ThatGirlOnTV

At last, the crux of the holiday season is upon us…

Here begins the countdown to Hanukkah, Christmas, Kwanzaa, Boxing Day,  New Years day, and eventually….the Oscars. It’s only natural that December will bring us films worth having waited for, and worth talking about way into 2010. 

We hope.

To start the last 2009 first-weekend-of-the-month off strong, December 4th gives us action-packed Armored, starring Columbus Short and Matt Dillon in high energy good cop-bad cop fashion. Also opening the first weekend, Natalie Portman, Jake Gyllenhaal and Tobey McGuire in the chilling Brothers, and family- friendly Robert DeNiro in Everybody’s Fine. 

The weekend of December 11th is also solid, debuting the highly anticipated Disney movie The Princess and the Frog. But if Disney Princesses aren’t your cup of tea, you could see The Lovely Bones - the movie adaptation of a bestselling book with the same name (opening in select theaters), or Did You Hear About The Morgans? starring SJP and Hugh Grant. Finally, also opening to limited audiences, Morgan Freeman and Matt Damon bring the epic story of South African unity to the screen in Invictus. 

Avatar opens on December 18th, which is sure to be the top seller, mainly because it is the only movie opening nationwide that weekend; but also because it broke a record for having the farthest in-advance ticket sale. Someone bought a ticket to see this movie in August (hope he isn’t disappointed).  

And finally, Christmas Day  allows for a phenomenal movie selection, as opening nationwide are the movies Alvin and the Chipmunks: The Squeakuel for the kids, Sherlock Holmes, with Robert Downey Jr. and Jude Law, NINE, with several leading ladies including Nicole Kidman, Kate Hudson and Penelope Cruz, and Meryl Streep and Alec Baldwin’s divorce comedy It’s Complicated. And, George Clooney’s comedy Up In The Air opens nationwide, also starring Twilight’s Anna Kendrick. 

Also on Christmas, opening in select theaters is the final Heath Ledger movie, The Imaginarium of Doctor Parnassus. 

And there you have it folks, the end of the year- in a nutshell. Chances are at least 3 of the above stated movies will end up being buzzed about come Oscar time, in addition to 2 or 3 October/November movies we’ve seen, and at least 1 of these December movies will break box-office records. January and February (as they are part of this “high noon” in the world of film) are sure not to disappoint. 

Let the predictions continue.

C.A.M.

Precious is the raw, gritty, honest, black and white reality of a sixteen year-old girl, whose dreams and aspirations are much larger than the pidgeon-holed life she leads.

Clarisse Precious Jones (Gabourey ‘Gabby’ Sidibe) has no reason to smile, as an overweight, undereducated teenage mother of two children by her own father. She’s put down and beaten up everyday by her mother…but despite everything she finds reasons. They live in her daydreams of becoming rich and famous, with a boyfriend who loves her and a life without pain.

A pregnant Precious gets kicked out of school, and recommended to attend an alternative school where she finds the closest thing to a support system she’s ever had. In a class led by a caring teacher named Ms. Rain (Paula Patton), Precious learns to put everything she feels into writing. Attending counseling sessions held by a woman named Mrs. Weiss (Mariah Carey), Precious opens up- allowing people to see the true horror that embodies her life at home.

Our Precious, played by newcomer Gabourey Sidibe, is impossible not to root for. Sidibe is beyond just a believable actress, she is Precious. Just as plainly as director Lee Daniels has put it- no one could have done it better.

Monique gives a stellar performance of the terrifying Mary Jones, a mother whose own demons consume her, and whose hatred for her own daughter is almost unbearable to watch. As her ugliest, deepest, and most demanding character yet- Monique steps completely out of herself to do the character justice.

In this film we see a girl whose entire life is told in her appearance, and whose pain is reflected in her eyes. Her insecurities are fostered by a complexity only slightly comprehensible by the average person, but it is a concept that is not new. Toni Morrison’s novel The Bluest Eye resonates with the same complexity of a young black girl whose skewed view of self-worth is a direct result of her upbringing.

Daniels (Shadowboxer, producer- Monster’s Ball) delivers an unprecedented smack of truth, demanding we all take a look at the American nightmare that exists in some form for a large amount of the population. This adaptation of the even more telling novel PUSH by author Sapphire, couldn’t have been more real, more accurate, or more perfectly executed.

