performance in “Mamma Mia.” The kitschy musical set to the songs of ABBA should have been a sickly sweet marriage of beach scenery and disco music. But the usually-serious Streep was so funny, so fresh and so magnetic in a way people had never seen her before. The fact that she was able to shine so brightly in such a silly film made her even more impressive of an actress than she already was.

“Date Night” is the definition of mediocre, but Carell’s and Fey’s comedy chops will likely never fall under that category. They have perfect delivery. They know exactly when to restrain themselves and when it’s acceptable to go over the top. They play off of each other like pros, sharing the spotlight rather than stealing it from one another. They’ve got Tracy-Hepburn banter down to a tee (if Tracy and Hepburn had ever been in a film with gangsters and car chases). Despite the film’s flaws, Carell and Fey are so entertaining I would pay to see “Date Night” again. Anyone can act poorly in a bad movie. It may not be easy to give a truly great performance in a truly great movie, but it’s been done many times before. Giving a great performance in a bad movie? Now that takes serious skill.

The guilty pleasure of 'Hot Tub Time Machine'

"Hot Tub Time Machine" is probably the most aptly-named movie since "Snakes on a Plane." You know immediately exactly what you're going to get: a hot tub that's a time machine.

You know it's going to be ridiculous. You know it's not going to be "Citizen Kane." But you know it's probably going to make you laugh. It puts a likable cast (John Cusack, Craig Robinson, Rob Corddry and Clark Duke) in absurd situations as they travel back to the 1980s, cause mayhem and use an overabundance of gross-out humor.

There are certain movies like "Hot Tub Time Machine" that you know objectively you can't argue are good movies, but they're wildly entertaining nonetheless. They're guilty pleasures, a classification some movies just wouldn't exist without. Would the likes of "Eurotrip" and "Beerfest" ever see the light of day if producers didn't count on them being someone's guilty pleasure flick?

As a critic, I can look objectively at the "Twilight" films and say they're overly melodramatic, feature beyond unrealistic portrayals of teenage love, have shoddy screenwriting, semi-descent acting and mediocre directing at best. But I've been in the crowd at both midnight showings.

Sometimes I need to step away from all the "Hurt Lockers," "Preciouses" and "Up in the Airs," and just watch some absurdly angsty vampire romance. Everyone needs that movie they pop in their DVD player when they want a little pick-me-up. Mine is a vampire boy and a human girl staring longingly at each other in a meadow. I can't totally explain why I love it. I just do.

It's the same with the "American Pie" movies (the original three, not the lame direct-to-DVD sequels that have sprouted up in recent years). Excellent filmmaking? Not so much. But a fun, raunchy ride with Jim, Stifler and the gang is enough to completely cheer me up when I'm stressed or feeling down.

So what are your guilty pleasures, those movies you know aren't great movies but you can't live without? Sound off in the comments section.

Review: Remember Me

"Remember Me" is not for the pre-teen crowd that flock to see Robert Pattinson in the "Twilight" films, though Summit's marketing campaign wants you to think so. It's a darker, more mature look at love and family, albeit a fairly melodramatic one.

The film opens when young Ally witnesses her mother's murder in a subway mugging. The action then jumps ahead 10 years when Ally (Emilie de Ravin) is in college. Her rebellious classmate Tyler (Robert Pattinson) has also been affected by a personal tragedy - the suicide of his older brother.

One night Tyler gets involved in a fight outside a bar that results in an altercation between him and Ally's father (Chris Cooper). Tyler's roommate Aidan (Tate Ellington) sees Ally with her father one day and suggests that Tyler date Ally and dump her as a way to get back at her father. But of course, nothing goes according to plan, and Tyler really falls in love with Ally, her free spirit and enthusiasm for living in the moment reinvigorating him.

The romance between Tyler and Ally is just one aspect at the center of "Remember Me." Ally's relationship with her father and Tyler's relationship with his family play just as important of a role. After the death of Ally's mother, her father is fiercely protective and can't come to grips with her growing up and becoming independent, a battle that strains their relationship.

Tyler's father (Pierce Brosnan) is a workaholic who, while he has provided for the family monetarily, has been largely absent personally. Tyler's sister Caroline (Ruby Jerins) is a socially awkward budding artist who just wants their father to pay attention to her. Tyler's intense loyalty to his little sister drives him to become angrier and angrier at his father's neglect.

This movie doesn't feel like it's meant to be a blockbuster success, although I'm sure Summit wouldn't complain if Pattinson's new teen idol status earns it some extra dough. Instead, it feels like part thoughtful indie, part "Love Story" or Nicholas Sparks melodrama. Sometimes it works, sometimes it doesn't, but overall "Remember Me" is an engaging film.

This isn't the movie for Pattinson to show audiences whether he has versatility and staying power beyond "Twilight" - his upcoming "Bel Ami" and "Water for Elephants" should be better suited to that - but it does show he has potential. It's nice to see him go beyond Edward Cullen, even if Tyler can be equally brooding at times.

