MORNING GLORY (2010)

November 16, 2010

 Greetings again from the darkness. It would be easy to dismiss this film as typical lighthearted Hollywood fluff that carries no real message (other than a 2 hour escape). The interesting thing is that its really not an escape – we are tossed right into the workaday world of a manic TV producer. Additionally, though it has plenty of light moments, it also carries a bit of depth in breaking down a couple of lead characters.

Rachel McAdams plays Becky Fuller, morning TV show producer. Becky is a cute, driven, frantic, EverReady Bunny ball of energy who watches multiple TV’s and carries on multiple conversations, all while texting incessantly. She is hired by Jeff Goldblum in his final attempt at resurrecting ratings for “Daybreak”, a mere blip of competition to “The Today Show”.

The story gets interesting when Becky recruits/blackmails news legend Mike Pomeroy (Harrison Ford) to co-anchor the show with Diane Keaton‘s character. To compare, Keaton’s character will kiss a frog or don a pink tutu and has mastered the perpetual smile so necessary for morning TV. Ford’s character may not have smiled since 4th grade and views the mission of TV as delivering news and hard stories and information.  The good news is that Keaton is actually in control and not over the top, as she has been in most of her recent movies.  Ford certainly takes grumpy to the extreme.

The conflict in the story comes from Ford’s character (labeled the world’s third worst person), whom the world has passed by, and McAdams’, who is the eternal optimist. It’s pretty obvious they will somehow save each other, but still I found it entertaining to watch the road.  I also got a kick out of the exploits forced upon the poor weatherman played by Matt Malloy.  The weatherman role has always seemed to me an odd intersection of clown and scientist.

The film itself, directed by Roger Michell (Venus, Notting Hill) and Aline Brosh McKenna (The Devil Wears Prada), does a nice job with insight into those whose personalities are bound tightly to their job. There were a few occasions where the film felt choppy – like some scenes were cut or reinserted, and the music was consistently weak. I also could have done with about 8 fewer scenes of McAdams running through New York in her heels – we get that she never stops moving! The love story with Patrick Wilson felt forced, though making the point was necessary.  And thank goodness, there was no May-September romance between Ford and McAdams!  Even though it’s not at the level of Broadcast News, it offers enough depth and comedy to make this a worthwhile film to see.

SEE THIS MOVIE IF: you can’t imagine letting loose of your blackberry for anything or anyone OR you are fascinated by any woman who can sprint while in heels.

SKIP THIS MOVIE IF: you actually believe Harrison Ford is a grumpy old man OR watching Diane Keaton kiss a frog crosses the line for you

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Posted by David Ferguson

THE GIRL WHO KICKED THE HORNET’S NEST (Sweden 2009)

November 7, 2010

 Greetings again from the darkness. Part 3 of the Stieg Larsson Millennium trilogy brings to an end this fascinating multi-dimensional mystery-thriller centered around one of the most absorbing characters ever viewed on screen, Lisbeth Salander (Noomi Rapace). While I have anxiously awaited this final chapter, I must admit to a touch of emptiness in not having more to anticipate.

As with any literary adaptation, there will be devotees of the written word who say the film versions don’t do justice to the books. I have purposefully waited until seeing all three films to begin reading the books. What I will say is that from a pure film perspective, the 3 films are fascinating, thrilling and pure joy to follow.

As a stand alone, part 3 can be watched as a whole … however, I would promote the full benefit of watching the three in chronological order. The sum is much greater than any of the 3 pieces, though I will say that part one (Dragon Tattoo) is the superior film of the 3.

Part 3 begins with a flashback to the end of 2, and has Lisbeth and her scumbag father in the hospital recovering from their violent meeting. Her goon half-brother Niedermann (Micke Spreitz) is on the hunt for revenge. Mikael Blomkvist (Michael Nyqvist) and his team at Millennium are putting together a comprehensive expose’ to help in Lisbeth’s defense and to prevent her from being institutionalized.

This is where we really are introduced to the players of The Section, the secret society of Swedish Police. This group from the 60’s seems to have no boundaries and will do whatever necessary to prevent exposure of their group. Their power is on display early on.

What follows is a very complex weave of intricate plot lines that fall across many levels of Swedish society. At the epicenter is Lisbeth and her knowledge of her father’s deeds over the years. Best to keep her quiet.