This film doesn’t just tell a story of a girl who overcomes obstacles. Instead, it presents obstacle upon obstacle for a girl who simply wants to live. It’s accepting the world for the cruel, hard place it is, but finding the beauty in even the most trying times. It’s the exposure of a society that is an eyesore for the American dream, but glorifies that same society for the good heart it produces.

Precious is, a movie about the fragility of life, the power of love, and the understanding of success in the most basic connotations of the word- simply living to see a new day.

Rating: 4.6/5

After a year of built up anticipation, gossip, and criticism, fans of the Twilight Saga can finally make peace with their excitement over the second installment. New Moon is sure not to disappoint even the most adamant Team Edward fan.

Just as Bella (Kristen Stewart) is getting comfortable with her life in Forks, Washington and the vampire family she spends all of her time with, boyfriend Edward Cullen (Robert Pattinson) dumps her, sending her spiraling into a depression only her ware-wolf of a friend Jacob Black (Taylor Lautner) can get her out of.

But, Bella finds out the hard way that even spending time with Jacob isn’t enough to get Edward out of her mind. And when Edward gets false word that Bella had committed suicide, he sets out to seek the terrifying Volturi vampire guard in order to end his own life.

Based very loosely on the story of Romeo & Juliet, the movie adaptation of Stephenie Meyer’s second Twilight adventure stays very closely connected to the novels that made this teen angst melodrama the pop culture phenomena it is today.

Director Chris Weitz took on a very loaded assignment, succeeding Catherine Hardwick as director, and proving to extremely critical Twilight fans that he was going to be worth the change. Weitz adds amazing special effects, heightened fight scenes, and a climactic cliffhanging ending to what could have been a very dry second film. Simply put, Weitz does the saga justice, putting New Moon two cinematic levels above Hardwick’s Twilight.

Taylor Lautner’s performance as the show stealing Jacob Black is good enough to give Rob Pattinson a run for his leading spot. He proved everybody who doubted his ability to grow up in front of the camera, completely wrong. Rumors that an older actor would have be needed to accurately portray Jacob Black’s physical changes were put to shame. He deals very well with the emotional range of the character, smoothly delivering scenes that could be hard to interpret.

Kristen Stewart delivers a progressed performance as Bella the second time around, giving in to the depression that we know she’s going through, but also relaying a much more matured character. The chemistry between her and Robert Pattinson is evident, to say the least, but the friendship between Bella and Jacob also translates well in her delivery with Taylor Lautner.

The newcomers to the Twilight cast, including Volturi members Aro (Michael Sheen) and Jane (Dakota Fanning) among others, and Wolf Pack members Sam Uley (Chaske Spencer), Paul (Alex Meraz), Quil (Tyson Houseman) and Embry (Kiowa Gordon), serve as well-cast additions to the group of actors that are just as famous as the roles they play, and accurately depict the characters readers have come to understand. Although the focus of this movie was the Jacob-Bella-Edward love triangle, the introduction of both the Wolf Pack and the Volturi will translate well into the next two movies, as they will become more familiar.

The best thing about New Moon is that audiences do not have to be 13-17 year old girls to appreciate the movie. In that aspect, it puts the Twilight predecessor to shame. The dialogue is easy to understand, and the acting is much more developed.

On the other hand, the musical score, blaring loudly under even the subtlest romantic scene, is distracting and awkward. That, Weitz should have kept from the first Twilight movie. Hardwick incorporated a lighter score and an overall better soundtrack. Also distracting, often times Bella is too close to whomever she’s talking to. It’s a bit cheesy to have nearly every exchange between her and Edward, or her and Jacob centimeters away from a kiss.

New Moon endured a year-long build up of expectations from the die-hard Twilight fans, who will find they didn’t wait in vain. For those heavy critics of the Twilight content, expect to be disappointed. In order to fully understand the hype behind the Twilight Saga books and movies, one must let go of everyday reality, embrace the supernatural, and channel the most profound love- restricted and sacrificial- manifested through teenage eyes.

It’s that simple.

Rating: 4/5

With impressive CG effects, thrilling high speed escapes and the occasional witty one liners, director Roland Emmerich presents yet another light-hearted doomsday in 2012.