He gives a good performance with the material he's given to work with, as does de Ravin, best known for her work on "Lost." They're both such likable leads that it's easy to care about their characters, and they both exude a certain charm that reels you into them. They definitely have a strong screen presence, and they have good chemistry as a couple.

The veteran supporting players are equally strong. Brosnan and Cooper shine in their scenes, Brosnan oblivious and narcissistic and Cooper powerful and pained.

But the real standout of the film is Jerins as Caroline, who glows with a maturity and wisdom beyond her years in every scene she's in. The slightest twitch of her face or lilt in her voice is enough to make you laugh or break your heart. She also brings out the best in Pattinson, who, while he does have good chemistry with de Ravin, shines the most in his scenes with Jerins.

The only performer who was a bit off was Ellington as Aidan, who was fun and goofy sometimes and a bit too obnoxious the rest of the time. He is so overzealous, saying every line and making every gesture with so much energy that he comes across like Tigger on speed.

Allen Coulter does well in the director's chair, but Will Fetters' script is the aspect of the film with the most weaknesses. If the somber tone and dialogue leading up to the film's climactic end were less drenched in melodrama, the movie may have been more effective overall.

But I do applaud Fetters for taking a huge risk in the film's last 10 minutes. It may or may not have worked depending on your view of the scene's execution, but it's refreshing that Fetters attempted to go there rather than playing it predictably safe.

Now I'm going to do something I don't usually do in reviews - I'm going to give away the ending. I don't want to ruin it for anyone who hasn't seen the film and doesn't want to know, but I don't feel like I can give a complete and honest review of this movie without addressing the ending, which most people have probably heard by now is controversial.

So, if you haven't seen "Remember Me" and you do not want to know the ending, stop reading now.

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The controversy surrounding the ending of "Remember Me" seems to have to do largely with the fact that it comes as a surprise, but to be fair, the film does present the audience with a timeline, albeit a subtle one.

The murder of Ally's mother takes place in 1991, then jumps ahead to "10 years later," which of course, if you do the math, is 2001. We know it's the end of the school year. Then we know it's the summer. Then Ally makes a point of mentioning it's Labor Day. But it doesn't really hit you where the film is headed until Caroline's teacher writes the date on the chalkboard: September 11, 2001.

Tyler has gone to see his father at work. He looks out the window while he waits for his father to arrive, and when the camera pans out, we see that his father's office is in the World Trade Center. You feel like you've been punched in the gut as dread starts to overwhelm you. You know exactly what is going to happen to Tyler.

We never see the plane hit the tower, just people running and ash descending on the city, falling on the faces of a stunned and horrified-looking Ally and Aidan. What many people thought was going to be a typical tragic romance ends with Tyler dying on 9/11.

Many critics and viewers alike have condemned the film because they feel it exploits a national tragedy. While I may not agree, I completely understand how people might feel that way. Fetters treads a fine line here, and it's debatable whether or not it works. Though Fetters does provide a subtle timeline, the ending comes largely as a surprise, so many people feel it was done purely for shock value, to force the audience to feel emotion in a film that may or may not have touched them until that moment.

Part of this debate could be a case of the "How soon is too soon?" question. When people go to the movies, for the most part, they probably don't want to be reminded about 9/11. Even though it was nearly a decade ago, it still feels like it was yesterday. But if the same story were told in the same way but was set in 1941 and Tyler died at Pearl Harbor, or in 1970 and he died at Kent State, I doubt people would be as offended by it.

Personally, "Remember Me" did not give me the vibe that Fetters wanted to use 9/11 for shock value. Yes, it does come as surprise, but isn't that exactly what happened that day? It completely blindsided everyone. When people woke up on Sept. 11, 2001, no one had any idea what was coming. The ending of "Remember Me" recreates that sense of shock, that sense of horror, that sense of overwhelming sadness.

And that's something that probably makes a lot of people uncomfortable. But should 9/11 really remain a subject untouchable to movies? Right after it happened, most New York-set TV shows didn't even mention it. They just wiped the Twin Towers from the skyline, choosing to move on and continue entertaining people. At that time, maybe that's what people needed. But is almost 10 years later too soon to address it at all?

"World Trade Center" and "United 93" chose to focus entirely on 9/11 from the beginning. "Remember Me" goes at it from a different, more personal angle. It tells the story of how it changed the lives of one small group of people. Like all the individuals affected by the tragedy in real life, Tyler is just living his life when this horrifying event cuts it short. Ally wakes up feeling happy only to have her boyfriend cruelly taken away much too young.

It was a risky move, but "Remember Me" dares to make audiences remember their grief. The whole point of the movie is to remind you not to take for granted the people you love, because you never know when you might lose them. This is a lesson the characters in the film learn the hard way, as Tyler's father loses a second child but in turn becomes more a part of his daughter's life than ever before.

