Director: Alexia Anastasio
Starring: Bill Plympton, Terry Gilliam, Moby, Tom Sito, Ed Begley Jr., “Weird Al’ Yankovic
I Believe Productions
MPAA Rating: Not Rated
Running Time: 84 minutes

Our Score: 4 out of 5 stars

In the opening of the film, actor Ed Begley Jr., jokingly thinking he is doing an interview with Bill Clinton, ask why they are doing an documentary on Bill Plympton? Well that answer is explained very thoroughly in this documentary. Bill Plympton is an Oscar nominated animator and does not get the respect he deserves.  He creates movies faster than they can be released and he does it all independent. This documentary is really funny and gives great insight into the career to date of Bill Plympton. The film is also  edited really well to tie everything together, kudos to Alexia Anastasio and Kevin Sean Michaels. The interviews are mixed with clips from Bill’s work, which takes us perfectly into the depths of his mind.

There are dozens of interviews included including some really big names like Terry Gilliam, Moby and “Weird Al’ Yankovic. Each person tells really fun and interesting stories about their relationship with Bill. There are also interviews with Bill’s friends and family about his career. I have seen many documentary interviews and these seem very fresh and interesting. I even liked the directors (Anastasio) approach to get opinions from critics of Bill…some who like his work, some who don’t.

You can tell that this film is really a passion piece for Alexia Anastasio (click here to read our interview with her) and a lot of time went into this project. She really seems to have an eye for capturing the documentary subject. I will look forward to her upcoming projects. This film is currently on tour in the film festival circuit, so keep an eye out for me.  Bill Plympton deserves some major attention for his amazing work and hopefully this documentary will assist in that doing so.  Tell your friends and don’t miss a chance to see this fun documentary.

Starring: Thomas Horn, Sandra Bullock and Tom Hanks
Directed by: Stephen Daldry
Rated: PG 13
Running time: 2 hours 9 mins
Warner Brothers

Our Score: 5 out of 5 stars

Oskar Schell got out of school early that day. He went home and saw several messages on the family answering machine. Turning on the television he is puzzled by the images of the burning buildings on screen. It was Tuesday, September 11, 2001. To Oskar, it was “the worst day.”

Featuring the greatest performance by a young actor since Haley Joel Osment saw dead people in “The Sixth Sense,” “Extremely Loud and Incredibly Close” is the story of a boy whose love for his father continues to grow, even after he’s gone.

Thomas Schell (Hanks, mostly in flashbacks) is a dreamer. His father left the family when Thomas was a boy and, in spite of his dreams, Thomas became a jeweler to take care of his family. Married to Linda (Bullock), Thomas sees his dreams come true in the guise of his son, Oskar (Horn). The two have oxymoron battles (Jumbo Shrimp takes down Original Copies) and share adventures. Oskar is quiet and shy so Thomas devises what he calls “Reconnaissance Expeditions,” knowing they will get Oskar out of the house and talking to people. Currently Oskar is searching clues for the lost 6th Borough of New York, rumored to have floated away years ago. The search seems to end when Thomas dies. But when Thomas finds a mysterious key in his father’s belongings, a new search begins.

Director Daldry has made three feature films – “Billy Elliot,” “The Hours” and “The Reader.” For each of these films he has been nominated for an Academy Award. Not a bad record. His work here is truly deserving of nomination number four. The film is both exciting and heart breaking. Oskar embarks on his journeys wearing a pair of his dad’s shoes, clomping through New York City with determination. Fearing public transportation (and pretty much everything else in the world), Oskar walks the city, trying desperately to find the lock that the key opens. He explains that, were the sun to explode, those of us on earth wouldn’t know for eight minutes, because that’s how long it would take the light to travel. Oskar wants another eight minutes with Thomas and he’ll walk around the world to get them.

The film works totally thanks to the performance of young Horn, who at age 12 won $31,000 as the champion of “Kid Jeopardy.” The work is truly award worthy, though with this year’s crop of great acting performances I fear young Horn will get lost in the Oscar shuffle. Hanks and Bullock are both strong in what are really supporting roles, as are Broadway greats Viola Davis and Jeffrey Wright. Another stand out performance belongs to 82 year old Oscar winner Max Van Sydow, who plays a man known only as The Renter. Mute by choice, Van Sydow says more with his face then some actors say with their whole body, giving a wordless performance that rivals that of “The Artist’s” Jean Dujardin.

Starring: Meryl Streep, Jim Broadbent and Richard E. Grant
Directed by: Phyllida Lloyd
Rated: PG 13
Running time: 1 hour 45 mins
The Weinstein Company

Our Score: 3 out of 5 stars

November 2008. As the daily papers highlight the recent terrorist bombings in Turkey a kindly old lady is sitting down to breakfast with her husband. Over their eggs she complains about the price of milk. A knock on the door alerts her to a busy day of book signings. Such is a day in the life of Margaret Thatcher.