As she recovers from her injuries, we see the Millennium team start putting the pieces together with the help of the police. Lisbeth’s attorney Annika, has little luck in convincing her to speak with an independent shrink to prove her competence. Instead it falls to Dr. Teleborian, who has been a source of misery for Lisbeth since childhood. How things come together is quite fun to watch.

There are so many things that make Lisbeth captivating as a character. Her lack of trust in everyone. Her struggles to communicate with others in anything more than grunts. Her outright brilliance when backed into a corner. On and on. She is no white knight, but she does have her own body armor … spikes, piercings and hairspray.

Lisbeth’s saga has been a movie-going pleasure and I am sad to see it end. Though Larsson is dead, it’s not difficult to imagine a writer picking up where he left off and come up with additional story lines. Until then, the best we get is the Americanized version with Daniel Craig and Rooney Mara. I trust Ms. Mara understands how high the bar was set by Noomi Rapace.

Here are links to my comments on the first two parts:

 https://moviereviewsfromthedark.wordpress.com/2010/04/18/the-girl-with-the-dragon-tattoo/

https://moviereviewsfromthedark.wordpress.com/2010/07/11/the-girl-who-played-with-fire/

SEE THIS MOVIE IF: you have seen the first two parts (like I could keep you away!)

SKIP THIS MOVIE IF: you have read the books and think no movie ever does justice to the book

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Posted by David Ferguson

CONVICTION (2010)

November 7, 2010

 Greetings again from the darkness. Based on a compelling true story and spurred by a “60 Minutes” segment, the film tells the story of Betty Anne Walters (Hilary Swank) who dedicated 18 years of her life to proving the innocence of her incarcerated brother, Kenny (Sam Rockwell).

The natural assumption would be that Betty Anne wrote letters and hounded police and attorneys so that no one would forget Kenny. The truth is far more fascinating. From an abusive and underprivileged childhood, Betty Anne rose above all and reinvented herself once her brother was found guilty of murder. She got her GED, graduated from college, then law school, and became his attorney. With assistance from Barry Scheck and The Innocence Project, old evidence was re-analyzed and witness testimony was contested. The outcome is public record and more proof that fact can be stranger than fiction.

Pamelay Gray’s script is handled by director Tony Goldwyn, who is known mostly for TV projects. He is talented enough to let the story and his excellent cast do the work. Swank, of course, is the perfect choice for this role and seems quite at ease. Rockwell, one of the more under-appreciated actors around, is very strong in capturing the lovable Kenny, as well as the red-hot tempered alcoholic who was always in trouble with the law. The relationship between this brother and sister is established via childhood flashbacks and prison visits. We never once doubt that Betty Anne would commit to this challenge, even if we do question the wisdom of doing so.

Have to mention some of the rest of the cast. Minnie Driver is Abra, Betty Anne’s law school classmate who joins her in Kenny’s cause. The movie never really explains why she does this, but she adds a nice element. Melissa Leo is the cop with a chip who railroads Kenny. We see later how her life turned out and can only think she deserves every bad thing that can happen. Ari Graynor plays Mandy, Kenny’s teenage daughter and an almost unrecognizable Clea DuVall is excellent as her mother Mandy. The performance that really jumps off the screen is that of Juliette Lewis. We first see her testifying in court and then again almost two decades later as a burned out shell of a person. Her few minutes here are staggering to watch.

It would be easy to dismiss this as just another melodrama, but it is really fascinating to see what the love of a sister can accomplish. I was shocked that the end trailer didn’t mention that Kenny died in a freak accident just 6 months after his release. Betty Anne is on record as saying that while tragic, at least he died a free man.

SEE THIS MOVIE IF: the words “based on a true story” make your heart race OR you have always wondered what a drugged-out Juliette Lewis would look like (yikes!)

SKIP THIS MOVIE IF: movies about dirty cops annoy you OR you wouldn’t lift a finger, much less dedicate your life, to help your brother or sister

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Posted by David Ferguson

HEREAFTER (2010)

October 24, 2010

 Greetings again from the darkness. One of the advantages to not being dependent upon movie reviews for food and shelter is that there is no concern for a superstar holding a grudge against me and my opinions. Make no mistake, director Clint Eastwood is a Hollywood powerhouse and also one of the most consistently fine filmmakers working today. Still, no one bats a thousand … this is a miss, with barely a swing.