The infamous Mayan calendar predictions come to life for everyone in the world, as the year 2009 marks the beginning of the end. Following a geologist Adrian Helmsley (Chiwetel Ejiofor) as he delivers the news of the rapidly approaching destruction, we learn that the governments must act quickly if they want to save anybody. Helmsley, the President (Danny Glover), and the White House chief staff members work together to get to massive ships being built in China, constructed to withstand the coming tsunamis and save whatever pieces of humanity that they can. Helmsley finds out the harsh reality- that the only people being saved are the ones who have paid billions of dollars to get seats on the ships. 

Meanwhile, writer Jackson Curtis (John Cusack) finds out of the government plans from a crazy radio broadcaster (Woody Harrelson) while on a camping trip with his children in Yellowstone National Park. He then resolves to get his family onto those ships, in any way they can.

2012 is a sad, funny, and happy adventure all at the same time. Director Roland Emmerich (Independence Day, The Day After Tomorrow) does what he does best- kills off most of humanity, with an average man becoming the hero of the human race. With amazing special effects, audiences feel the urge to get up and run while they watch cities, buildings, and recognizable monuments topple into the opening Earth’s crust. 

There’s a lot to be said about the survival tactics of human beings, and the selfishness and materialistic values we have that take precedence over helping each other. Whether intentional or not, Emmerich’s movies allow for discourse about what you would do, as an individual and as a member of the human race, if this situation were to actually manifest. Would the governments let  their people know in ample time? Would they be selective about who gets saved and who doesn’t based on money? Or will the human spirit prevail and compassion take precedence over the individual… 

The story is solid, known, and careful to include details of 2009 that we know are happening, and project them into what will be the next and last three years. Remnants of Titanic and Independence Day are both evident in this movie, focusing on love in the midst of survival, and fighting against the forces of nature that have the power to bring even the most powerful human to his knees.

Although Cusack is supposed to be the star of this movie, the real main character is portrayed by Ejiofor, as the geologist who is forced to choose between morality and reality. His deliverance of Adrian Helmsley is emotionally effective, and very well executed. The entire cast including Cusack, Glover, Harrelson, Thandie Newton, Oliver Platt and Amanda Peet, work well together to deliver a believable movie.

 2012 is entertaining, thought provoking, and preposterous in its entirety. Whatever you believe about the end of the common era, this movie does provide an impressive look at the world going out with a bang.

Rating: 3.0/5

If you were given the chance to receive $1 million dollars, in exchange for the death of someone you don’t even know… would you take the money? 

The Box presents that exact situation, giving one modest couple a choice that comes with many more consequences than they anticipate. 

Arthur Lewis (James Marsden) and his wife Norma (Cameron Diaz) are a part of the working Virginia class, him for NASA and her as a teacher. When unfortunate financial problems arise for the family, the two are conveniently presented with a strange box left on their doorstep, later to be followed by a visit from a strange, mysterious man.

The man- Arlington Steward (Frank Langella) simply presents a proposition: push this red button, get a million dollars. Someone will die if you push it, but you won’t know them. Unable to identify where he comes from, who he is, and what the catch is…Steward is gone just as quickly as he comes. After careful thought, and a “what’s the worst that could happen” shrug, an eager Norma pushes the button.

What follows, is an interesting, exciting, and suspenseful unravelling of the couple’s conscious, leading them to believe that the “someone you won’t know” aspect of the proposition will eventually come back to haunt them. 

Fans of director Richard Kelly’s technique, as seen in the successful execution of the chilling Donnie Darko, will appreciate The Box for being an exploitation of the human psyche, and a subtle (but successful) attempt at a thriller. What won’t resonate with fans of Darko, is the utter confusion and lack of climactic activity that drag this movie out a bit longer than it needs to be. 

Frank Langella does well in the stoic, mysterious depiction of  Arlington Steward, but the role does nothing to highlight his talent. Almost anyone could have done it justice. The couple, Marsden and Diaz, aren’t as believable as they could be. It might have a little to do with the previous roles these two talented actors have taken (causing people to think of them separately), but the dryness in their delivery of a married couple, and the lack of chemistry between the actors, is hard to miss. 

Overall, The Box isn’t a bad movie. Well done, haunting, and cautionary. The commentary on the sickening economic materialism of people in this day and age does come out loud and clear. What audiences will take away from this movie, are thoughts about what they would actually do, if this situation were to happen to them.

Sadly enough, most people would push that button. 

