Brian's Review - Land of the Dead

A horror legend's lackluster resurrection.

Released: 2005
Genre(s): Horror, Action

The first time I saw George A. Romero's original "Night of the Living Dead" the reasons for its status as a timeless horror classic became instantly apparent to me: the movie boasted a dark, frantic atmosphere, the characters exhibited a believable range of human emotions, and the entire experience was so profound in its bleakness that the dread actually fermented into something more sweet than sour; an ambrosia of sorts. After the close of his groundbreaking first trilogy, the arrival of Romero's fourth zombie apocalypse flick brought with it high expectations that had been brewing for twenty years. Unfortunately, the film does little to match the established quality of its pedigree, failing time and time again to capitalize on its potential for both thrills and chills. While billed as a horror movie, there's really nothing frightening here; the survivors seem to just meander aimlessly about, with scarcely a care in the world regarding their undead enemy. The zombies are parallels of their living counterparts, yet their plotline ironically seems to speak far more eloquently without any dialogue involved - granted, our sympathy for their plight is somewhat contrived, thanks to Romero's not-so-subtle cultural commentary about national social issues, but in all honesty, I found their sub-story far more engaging to watch than the main characters' quest, which is as linear and cardboard as they come. The action scenes are intense and wildly fun, but they're marred by random CGI graphics spliced in with the more realistic, traditional gore effects - the result is somewhat cartoonish, and while this technique is sometimes intentional, there are moments "Land of the Dead" takes itself far too seriously to try to add the dark humor of over-the-top zombie kills to the mix. Don't get me wrong, this isn't a bad movie, not by a long stretch; but when all is said and done, this isn't high-quality Romero, and that inadequacy alone is a letdown. It's worth an evening of enjoyment, but not memorable enough to provide a lasting zombie fix (instead, try the 2004 remake of "Dawn of the Dead").

Rating (out of 5): 3

Brian's Review - In Time

JustIN TIMEberlake.

Released: 2011
Genre(s): Action, Sci-Fi, Thriller

Initial previews of "In Time" made it appear like just another, run-of-the-mill, style-over-substance thriller, and in a lot of ways it is, but honestly there is a vast multitude of reasons to watch this wild sci-fi actioner: it's slick, sleek, fast-paced, and serves as another great example of Justin Timberlake's rise to legitimacy in the acting world. The film is beautifully-imagined, bringing to life a not-so-far-fetched futuristic world that seethes with equal parts hyper-charged techno-wonder and gritty realism. The best part is that underneath this mesmerizing, glossy shell is a subtle commentary that seems to parallel today's most pressing socials issues - it strikes very close to home watching these characters literally work and waste their lives away while the rich and privileged live in lavish squander. At the same time, the movie serves as a critique of sorts regarding this country's bizarre and intensifying obsession with youth. Regardless of the message here, a political agenda is not the main focus of this film, as this is still ultimately meant to be viewed only as a high-speed action romp and nothing much deeper. For all of its thought-provoking undertones, this isn't all that smart of a movie, playing to the same tune as similar high-octane thrillers, such as "Limitless," choosing to fall back on stunning visuals and explosive action sequences; instead of "cerebral" we get "formulaic." Fortunately, as a whole product, "In Time" is ridiculously fun to watch, and it doesn't waste time trying to explain the science behind the sci-fi, but rather jumps at us unflinchingly with guns blazing. Due to this naked and earnest approach, I have to say I recommend it for at least a single viewing.

Rating (out of 5): 3.5

Brian's Review - Head Trauma

This film only exhibits some of the symptoms.