The film follows three basic stories. The first revolves around George Lonegan (Matt Damon), who seemingly has true psychic abilities. The problem is that George does not wish to have anything to do with his “powers”. The second involves twin brother, Marcus and Jason, who live with their druggie mom. Things change quickly when Jason is hit and killed by a truck and Marcus is taken away while his mom rehabs. The third story has Marie LeLay (Cecile De France) as an investigative reporter who gets caught in a tsunami while vacationing and has a “near death experience”.

I will not go into detail for any of the three stories other than to say Jay Mohr plays Damon’s money-grubbing brother who wants to take his talent to the big time; the sadness of the surviving twin is tough to take at times as he searches for a connection to his dead brother; and lastly, Marie’s near-death brings her closer to life than she ever was before.

What is most surprising, given the pedigree of Eastwood and writer Peter Morgan (The Queen, Last King of Scotland) is that this movie and each of these stories are, for lack of a better word, quite boring. We really get little insight into any of the characters – other than the overall sadness each shows regularly. The sub-story with the most interest involves a brief encounter with a secret research clinic sporting a Nobel Prize winner. The clinic evidently has much research and data on this topic.

As you have already guessed, these three stories intersect near the film’s end. This is a ploy that is all too common in Hollywood these days. I won’t give away how it all comes together, but it bordered on eye-rolling. The film does not depend upon the viewer’s beliefs or understanding, though I personally believe some people do have a heightened sense of awareness and connection. That’s not really what it’s about. It’s more about sadness, loneliness and the need for personal connection while alive.

As usual, Mr. Eastwood has put together a terrific score. And I will gladly admit that the first 7-10 minutes of the film, including the tsunami were captivating … and I loved the connection with Charles Dickens. That’s the best I can offer for the film, and here’s hoping Eastwood’s biopic on J Edgar Hoover brings significantly more interest and entertainment value.

SEE THIS MOVIE IF: you somehow enjoy watching sad, miserable people talk to other sad, miserable people OR you want to see a really cool CGI tsunami on screen.

SKIP THIS MOVIE IF: you aren’t the president of the Clint Eastwood Fan Club OR you find connections between the present and afterlife to be full- baked baloney.

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Posted by David Ferguson

STONE (2010)

October 24, 2010

 Greetings again from the darkness. Psychological thrillers have long been my favorite genre of film. The best ones cause us to examine our own thoughts while analyzing the actions of others we probably don’t quite understand. Unfortunately, most scripts fall short in complexity and stimulation, and leave us with a half-empty character study. Director John Curran (The Painted Veil) and writer Angus MacLachlan (the superb Junebug) offer up a just-miss.

Robert DeNiro plays a parole officer on the brink of retirement. He is the guy that lives and works by the book to suppress his inner demons of which we get a glimpse in the film’s opening. Despite the horror, he and his wife stay married for decades … the relationship is built on a false worship of scripture and plenty of nerve-deadening booze. DeNiro decides to finish out his current files, one of which belongs to Edward Norton. He is an 8 year convict, serving a sentence for a crime that ended with the death of his grandparents.

The real fun begins when Norton enlists his schoolteacher wife, played by Milla Jovovich, to invade DeNiro’s cold facade. So really what we have is: DeNiro trying not to feel anything, Norton trying to pull one over on DeNiro either by himself or with his wife, and Jovovich trying desperately to obey her husband while playing evil mind and body games with DeNiro. This is the point I like to call “the table is set”.

Unfortunately, none of these story lines really go deep. The best seems to be Jovovich and DeNiro, but even that falls short of real grit. So much potential here and the actors all seem up for anything. It’s just the script lets them off way too easily.

Frances Conroy is excellent as DeNiro’s wife who had had her soul locked away. We never really get the full scoop on the Norton/Jovovich connection, but by the end, that doesn’t seem to matter. Is the film watchable? Yes. Could it have offered more deliciously evil interaction between these characters? Absolutely.

SEE THIS MOVIE IF: you have been patiently waiting for Edward Norton to put his hair in corn rows OR swigging whiskey while reading biblical scripture is a family tradition you could embrace

SKIP THIS MOVIE IF: you get frustrated when a promising premise of intellectual battles fizzles right in front of your eyes OR if the mere thought of a Robert DeNiro / Milla Jovovich hook up causes you to reach for the Pepto Bismol.