There is no more relatable way to share this message than through 9/11, something everyone in the country was affected by. It brought the nation such a powerful sense of unity, one most people would probably agree we have lost since then. Could the ending of the film have been handled differently? Maybe. But it reminds us not to let all the people who lost their lives that day have died in vain. It reminds us to honor them by appreciating the people we still have in our lives.

However you feel about the ending of the film, whether you appreciate it or it angers you, it accomplishes what I believe Fetters set out to do. It makes you think about 9/11 again. It makes you talk about it. It makes you remember. B

Review: Cop Out

I love "Clerks." I love "Dogma." I even love "Zack and Miri Make a Porno." But unfortunately Kevin Smith's latest directorial venture is a bit of a disappointment, probably because it didn't come from the wonderfully off-kilter mind of Smith himself.

In "Cop Out," the first movie directed by Smith that he did not write, unconventional detectives Jimmy (Bruce Willis) and Paul (Tracy Morgan) are temporarily suspended from the New York Police Department for botching a drug ring investigation. Jimmy has been counting on every bit of money he can get to pay for his daughter's wedding, so following the suspension, he decides to sell a prize baseball card that is worth thousands of dollars.

But when a zany thief named Dave (Seann William Scott) steals the card and sells it to a baseball-loving drug lord, Jimmy and Paul attempt to track it down. They get more than they bargained for though, when their series of misadventures leads them back to the drug cartel the NYPD has been investigating.

"Cop Out" sounds side-splittingly funny on paper. Willis and Morgan, who have both proved hilarious in the past, seem like they would be a good team. Scott, Adam Brody and Rashida Jones seem like they would be fantastic support. Smith seems like he would be the perfect fit for a lampoon of buddy cop fare like "Lethal Weapon." But for whatever reason, "Cop Out" just doesn't work.

Willis and Morgan both do a fine job with what they're given, but with a few exceptions, they just don't elicit a lot of laughs together. Same with Scott, Brody and Jones. They all try, but the material just isn't that funny.

I can even see how it would read well. It just doesn't play well. I chuckled a few times, but for the most part it was just a little bland. The acting was fine, the directing was fine, the writing was even so-so, but it just doesn't gel.

One of the brighter spots in the film was a cameo from Smith mainstay Jason Lee, who is as delightfully smarmy in the few minutes of screen time he has as he is in Smith's other movies.

"Cop Out" could make for a decent rental on an otherwise dull night at home, but I would recommend saving the cost of a ticket. Now excuse me while I pop "Clerks" into my DVD player and revisit the Smith I know and love. C-

Review: Shutter Island

Martin Scorsese fans have waited four long months to see "Shutter Island" after it was pushed back to Feb. 19 from its original October release. Sometimes when a movie's release is delayed, it sparks curiosity about whether there are any problems preventing the movie from being released on time (the constant re-edits of "The Wolfman" spring to mind). But in the case of "Shutter Island," the wait was absolutely worth it.

The film opens with federal marshals Teddy Daniels (Leonardo DiCaprio) and Chuck Aule (Mark Ruffalo) arriving to investigate the disappearance of a patient at Shutter Island, a remote psychiatric facility for dangerous, mentally unstable criminals.

The methods of chief psychiatrist Dr. Cawley (Ben Kingsley) seem off to Teddy from the start, and he is immediately suspicious that the patients and staff at Shutter Island aren't as in the dark about the missing patient's whereabouts as they let on.

Teddy soon discovers that nothing inside the walls of Shutter Island is what it seems, and the facility may be involved in a conspiracy that goes way beyond one missing patient. Teddy is also reeling from the death of his wife (Michelle Williams) and his time serving his country in World War II, and his motives for investigating Shutter Island are not strictly professional.

Scorsese takes a detour here from his familiar gangster fare, and he does it beautifully. From about five minutes in, the entire movie is full of edge-of-your-seat suspense. He throws twist after twist at the audience, and you never have a clue what's coming. I hate predictable suspense films, and "Shutter Island" is anything but.

Laeda Kalogridis' script is seamless, flowing freely from one head-scratching moment to the next. Whenever a character speaks and whenever there is only silence, the script maintains an evenly eerie feel. This is further enhanced by the haunting score.

Scorsese also couldn't have asked for a better cast. He and DiCaprio have always had a great synergy, which unsurprisingly continues in this film. Kingsley and Ruffalo (who I think is one of the most underrated actors working right now) also give fantastic supporting performances.

While Jackie Earle Haley, Patricia Clarkson and Emily Mortimer may not have much screen time, they make the most with what they have and are chilling in the few minutes they're onscreen.

"Shutter Island" may not be quite as masterful as "The Departed," but it's an intense thrill ride that will keep audiences guessing until the very end and leave them glued to their seats long after the credits start rolling. A-