Released: 2006
Genre(s): Horror, Mystery, Thriller

The "slow burn" is almost a lost art form in movies these days - so many people want their action immediate and explosive, and their horror gory and full of gratuitous shock value. Audiences seem to want to pay their eight dollars, have their eyeballs seared out of their heads for an hour and a half, and then leave the theater, without having to reflect on any pesky storylines or ambiguous plot developments. I'm sometimes part of this crowd, using movies as a way of shutting down my brain completely and feasting ravenously on visual spectacle. However, every now and then I like when a film engages me on a mental level, intellectually pushing my mind to solve a mad mystery before the time-released answer is revealed. "Head Trauma" is one such movie in a lot of ways, bombarding the viewer's senses with enigmatic and unsettling images, without offering immediate explanation, and letting the story unhurriedly unfold segment by segment over the duration of the film. Initially, these sequences seem crude and sluggish, only occasionally being broken up by a quick scene of a startling spook or a violent flashback. While this might grate on the nerves of some, the majority of these pieces have an ultimate purpose, and the intriguing story aspect far outweighs the confusion that follows in the wake of most of them. Eventually, the deliberate pacing of this formula comes to a head, and the plot forces us to face a disturbing truth. Unfortunately, the calculated gait that serves this movie so well is a double-edged sword in some respects: while the slow buildup undeniably enables the atmosphere and uncertainty to add to the sheer creepiness factor here, it also may allow many viewers to guess the "surprise" twist the film so carefully tries to ration out in precise doses over its entirety. I wouldn't go as far as calling it a "plodding" storyline, but it certainly lacks any real urgency; it would've been nice to see the speed of the movie start to snowball as more and more details were revealed and the pieces of the puzzle started to snap together. "Head Trauma" isn't going to be for everyone, with a heavy reliance on plot instability and obscurity, unfolding at the rate of a slow march. Those who aren't driven away by this idea will love the surprising effectiveness of this technique, and how easily it blends surreal elements into a haunting ghost story that will both chill and amuse.

Rating (out of 5): 3

Brian's Review - The Rite (2011)

It's not entirely wrong.

Released: 2011
Genre(s): Thriller, Horror

Demonic possession: regardless of your take on the validity of it, it'd be impossible to argue that the subject matter hasn't had a profound impact on the horror genre. While some offerings are better (see: "The Exorcist") than others, the fact stands that people speaking in tongues and twisting into unnatural poses is creepy stuff. 2011's "The Rite" joins the smorgasbord of possession movies already on the market, but does so with a refreshing approach that synchronously questions faith, science, and human insight. Even though some of the same old, tired tactics of previous exorcist-versus-demon films are used to fill the empty spaces, the movie primarily uses these lulls in the action to explore the idea of skepticism in the face of bizarre and unnatural circumstances, preventing it from feeling too much like a generic copycat. The movie dwells on the main character's struggle with his own jaded nature as he tries to make sense of the pure insanity unfolding in front of him; simultaneously, it lets us confront our own doubts and beliefs, becoming more of thinking man's exorcism story than a nerve-rattling horror outing. The horror itself tends to be a product of the atmosphere, rather than jarring jump-out moments or disturbing gore effects, relying more on the unsettling onscreen imagery to sustain a feeling of deep unease. The great Sir Anthony Hopkins does an admirable job of embodying wise patience, passionate fury, and discouraged uncertainty all at once, and his character's emotional journey is done supreme justice by the actor's time-tested talents. While some might be turned off by the religious undertone stressing the importance of accepting faith, rest assured that this is most certainly not a zealot-infused, Christian propaganda piece, but more of a cinematic debate that questions blind faith just as much as it does secular scrutiny. However, those who just like the idea of Dr. Hannibal Lecter squaring off against a demon will definitely get a kick out of this one. This is worth at least a weekend rental.

Rating (out of 5): 3

Brian's Review - The Ward

A movie that should be locked in an asylum for none to see.

Released: 2010
Genre(s): Horror, Thriller

I have lots of respect for John Carpenter - he not only makes films in one of my favorite genres, but the original "Halloween" managed to single-handedly (single-maskedly?) revolutionize horror movies with its near-perfect mix of jolting jump-scares and subtle, slow burn chills. Carpenter is undeniably an icon of the genre, weaving tales that thrill with an expert precision and skill honed from years of experience, so of course anytime one of his films is available for my immediate enjoyment, I spring on the opportunity to check it out. Every now and then, I accidentally spring onto a landmine, and I instantly regret my blind faith. "The Ward" is one such landmine, simultaneously exploding with both abrasive sound and noxious stench. The movie plays out like a clumsy mash-up of other, better films' themes: part supernatural horror, part psychological thriller, part dark mystery, and part steaming dog turd; unfortunately, it only manages to effectively pull off the latter genre. A creep-out moment or two occasionally manages to feebly rear its head, but these are so few and far between that their appearances aren't nearly potent enough to outweigh the utter slop that needs to be waded through to get to them. The movie's climactic twist is built up to shock and awe, yet the poor execution of just about everything within this film means it falls flatter than any twist Carpenter has ever contrived before. Add in a completely unconvincing and vapid performance by lead Amber Heard, and this landmine has transformed into an outrageously pungent fart-bomb. "The Ward" ends up as an ugly and bottom-tier offering from one of the horror genre's legends, and should be avoided by both long-time Carpenter die-hards, as well as by anyone with a fraction of common sense.