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Posted by David Ferguson

YOU WILL MEET A TALL DARK STRANGER

October 10, 2010

 Greetings again from the darkness. Sound and fury signify nothing. The narrator begins the film by reminding us of Shakespeare’s words. I can’t decide whether or not this was a confession by Woody Allen that he realized the movie fits that phrase. I have followed Mr. Allen’s film career since the early 70’s and have learned that sometimes disappointment follows. Of course, there are also times when pure screen magic occurs, making the journey worthwhile. Unfortunately, there is no magic here, just sound and faux-fury.

Here is a convoluted recap of the story: Elderly woman Helena (Gemma Jones) is dumped by her doesn’t want to admit he’s aging husband Alfie (Anthony Hopkins). He tries to be a swinging bachelor and ends up marrying a gold-digging call girl named Charlamaine (Lucy Punch). Helena looks for guidance from Cristal (Pauline Collins),a fortune teller referred by Helena’s daughter Sally (Naomi Watts). Sally is married to Roy (Josh Brolin), a morally bankrupt one-hit wonder in the novel-writing business. She works at a very successful art gallery run by Greg (Antonio Banderas). Sally and Roy yell at each other a lot and Sally has eyes for Greg, who instead has eyes for Iris (Anna Friel), a painter Sally discovered. Roy has peeping eyes for Dia (Freida Pinto), whom he can see from his bedroom window.

So, you get the idea. It is actually a set-up that fits perfectly with a Woody Allen film. A madcat story where no one is happy with their life and they each seek proof of their worth. Interesting that they seem to have some security with their current partner, but it’s just not enough. The cast is stellar, and London makes the perfect setting. However, nothing really clicks. Manly Josh Brolin just doesn’t wear neurosis well. I didn’t enjoy watching Naomi Watts yell at people. Anthony Hopkins’ character is such a pathetic re-tread that it really annoyed me. Mr. Allen obviously finds Freida Pinto appealing because her character gets perfect lighting and comes across as a victim, despite dumping her fiancé.

Despite all the turns in these sub-plots, only one of the stories really has any finality to it. Now I don’t mind endings that leave much to the imagination, but I do get irritated when it appears the filmmaker just lost interest. Even when that filmmaker is Woody Allen. 

SEE THIS MOVIE IF: you believe Woody Allen only makes timeless classics OR listening to Leon Redbone sing “When You Wish Upon a Star” is worth $10 to you.

SKIP THIS MOVIE IF: you are susceptible to the directives of fortune tellers OR you just can’t take one more film about a struggling writer, a lustful senior citizen or a career woman whose biological clock is ticking.

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Posted by David Ferguson

JACK GOES BOATING (2010)

October 3, 2010

 Greetings again from the darkness. We all recognize the genius of Philip Seymour Hoffman the actor. This gives us one more example of his immense talent, but also puts his eye as a first time director on display. Not surprisingly, the result is a terrific “little” film.

Based on the play by Bob Glaudini, three of the four main characters reprise their role from the stage production. Mr. Hoffman as Jack, John Ortiz as Clyde and Daphne Rubin-Vega as Clyde’s wife, Lucy. The newcomer is the fantastic Amy Ryan (“The Office”, “Gone Baby Gone”)as Connie. Jack and Clyde are good friends and work together as limo drivers. Lucy and Connie work together for some odd funeral home specialist who markets a type of  program that I never quite understood.

All that really matters is that Clyde and Lucy arrange to have Connie and Jack meet. The apparent reason is that neither of them have any friends or social skills and therefore, must be the perfect match! What we then learn is that all four of these people are fractured. Scene after scene shows off the power of friendship and/or the frailty of on-the-job relationship therapy brought about by cheating, holding grudges and keeping secrets.

For the most part, the film has the feel of a stage production and moves very slowly as these type of people would. There are moments where individual weakness gives way to outbursts of emotions – and not all in a positive way. What is clear is that they each want the best for each other, but have no real feel for what’s best for themselves.

I thought the film made some excellent points, but I was a bit disappointed in the hookah scene. That was the only scene that went too far and my guess is it worked better on stage. On the bright side, there are some tender, poignant moments and the acting is truly superb throughout the film. It is obvious that these four actors care very much for the story and these characters.  The soundtrack is a bit unusual, but fits very well with these characters.  One reggae song, “The Rivers of Babylon” plays a vital role in the film’s lone light-hearted moment.