Skillfully portrayed by Meryl Streep, on her way to Academy Award nomination number 17, “The Iron Lady” is a look at the decisions Thatcher made that took her from a little respected member of Parliament to one of the most famous leaders of the 20th Century. The story is told in two parts. The flashback sequences show how Thatcher, played by Alexandra Roach in these scenes, went off to Oxford, became a barrister and began her fight for the people of England. The modern day scenes are curious because though we see Thatcher speaking constantly with her husband, Dennis (Broadbent), she is only doing so in her mind. Dennis Thatcher passed away in 2003.

Director Lloyd, who directed Streep previously in “Mama Mia!,” stages these intimate scenes between Margaret and Dennis well. But she relies too much on dramatic music and heavy dialogue to establish Margaret Thatcher’s toughness. After Argentina invades the Falkland Islands it is her decision to go to war. The music builds as she is told one of the Argentine ships that attacked is steaming away. “Sink it,” she spits out to her naval commander. But even these detractions can’t take away from the masterful performance Streep delivers. Of course, she’s been delivering them for more than three decades so I don’t understand why I seem surprised.

The supporting cast is also first rate. As Dennis Thatcher, Broadbent brightens each scene he’s in. Ms. Roach also shines as the young Margaret as does Grant who plays Michael Heseltine, who challenged Thatcher’s leadership of the Conservative Party, which later led to her resignation.

Starring: Queen Latifah, Dolly Parton and Keke Palmer
Directed by: Todd Graff
Rated: PG 13
Running time: 1 hour 57 mins
Warner Brothers

Our Score: 2.5 out of 5 stars

Whether you’re a regular church goer or just drop by on Easter and Christmas Eve, you can’t resist tapping your toes to the music that rises from the choir. In one small Georgia town that choir is run by Bernard Sparrow (Kris Kristofferson), who has guided them to the regional competition of a national Gospel Music contest many times. When Bernard passes away, the pastor (Courtney B. Vance) appoints not Bernard’s widow, G.G. (Parton) but Ms. Vi Rose Hill (Latifah). Vi, a nurse, is raising two children alone, her husband (Jesse L. Martin) currently serving in the Army. Her oldest, daughter Olivia (Palmer) also sings in the choir. However, she and her mother disagree on her style of music. Vi wants all of the voices to blend together while Olivia feels the need to belt out the occasional solo. Son Walter (Dexter Darden) is a young man who has trouble socializing. He has Aspergers Syndrome and is currently fixated on how many one-hit wonders he can name. When G.G.’s grandson Randy (Jeremy Jordan) returns to town the die is cast for a feel good musical. Or a teen love story. Or, possibly, both.

Uneven in every way, “Joyful Noise” is best described as “Sister Act” done by the cast of “Glee” (minus Blaine, thank goodness). Director Graff also penned the screenplay and has apparently decided that all Southern people speak in metaphors. “There’s always free cheese in a mousetrap but the mouse ain’t happy” is a great piece of sage advice that G.G. dispenses. What it has to do with the story I don’t know. Another gem: “it’s like trying to sneak dawn past a rooster,” which was funnier 30 years ago when Sylvester Stallone mispronounced it to Miss Dolly in “Rhinestone.”

I have to give credit to the cast. They seem to be trying hard and the three young leads give fine performances. Cast as the strict mother, Latifah does her best to avoid playing a stereotypical over-protective parent. Parton, who turns 66 next week, hasn’t headlined a film since 1992’s “Straight Talk” and that’s a shame because her personality has always been a plus on screen. The films strongest scenes take place when everyone gathers and lifts their voices. The songs here are powerful. Gospel fans will enjoy hearing not only Latifah and Parton but Gospel legends Kirk Franklin and Karen Peck.

Musical? Love story? I still don’t know. Neither does Warner Brothers, apparently. In the past two weeks their entire television advertising campaign has gone from highlighting the two Oscar nominated stars to featuring the kids with hardly a mention of the adults. If you like Gospel music you might give it a look. If not, I’ll see you in church.

Starring: Mark Wahlberg, Ben Foster and Giovanni Ribisi
Directed by: Baltasar Kormakur
Rated: R
Running time: 1 hour 50 mins
Universal

Our Score: 3.5 out of 5 stars

As a freighter ship approaches New Orleans it is suddenly surrounded by boats and helicopters manned by members of the Customs and Border Protection team. Fearing the discovery of his “shipment,” one of the crew members tosses a package overboard. That package cost somebody a pretty penny. And now it may cost him and his family their lives.