Rating (out of 5): 1.5

Brian's Review - Immortals

Immortally awful.

Released: 2011
Genre(s): Action, Adventure, Fantasy

If there's one movie that epitomizes the continually growing rift between thoughtful storytelling and overdone special effects in Hollywood, it's "Immortals" - this is a film that does nothing but unrelentingly shove CGI effects down the audience's throat in the desperate hope that no one will notice the movie's insane plethora of horrendous shortcomings. While I have nothing against special effects in general (in fact, I'm an avid fan of the effects-heavy "300," which shares some of the same producers as "Immortals"), using them simply as a means to distract viewers from a paper-thin plot, complete lack of character development, and undeniably mundane dialogue is nothing more than a cheap and crude movie-making tactic. Despite the fact that the story here supposedly uses Greek mythology as a loose source material, the script for this film feels like an elementary school creative writing project. Ironically, despite being childishly simplistic, the plot somehow manages to careen about clumsily, becoming confusingly stupid and nonsensical in its execution. The characters that are thrown into this disaster of a scenario are essentially cardboard cutouts: nobody has any real motive, nonchalantly and almost brainlessly going along for this underwhelming ride. "Immortals" attempts to sell the idea of an ultra-violent, gritty action-adventure in the spirit of "300," but fails both as an action film - with most scenes coming off as laughably-cheesy and cartoony - and as an adventure movie, being so boring that any episode of "Blue's Clues" feels far more epic and grand in scale. Director Tarsem Singh is renowned for his prowess at creating wildly-popular music videos and commercials - however, this skill apparently has translated a little too perfectly to the genesis of "Immortals," as I was only able to find about four minutes (or the length of a pop song) of enjoyable content throughout its entire duration. Top it all off with some of the dumbest fantasy costumes I've ever seen in movie history (unfortunately reminiscent of Lady Gaga's wardrobe), and you've got an obvious contender for 2011's worst film. Special effects without substance does not a movie make. Avoid this film like a cup of expired Greek yogurt.

Rating (out of 5): 1.5

Brian's Review - The Greatest Movie Ever Sold

Perhaps not the greatest, but definitely very fun.

Released: 2011
Genre(s): Documentary, Comedy

In 2004, Morgan Spurlock released "Super Size Me," an unconventional documentary that simultaneously appalled me, shocked me, and seriously made me step back and reevaluate my dietary habits; most importantly, it managed to entertain me in a very genuine way. "The Greatest Movie Ever Sold" follows in the spiritual footsteps of the fast food exposé, this time turning its gaze on Hollywood itself, critiquing the advertising industry's seemingly insatiable desire to force itself into every nook and cranny of the movie-making process, from maximizing screen time of sponsored products to manufacturing an excess of film-related merchandise. Ironically, Spurlock's entire movie is based around the premise of finding funding for "The Greatest Movie Ever Sold," completely from the pockets of sponsored companies: in many ways, the film is cannibalistic, satirically devouring the hand that feeds it; it essentially only exists, because of the very subject matter it explores. There's an inherent humor that can be enjoyed when one reflects on this idea, especially as Spurlock infiltrates corporate offices across the country to plea for funding from PR boards and advertising execs that are oftentimes completely ignorant to the true purpose of the movie, or manage to set themselves up to be seen as the very dupes they believe the film is being made to point a finger at. There are many, many scenes in "The Greatest Movie Ever Sold" that caused me to laugh out loud, if not only due to the thought that something so blatantly absurd was actually happening. While undeniably entertaining, unfortunately Spurlock's latest war on mainstream society doesn't reveal much that the average American doesn't already realize happens behind the scenes when advertising attempts to stick its grubby fingers into Hollywood's endeavors. Spurlock himself doesn't seem to try too desperately to sell this idea though - he even acknowledges near the end of the film that its obvious that Hollywood and product placement are the coziest of bedfellows, and that the most he can hope to do is inform those who are unfamiliar with this practice that it does indeed exist. Those who think "The Greatest Movie Ever Sold" is taking a pretentious, moral highroad might be disappointed with this quirky documentary, but those who see it simply as a film that lays out the facts in a naked, easy-to-swallow fashion will be able to truly appreciate the comedic gold that Spurlock has crafted here. Profound or not, this movie should be able to make you laugh.