SEE THIS MOVIE IF: exceptional, nuanaced acting is your cup of tea OR you are a fan of Philip Seymour Hoffman

SKIP THIS MOVIE IF: low budget indies tend to bore you OR watching Philip Seymour Hoffman learn to swim could give you nightmares

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Posted by David Ferguson

THE SOCIAL NETWORK (2010)

October 2, 2010

 Greetings again from the darkness. This is a film with good genes. It’s based on Ben Mezrich‘s novel “The Accidental Billionaires”, screenplay by Aaron Sorkin (West Wing, A Few Good Men) and directed by one of the best directors working today, David Fincher (Fight Club, Zodiac). The film is dialogue driven and my advice is to shift your ears into turbo-mode to keep up. These Harvard types never stammer and are quite speedy in making their oh-so-clever points.

This film is not so much the history of Facebook as it is a glimpse into the individuals behind the idea. Foremost, of course, is Mark Zuckerberg (played with rapid-fire tunnel vision by Jesse Eisenberg). The programming guru behind the code, Zuckerberg is depicted as a guy who is not just socially inept, but also unaware of social mores and code. I am not sure if he is best described as a prodigy, genius or even (possibly) a sufferer of Asperger’s Syndrome. Whatever he is/was, he became a billionaire in his early 20’s by proving he could put together the world’s dominant social network while having no redeeming social or relationship skills of his own. Fascinating.

Zuckerberg’s best and only friend (and business partner) is Eduardo Saverin (played by the next Spider-Man, Andrew Garfield). Saverin fronted the money to get Facebook started and was one of the parties who brought suit against Zuckerberg, claiming he was cheated out his place in the company.

The third key player is the infamous Sean Parker (played by Justin Timberlake). Founder of Napster and Plaxo, Parker manages to get his hooks into Zuckerberg and apparently was behind the snubbing of Saverin. This is the most charismatic role in the film (and real life), yet also the role that may have the most dramatic license taken in the film.

The story is told in non-linear form, weaving multiple depositions from different lawsuits. One includes the Winklevoss twins from Harvard who claim Zuckerberg stole their idea. They later settled for millions.

As I said, this is not so much a history of Facebook as it is a display of the characters involved. These are all brilliant people who are also ignorant to the ways of the world. It seems they all have significantly different goals, yet never really stop to agree on strategy. Instead, the site growth is non-stop, as is the back-stabbing.

Interestingly, the film uses a girl (Rooney Mara) in the opening scene as the single biggest influence on Zuckerberg’s brainstorm. Her rejection of his self-centered speed-talking kicks his creative wheels into motion and his relentless energy never slows for the rest of the story. One thing is clear, Zuckerberg did not single-handedly create Facebook and there is little doubt some key people were given short straws along the way. No way to discern what really happened as all that was battled out behind closed doors in sealed records and settlements. What we do know is that Facebook now has over 500 million users worldwide.

This is an extremely well crafted movie, though in my opinion, none of the acting is up to the script. It’s a film that provides enough insight into the players and enough entertainment for the ticket. That’s really sufficient. Some are proclaiming this as a Best Picture contender.  It may very well get enough momentum to be nominated, but here’s hoping this isn’t the year’s best.  Coming next … David Fincher is set to direct and Rooney Mara is cast as Lisbeth in the Americanized version of the fabulous Swedish hit, The Girl with the Dragon Tattoo. So enjoy this one and look forward to that!

SEE THIS MOVIE IF: you are one of the 500 million Facebook users OR you thrill to the challenge of high-voltage, college-genius dialogue that always instantaneously delivers the single best comeback possible.

SKIP THIS MOVIE IF: you think every person has redeeming value OR you have to ask “What is Facebook?”

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Posted by David Ferguson

IT’S KIND OF A FUNNY STORY (2010)

September 30, 2010

 Greetings again from the darkness. Attended a screening last evening and came away a bit surprised. The preview, thanks in part to Ida Maria’s blaring song “Oh My God”, had me convinced this was going to be a typical slapstick teen comedy. Instead, co-writers and co-directors Anna Boden and Ryan Fleck deliver a black comedy-drama that has appeal to both teens and grown-ups. (based on the Ned Vizzini novel)

The story revolves around Craig, a 16 year old who is feeling depressed and suicidal given the pressures of a relentless father, looming college entrance exams and a screwed up social life. You are right if you are thinking this sounds like just about every 16 year old on the planet. The difference here is that Craig checks himself into a psych ward … he ends up in the adult wing, since the teen wing is undergoing renovations. Craig is played by Keir Gilchrist (The United States of Tara), who I can best describe as a young Keanu Reeves clone, only too smart rather than too clueless.