Told in a quick, straight ahead style, “Contraband” is an update of the 2008 Icelandic film “Reykjavik-Rotterdam,” which director Kormakur not only produced but starred in as well. The story concerns happily married father of two Chris Farraday (Wahlberg). Farraday was one of the best smugglers in his time, bringing pretty much whatever he wanted from anywhere he chose. He’s retired from the life now, happily running his own alarm company. And who better to know how to foil crime then a former crook. When he finds out his brother-in-law Andy (Caleb Landry Jones) has had to dump a major package of drugs he realizes that soon HE will be the one thrown overboard. After paying a visit to Andy’s “benefactor” (Ribisi, channeling Nicolas Cage in “Kiss of Death”), Chris decides to pull one more job, hoping the proceeds will keep Andy alive.

After a holiday season of more serious fare, it’s nice to see the new year start off with a bang. There are twists and turns, crosses and double crosses here and if you don’t pay attention you may fall behind. Wahlberg has always done “tough” well and he doesn’t disappoint here. Of course, growing up a bad ass in South Boston probably has a lot to do with it! His on screen relationship with wife Kate Beckinsale, who plays his wife, Kate, feels real and that is why you can’t help but root for him. As played by Jones, Andy is more a whiner then a tough guy. It’s obvious to me that, to paraphrase Joe Pesci in “Goodfellas,” Andy “would fold under questioning.” Foster is strong as Chris’ long time friend and partner Sebastian. The supporting cast that makes up Chris’ shipmates are also enjoyable as is J.K. Simmons, who plays the cargo ships Captain.

Kormakur uses an almost documentary style during the more quiet moments of the film but opens up the screen when the action calls for it. An armored car robbery, very reminiscent of Michael Mann’s “Heat,” is one of the highlights in the adrenaline filled second act.

Directed by: William Brent Bell
Starring: Fernanda Andrade, Simon Quarterman, Evan Helmuth, Suzan Crowley
Distributed by: Paramount Pictures
MPAA Rating: R
Running time: 87 minutes

Our Score: 3.5 out of 5 stars

In the wake of successful series like “Paranormal Activity”, “The Devil Inside” is the latest film to try and recreate its glory. The film immediately received bad press from its viewers complaining about how bad this movie was. I went into his film expecting the worse and was really pleasantly surprised. This film contains follows the same path as the other films but delivers some scares and some great “oh shit” moments. If you can get over the shaky camera, I would recommend this.

The film follows a young girl, Isabella, who wants to find out the truth about her mother, Maria Rossi. In 1989, she was arrested for killing three people during a supposed exorcism on herself. She is moved to a hospital in Italy for “undisclosed reason” and Isabella wants to get to the bottom of her condition. She hires a filmmaker to film her on her journey to Italy to learn more about exorcisms and her mothers situation. After meeting with her mother, she finds that she is involved with more than she can handle and the devil is definitely real.

The film is starts off with a documentary feel but then switches to the “Paranormal” feel just following Isabella on her journey through Italy. There are some really cool scenes during a few exorcisms and some good jumps. If you are not a fan of “Paranormal Activity” films, then clearly you need to stay away from this. If you enjoy these type of films then this will leave you satisfied. Due to the success of this film, we should be seeing more in this series. So like it or not, expect more exorcisms.

Starring: Asa Butterfield, Chloe Grace Moretz and Ben Kingsley
Directed by: Martin Scorsese
Rated: PG
Running time: 2 hours 6 mins
Paramount

Our Score: 4 out of 5 stars

High above the crowds in the Paris Train Terminal, young Hugo Cabret (Butterfield) tends to the clocks, making his way through a seemingly never ending maze of tunnels and catwalks. Orphaned after the sudden death of his father (Jude Law in a nice cameo), a clockmaker, Hugo is put in the charge of his uncle Claude (Ray Winstone), a heavy drinker who brings Hugo to live with him in a small apartment behind one of the great clocks. Apparently the knowledge of gears and springs runs in the family. When not spying on the comings and goings of the people below, Hugo is attempting to repair an automaton: a mechanical man his father had discovered at the museum where he worked and had brought home as a kind of father and son project. He only needs a few more gears and a mysterious heart shaped key to wind it up.

Based on the award winning book “The Invention of Hugo Cabret” by Brian Selznick, the film is a faithful adaptation that unfolds beautifully thanks to its heart, director Scorsese. While the film is centered around the mechanical man, the main character here is the quiet owner of a toy shop (Kingsley, who should most definitely receive an Oscar nomination for his work) whose past is celebrated without his knowledge. To say more would give away a major plot point but when it’s revealed you realize that not only was Martin Scorsese the perfect choice as director, he might possibly was the only choice.