Rating (out of 5): 3

Brian's Review - The Wackness

Far more dope than wack.

Released: 2008
Genre(s): Comedy, Drama, Romance

With a title like "The Wackness," I honestly wasn't expecting a lot. The concept seemed interesting enough: a pot-dealing high school senior awkwardly stumbles his way through all sorts of teenage hardships, ranging from first love, to financial issues, to preparing for the rest of his life. Having lived through the '90s, I found it interesting that this coming-of-age journey chose 1994 as a historical backdrop. Unfortunately, besides a few choice slang terms flowing smoothly off the tongue of Josh Peck, there is little genuine nostalgia to be found, as most references feel somewhat forced and random. Luckily, this is only a minor drawback, as the movie's lamentable inability to work the era more naturally into the film is easily swept under the rug when the actors come alive. Most notable of all is Ben Kingsley, who tackles his role as a marijuana-addicted, burnt-out psychiatrist so sincerely and so grandly that there is no doubt as to why he was able to secure the titular role in 1982's powerful biopic "Gandhi." While Kingsley's part in "The Wackness" is the polar opposite of that in the Indian epic, his acting chops cannot be denied, as he lights up the screen with an erratic wildness, while also bringing a quiet sadness and subtle gentleness to his character. The chemistry between Peck and Kingsley is outstandingly charming and amusing, with the elder playing both best friend and emotional father as the younger takes on the world. There's something vaguely reminiscent of John Hughes here as Peck's character experiences, absorbs, and grows, and the adolescent haze that saturates this movie is actually quite pleasant, rather than angsty and melodramatic. While it's not quite da bomb, "The Wackness" is fresh enough to check out at least once - especially if you're looking for something chill to watch while hanging with your home skillets.

Rating (out of 5): 3.5

Brian's Review - Winter's Bone

Film noir for the discerning redneck.

Released: 2010
Genre(s): Drama, Mystery, Thriller

Movies are, at their very deepest cores, art forms, epic poems, and psychologically-layered character studies rolled into single, quickly-digestible visual feasts. Oftentimes, when a film lacks these crucial ingredients that allow it to truly tell a story, directors try to get our attention by cramming in high-octane action sequences and overblown special effects, pulling the focus towards the onscreen eye candy, and away from the plot or characters. "Winter's Bone" does not fall into this lazy habit, rather bringing all of the focus onto the characters, how they interact within a barren setting, and how these elements alone have the ability to drive some wickedly pointed and potent storytelling. The movie makes its home in the socially-isolated, poverty-ridden Ozarks, and the utter, almost grayscale bleakness of this setting consumes everything it touches, quickly establishing the tone for this bitter, backwater drama. While relatively slow-moving in its presentation, "Winter's Bone" doesn't plod, but rather ponders and becomes thoughtful, as its colorful, yet eerily-realistic, cast of characters weaves in and out of the chilling tapestry of a story that can only be referred to as "redneck noir." In sharp contrast to the sparse, desolate, decrepit scenery, every actor here makes their role feel lived-in: the people that inhabit this tale feel incredibly convincing, at times tense and passionately staunch about their personal and social codes, at others dark, grim, and ragged from a world that has hardened their resolution into diamond, while simultaneously draining them of all hope. These people will chill you to your core - if not from the actors' uncanny representations, then from the unsettling way that the townsfolk adhere to a morally-gray ideal of honor. "Winter's Bone" is unafraid to cast an unblinking eye on the gritty underbelly of Americana, and while some may find the quest of its teenage protagonist more disturbing than others, most will be able to see the ordeal as a truly extraordinary example of human willpower shining in the darkest of places. This is as good as American suspense gets, without the need for car chases or government conspiracies.

Rating (out of 5): 4

Brian's Review - Friday the 13th (1980)

Don't waste your time at this summer camp.