Since this is part comedy, you can imagine the characters who fill the ward. Craig bonds with Bobby, played by Zach Galifianakis, who seems happy to play the mentor role (quoting Dylan) for Cool Craig, but just can’t seem to find the strength to live his own life. Of course, we also get the emotionally damaged hot girl played exceptionally well by Emma Roberts (daughter of Eric, niece of Julia; Nancy Drew). The film accepts its own stereotypes for the other characters with labels such as “the schizophrenic”.

The message of the film seems to be that we all go through stages of doubt and uncertainty, and the best “cure” is to somehow remove the stress and discover our real talents and personality. You may end up creating art in the form of a brain map, or even a music video of Bowie/Queen’s “Under Pressure” (an elaborate inset to the film).  Just live.

The filmmakers evidently struggled with where their line was for the direction of the story. With previous serious films Half-Nelson and Sugar, my guess is their vision was a much more complex and darker script rather than the final version which has more mass appeal. The Zach Galifianiakis character specifically, seemed poised to make a real statement. Instead we are left with his reserved, knowing smile as Craig presents him a gift and the hope of getting together for ping pong. Also, not much story is given to Emma Roberts and her penchant for cutting herself. She seems magically cured after a roof top encounter with Craig. Anyway, the comedy sections are more successful than the drama sections, provided you are able to find humor in the illness and weakness of others.

This is certainly not at the level of One Flew Over the Cuckoo’s Nest, but it is an entertaining film from a comedic perspective. It will probably be remembered as Zach Galifianiakis fist role where he flashed some real acting chops, and hopefully as Emma Roberts breakout role.

SEE THIS MOVIE IF: you enjoy humor derived from the darker elements of life OR you want to say “I was there” when Zach Galifianakis proved he could do more than smirk.

SKIP THIS MOVIE IF: you think a movie should be either a comedy or drama, not both OR hearing the opening riff to “Under Pressure” causes flashbacks to Vanilla Ice explaining how he didn’t sample the song.

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Posted by David Ferguson

NEVER LET ME GO (2010)

September 26, 2010

 Greetings again from the darkness. Let me say that it’s great to have Mark Romanek back directing films. His most recent feature was 2002’s One Hour Photo which I found masterful. Here he has source material from the acclaimed novel of Kazuo Ishiguro (The Remains of the Day) and does an admirable job depicting this underground world of test tube-grown replacement parts. Despite the numerous opportunities for moral and philosophical statements, the film does a nice job of staying true to the novel and avoiding the soapbox.

We are introduced to Kathy, Tommy and Ruth. They are 3 friends being raised at Hailsham – a cross between an orphanage, boarding school and laboratory. The kids have no idea of their purpose in life and just go about their days as instructed – never really finding a need to question their existence … though many “stories” of the place have evolved over the years.

One day, a teacher played by Sally Hawkins breaks the code and explains to the children that their sole purpose in life is to be harvested for body parts. Sure this theme has been explored previously, but not really from the kids’ perspective. Ms. Hawkins’ character is instantly relieved of her duties by the cold-natured head mistress played perfectly by Charlotte Rampling.

Flash forward a few years and the three are played by Carey Mulligan (Kathy), Andrew Garfield (Tommy) and Keira Knightley (Ruth). We see a romance develop between Ruth and Tommy, though it’s obvious the real connection is between Kathy and Tommy. As they move to “the cottages” (a middle step in development), they learn a bit more about the curious real world.

It’s not until a few years later when we see how two of them have fulfilled their obligation, while one has delayed by playing a “carer” to donors, that we see just how bleak this existence is. The real questions are raised by Kathy as she wonders just how different their lives are than those in the real world. It seems both sides have regrets, unrealized dreams and a shortage of time. Here endeth the lesson.

This film is gathering a bit of Oscar buzz from the critics, but I must admit that I found it leaving entirely too much up to the audience. There are too many gaps to fill and not really much conflict or drama. It is finely made and well acted, but comes up short of what I would expect from a true Oscar contender.

SEE THIS MOVIE IF: you read the novel and/or are intrigued by the idea of creating replacement parts for humans OR you just want to see the guy replacing Tobey Maguire as Spider-Man.

SKIP THIS MOVIE IF: you prefer your films on the cheery side of the emotional scale

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Posted by David Ferguson

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