Rating: 3.0/5

Director Grant Heslov (Par 6, producer- Good Night, and Good Luck) brings the funny to a completely unfunny situation- The Iraq War. The Men Who Stare At Goats takes a look at the covert operations of one army sector, known as the New Earth Army.

Michigan Journalist Bob Wilton (Ewan McGregor) becomes an embedded journalist in Iraq, after making war the only sure escape from his wife’s public and boasting new relationship with his senior editor at the office. In efforts to redeem his self-esteem from a blow like that, Wilton is confident breaking a war story will ground him, but instead he’s led into the world of the Jedi Warriors that make up the New Earth Army.

He’s introduced to Lyn Cassidy (George Clooney), a New Earth warrior whose serious demeanor and clairvoyant talents we become familiar with, as he and Wilton embark together on a mission in Kuwait . While they travel Wilton is introduced to the story behind the New Earth Army through Cassidy, who explains that the group used their psychic abilities to get into the minds of the enemies, and ultimately achieve peace.

Organized by a trippy, hippy, alcoholic Vietnam War veteran named Django (Jeff Bridges), psychic warrior  hopefuls of the New Earth Army practiced the art of dance to loosen their minds, sharpened their spoon bending abilities, and the brightest of the bunch honed in on telepathy that enabled them to stop the hearts of goats by only staring. Everything was great, until one clairvoyant named Larry Hooper (Kevin Spacey), out of jealousy of Lyn’s abilities, caused the demise of the sector. 

If this all sounds crazy… it’s because it is.

Audiences are just as confused as Wilton is, as The Men Who Stare At Goats explains army operations that make no sense. But it is a raw and side-splitting comedy, in which satirical allusions parallel Star Wars with real war. When you think about it, there isn’t that much difference from the crazy that happens in this movie, and the crazy war we know actually happened in 2003. 

Clooney is seriously committed to his role, never cracking so much as a smile at the incredulous things that come out of his mouth. He and McGregor provide a strong dynamic that carries this movie through to the end. In complete contrast from his recent Amelia role, McGregor proves he can be funny, serious, and a strong leading role all  in this film. Spacey, Bridges, and Stephen Lang all add their comedic talent to this film, among others to make up this male strong cast and new spin on a war story (which includes almost no violence) adapted from the Jon Ronson novel with the same name. 

The Men Who Stare At Goats will have you dropping dead with laughter, much like the poor, unfortunate goats who chose to stare back. 

Rating: 3.8/5

The King of Pop proved once again that he is more than deserving of the title, in the concert documentary highlighting Jackson’s anticipated final tour: This Is It.

The film by director Kenny Ortega (High School Musical) showed just how Jackson was one of (if not) the greatest entertainer that ever lived. This Is It takes audiences on a musical journey, following a group of talented dancers and singers, led by the gloved one himself, on their road to putting together what would have been an unforgettable concert. Ortega brings theatrics and impressive special effects to the stage to carefully illustrate Jackson’s vision of a concert of epic proportions.

Despite rumors of weakening ailments not too long before his tragic death, and speculation that Jackson was incapable of completing the 50 stop tour, we see remnants of the much younger, much more energetic Jackson that revolutionized music in his height during the 80s (especially in his rehearsal of “Billy Jean”). In making this film Ortega suggests that Jackson was ready to prove everyone wrong, and through this film audiences also get to see the playful personality that was always hidden to the public.

But, as it should, the music takes center stage in this film- with heavy focus on the fact that Michael Jackson simply knew his music. He spent lots of time with the talented musicians, humbly sharing the stage and giving advice when needed, always dedicated to even the slightest rehearsal.

The sole criticism of this movie falls only on the blame of Jackson’s untimely death. This Is It pieces together several rehearsal scenes, fragmented, and unfinished performances of Jackson’s songs. Often times he wouldn’t sing a song completely, to preserve his voice for the tour that would have kicked off 8 days from the last rehearsal. It would have been nice to see the finished product, but with what we do have, we can gather the tour would have been unprecedented. For what it is, Ortega did justice to the legacy of Michael Jackson.

True MJ fans (or all music fans for that matter) won’t even notice that over 2 hours will pass while watching this concert movie, and for the sensitive fan- throughout the movie expect to go from smiling to crying several times. MJ was, as this movie accurately depicts, all about giving, sharing and spreading love through his music.

If ever there were a reminder that there will never be another Michael Jackson, this is it.

Rating: 4.7/5