Released: 1980
Genre(s): Horror, Thriller

"Friday the 13th" is lauded as one of the greatest horror movies of all time, having experienced significant box office success at its release, and creating a cult following that has allowed it to cement itself into the quintessential pantheon of slasher films. While I can't argue against its importance to the genesis of its own franchise, this is a film that time has not been kind to. "Friday the 13th" works on a stop-and-go dynamic that fails to invoke the same consistent suspense that John Carpenter's "Halloween" did two years before the release of this movie: there are plenty of moments where the tension begins to build, when suddenly it inexplicably fades away as the scene cuts to something unrelated, deflating any sense of impending doom that may have been generated. The other disastrous directing choice that is all too apparent is the emphasis of gore over genuine scares - almost every kill lacks the proper buildup to incite true thrills, instead falling back on gruesome gore effects to sell what is ultimately an underwhelming scene. The characters themselves are no more than lambs to the (literal) slaughter, clueless, two-dimensional cardboard cutouts, who even come across as somewhat unlikable. The inability to feel remorse for most, if not all, of the victims takes away a lot of the potential terror this film desperately tries to produce. I can't hate "Friday the 13th," but it wastes far too much time meandering around Mediocrity City (MedioCity?) to be considered one of the greatest horror movies of all time. I'd recommend checking out the original "Halloween" for a more bone-chilling fright fest, or, at the very least, watching the sequel "Friday the 13th Part 2," which spends a good portion of its opening moments recapping this entire film in all of its lackluster glory.

Rating (out of 5): 2

Brian's Review - Vampires Suck

"Vampires Suck" sucks.

Released: 2010
Genre(s): Comedy

There is no denying that within the past few years alone, the vampire craze has managed to grow from coveted, "Buffy the Vampire Slayer" nerd obsession, to frothing, teen fan girl fad-of-the-moment, to unrelenting world trend. It makes sense, since vampires are a symbol of everything that our society longs for: superficial beauty and the ability to prolong one's life indefinitely, simply by consuming the life force of others (corporate America, much?). I always find it funny and somewhat admirable when someone tries to put a satirical spin on the flavor of the week, especially while its fanbase is at the height of its ravenous feeding frenzy. "Vampires Suck" is a film doing its very best to curb the epidemic caused by the "Twilight" series (most notably the movie adaptations of "Twilight" and "New Moon") as a tongue-in-cheek parody, but, much like the slowest kid on the track team, its best just isn't good enough. Despite the rich mythology of author Stephenie Meyer's source material, "Vampires Sucks" strays away from any witty, potentially-humorous commentaries about the vampire culture, instead opting to awkwardly force random social references and fourth grade playground slapstick into every scene. The aspects of the national craze that seem so obviously spoof-worthy are barely mocked, as the writing almost immediately takes a nosedive into completely brainless nonsense. I can't blame the actors for any of this - for the most part, the acting is goofy enough to be enjoyable (or at the very least, bearable), and characters are played up as direct caricatures of their "Twilight" counterparts fairly accurately. The most notable member of the cast is lead Jenn Proske, who does such a convincing imitation of Kristen Stewart's awkward, hair-pulling, lip-biting Bella Swan that the two actresses could almost be interchangeable. Unfortunately, a wickedly solid lead actress can't carry this pathetic attempt at parody by herself, and the film ultimately fails in almost every respect known to man. Plenty of movies do what this one tries to do better. Much, much better.

Rating (out of 5): 1.5

Brian's Review - Halloween II (1981)

Don't get into an improvised hot tub when Michael Myers is nearby.

Released: 1981
Genre(s): Horror, Thriller

John Carpenter proved with the first "Halloween" that sometimes the most effective horror movie antagonist doesn't need some convoluted backstory or even speaking lines, for that matter - all that's necessary is a big knife, the uncanny ability to show up suddenly where there are vulnerable people, and a blatant disregard for human life. Michael Myers serves up a second helping of terror with his return in "Halloween II," stalking a new set of unfortunate (and fairly clueless) victims, as well as a significantly less resourceful Jamie Lee Curtis. However, despite a larger budget than its predecessor, the thrills in this film feel a bit cheapened somehow: while the kills are significantly more creative, the build up before each fatality lacks the same palpable tension that made the first movie so unsettling. Michael Myers is still an imposing figure in a physical sense, but the atmosphere isn't as heavy this time around, making his onscreen presence seem somewhat less menacing. Regardless, the end product doesn't fail to provide some nail-bitingly creepy situations and there's no shortage of bloody carnage - this is your bread-and-butter slasher film, and while it's lost some of the insane, macabre momentum the first "Halloween" harnessed so completely, it still has the capacity to provide an enjoyable, fright-filled experience, whether you decide to view it on Halloween or Christmas morning.

Rating (out of 5): 3

Brian's Review - Attack the Block

If only the aliens roared with a British accent.

Released: 2011
Genre(s): Horror, Sci-Fi, Comedy

Every now and then, some writer or director manages to effectively mix two of my favorite genres together to create the potent (and incredibly enjoyable) cocktail of horror-comedy - when a movie can find that delicate balance of providing wild thrills, while managing to not take itself too seriously, the end product is pure entertainment. "Attack the Block" is one such film, effortlessly transitioning between amusing, quip-heavy dialogue to scenes of intense action and then back again. While the frights are a little underwhelming, with most being provided in the form of predictable jump-scares, the mere wit of this movie, acted out flawlessly by its cast of talented British youths, is enough alone to check this entry out. Whenever a horror-style movie can inject a healthy helping of genuine heart into itself, it makes watching it all the more interesting: feeling for the main character and his pack of teenage ruffians is not hard once the strife they're placed in gets heavy enough to bring out their inner vulnerabilities. This isn't done in any cheesy or forced way, but rather subtly through the group's interactions with one another and individual mannerisms. As the characters begin to unfold a bit, the human element of this movie strikes hard. This causes obvious parallels between this film and "Shaun of the Dead" - coincidentally produced by members of the same team responsible for "Attack the Block" - which managed to splice in some rather somber moments between all the zombie-bashing and goofy dialogue. While "Attack the Block" proves to be a wickedly gratifying watch, I'd be overselling it if I were to call it "genius" or even try to argue that it holds some importance in the history of movies. Regardless, it's a film that can appeal to a large spectrum of movie-lovers, who may find their time spent in the British slums to be far more fun than expected.

Rating (out of 5): 4

Brian's Review - Doubt (2008)

An excellent film, without a doubt.

Released: 2008
Genre(s): Drama, Mystery

Very rarely does a film manage to make me physically shudder in complete awe. Even rarer are the films that don't fall back on gigantic, jaw-dropping set pieces, or soaring, melancholy musical scores, or the tragic, heart-rending death of an admirable character or relationship to cause this reaction. "Doubt" manages to forego all extraneous movie gimmicks, instead focusing on what all films should emphasize: the acting. Adapted from a 2004 stage play, this movie effectively brings theatre to the screen. There are plenty of opportunities for the all-star cast to shine here, as they work with a script full of so many profound ideas and emotionally-charged confrontations that those normally not interested in dialogue-driven pictures may find some very real interest in this film, as it truly showcases some of the best head-to-head verbal standoffs I've seen in ages. All the actors do a superb job with their parts, but it is Meryl Streep in particular who is able to bring a certain electrically-charged, onscreen ferocity that seems to infect and enhance the acting of her supporting cast members. The power of her final words and mannerisms during the last thirty seconds of this movie gave me goosebumps so pronounced that it looked like I had been bathing in ice water for hours - and, in this case, this is a very, very good thing. Thematically, the mystery within "Doubt" is not only enjoyable and engrossing, but also deeply-unsettling, with enough piercing conviction to leave you wondering for days after the film ends. It's nice to see a film that doesn't get bogged down with overly-elaborate storylines, but rather allows its actors to do what they are paid to do, and in this case, they all prove they're absolute professionals. If you're willing to put the over-the-top Hollywood effects on the back burner for an evening, "Doubt" packs enough explosive acting dynamite into its duration to be worthy of at least one view for anyone who enjoys movies and at least five for anyone who appreciates the art of theatre.

Rating (out of 5): 4.5

Brian's Review - Batman: Gotham Knight

BatmAnime.

Released: 2008
Genre(s): Animation, Action, Crime

Batman has appeared in many various forms over the years, simultaneously embodying the roles of comic book icon, animated vigilante, and live-action hero. Some of these incarnations are obviously much better than others, with my favorite Dark Knights diligently protecting the animated streets of cartoon Gotham Cities. While thematically somber and dark (and might I add, supremely enjoyable), the brutality of these iterations generally fails to match up to the vicious heaviness found in the live-action Christopher Nolan films "Batman Begins" and more notably "The Dark Knight." Enter "Batman: Gotham Knight," a six-part, anime anthology released around the same time as "The Dark Knight" that serves as an interlude of sorts between the two Nolan movies (although its place within Nolan's canon isn't officially acknowledged). A visual treat, each short segment of this film is done in a unique, crisp animation style, by a different Japanese anime artist. Each piece also has a different writer, making this a wildly varied, supercharged romp through some of the heaviest corners of the Batman mythology. The storylines explored in this entry are not to be mistaken for Saturday morning cartoons (even with the talented Kevin Conroy of the '90s animated series voicing each iteration of The Caped Crusader) - things get seriously unsettling and twisted, with a healthy dose of savage violence to match. The movie is excellent in the sense that it both draws from the rich, preexisting Batman universe, while simultaneously adding its own wealth of vibrant lore. Both fans of anthology collections in the spirit of "The Animatrix" and fans of Batman in general will be able to appreciate this film for what it is - an intense, yet immensely refreshing, blast of beautifully-animated action, starring one of the world's most recognizable and admired heroes.

Rating (out of 5): 4

Brian's Review - Donnie Brasco

Johnny Depp. Donnie Brasco. Johnny Brasco.

Released: 1997
Genre(s): Crime, Drama, Biopic

If there's one thing that mob movies have taught me over the years, it's that joining the Mafia is a horrible, horrible idea. While many of the quintessential crime movies released before "Donnie Brasco" focused more on the gritty, explosive violence of mob life, this particular entry centers more prominently on the emotional fallout caused by associating with the gangster lifestyle. Granted, "Donnie Brasco" doesn't shy away from tough guy talk and hot-headed hitmen pointing guns in people's faces - fans of "The Godfather" series and "Goodfellas" won't be disappointed by the action sequences involving people getting whacked - but the beatings and murders take a very obvious backseat to the story here. Johnny Depp plays his part well enough by himself, but the addition of Al Pacino's character causes an onscreen chemistry that comes damn close to genius - both men play off of each other, flawlessly and naturally reacting to subtle mannerisms and nuances without any indication that they're acting at all. It's truly enjoyable and quietly charming to watch Pacino somewhat outside his element, appearing as a desperate and vulnerable lost soul, completely opposite to the manic and deranged temperament he embodies in "Scarface." A supporting cast headed by Michael Madsen rounds out one of the best acting ensembles of the '90s, and the emotional weight this movie strikes with as its characters begin to self-destruct and implode hits hard due to this. If it was a purely fictional film, "Donnie Brasco" would already come as a highly-recommended and surprisingly powerful watch, but merely wrapping your head around the fact that it's based on a true story makes everything all the more entertaining and worthwhile.

Rating (out of 5): 4

Brian's Review - Spirited Away

Animation magic that will spirit you away.

Released: 2001
Genre(s): Animation, Adventure, Family

Those unfamiliar with anime may only be able to associate the term with the mainstream goofiness of shows like "Dragon Ball Z" or "Sailor Moon," and fat, smelly nerds, clad in Acapulco shirts sporting images of dragons shooting laser beams out of their eyeballs. While "Spirited Away" may appear to be nothing more than a Japanese children's cartoon, this movie views far more like a moving piece of gorgeous artwork. Director/writer Hayao Miyazaki, one of the crucial leaders at the legendary animation workshop Studio Ghibli, crafts a piece of cinema with a depth and weight rarely felt even within live-action films. Disney does the experience justice by doing a beautiful job of localizing everything, with the English voice-acting cast in particular being delightfully exceptional. The characters are pure fantasy, but whimsical, charming, lovable ones that feel so alive that letting go of them at the end of the movie is easily one of the most bittersweet farewells in my recent memory. A soaring soundtrack by famous composer Joe Hisaishi stands out as some of his very best work to ever make it into a major production, only further enhancing the raw emotion of the film. Even though Miyazaki's masterpiece incorporates some brief, yet profound, social commentaries, "Spirited Away" is in actuality a wild, surreal, family adventure, enjoying more silly, fun moments of wonder than heavy, dark themes. There's definitely enough excitement here to please action fans, and enough deep, thought-provoking elements to satiate the ponderer in all of us. An incredibly memorable experience, this is the movie to try out if you're unsure about getting into feature-length anime: simply turn down the lights and let the magic take you to an incredible realm of imagination and heart.

Rating (out of 5): 5