The cast is aces across the board. As young Hugo, Butterfield shines. His wide eyes taking in the world around him, while still projecting the sorrow behind them, Hugo is wise beyond his years in some ways. As the book loving girl he meets in the train station, Moretz (“Kick Ass,” “Let Me In”) continues to add to an incredible early career that puts her on the same track as Jodie Foster and Kirsten Dunst…a child actress that will seamlessly grow on screen before our eyes. Kingsley, who is surely this generations Robert Duvall (the man NEVER gives a bad performance) makes the character of Papa George come to life. Credit also to Sacha Baron Cohen as a local constable, Christopher Lee as the book seller and, in smaller roles, Richard Griffiths and Emily Mortimer. And though he doesn’t say a word, I should point out that the actor who plays early jazz guitarist Django Reinhardt is Emil Langer. I say this because he bears an uncanny resemblance to Johnny Depp (I heard more than one whisper during the film). Further confusing is that Depp is a producer on the film.

If I have one problem with “Hugo,” it’s that no one in authority seems to know that Uncle Claude is no longer working the clocks. You’d think that his paychecks would stack up in the office. Just a quibble but something that occurred to me.

Related Content

• Film Review “The Adventures of Tintin”
• Film Review “Adventures in Plymptoons!”
• Film Review “Frankenweenie”
• Film Review “The Flying Machine”
• Film Review “Frank”

Starring:  Jeremy Irvine, Emma Watson and David Thewlis
Directed by:  Steven Spielberg
Rated:  PG 13
Running time:  2 hours 26 mins
Touchstone Pictures

Our Score: 5 out 5 stars

Sometimes you know what you need.  And sometimes you know what you want.  This is never more true in the case of Ted Narracott (Peter Mullan) and his family.  Peter is a good man who often finds his judgement clouded by a touch of the grape (or that strange combination of barley and hops).  Ted and his son, Albert (Irvine) have come to town to buy a plow horse.  To describe their farmland as rocky is an understatement and the horse they need must be strong and stout.  Of course, against all reason, Ted bids on and purchases a beautiful thoroughbred.  Fast as lightning and pretty to look at, Ted’s neighbors, as well as his disapproving wife (Watson) just shake their head.  But, as they will all soon discover, this is surely no ordinary horse.

Told with the emotion-gripping style that is a trademark of many Steven Spielberg films, “War Horse” is based on the popular 1982 children’s novel by Michael Morpurgo.  The book is enjoying a great afterlife as it’s also the basis for a popular play currently running on Broadway.  Adapted by British screenwriters Lee Hall (“Billy Elliot”) and Richard Curtis (“Love Actually”), the film captures the emotions of the book perfectly.  Despite his mother’s doubt at the choice of horse, named Joey by Albert, the horse learns to pull a plow, digging rows and rows of rock-packed earth to prepare for planting.  Albert also learns that before his father became the sad, broken man he appears to be, he had fought for England and received several medals.  He finds his father’s campaign ribbon and ties it to Joey’s bridle.  When World War I begins, Joey is “leased” by an officer, who promises to return him after the war.  A war that seems will never end.

Has there been another director in the history of film who could manipulate the heartstrings as well as Steven Spielberg?  Whether it’s Elliot and E.T., Oskar Schindler and the 1100 Jews or Captain Miller saving Private Ryan, Spielberg has managed to pull us into his films, as if we ourselves were the main character.  He is assisted here by a stellar cast and a remarkable animal.  As the bickering but loving Narracotts, Mullan and Watson seem like they’ve been together for years.  After she’s been disappointed for the umpteenth time, Ted asks his wife if she hates him.  “I may hate you more,” she tells him, “but I’ll never love you less.”  Irvine, in his motion picture debut, is equally strong.  His love for Joey has no boundaries and you can understand why he embarks on the mission he does to find him.

As he did on “Saving Private Ryan,” Spielberg takes us in and up close to the horrors of war.  There is one great scene where the mounted troops charge a German outpost, the sound of the horses thundering hooves matching the beating hearts of their riders.  The cinematography, by Spielberg’s long time Oscar winning DP Janusz Kaminski is breathtaking, as is John Williams spot on musical score.  The one complaint I’ve heard about the film is that the battle scenes seem tame.  They are intense but they’re nothing like the ones in “Saving Private Ryan,” toned down, in my estimation, so that the young readers of the book could see the film.

Starring: Jean Dujardin, Berenice Bejo and John Goodman
Directed by: Michel Hazanavicius
Rated: PG 13
Running time: 1 hour 47 minutes
The Weinstein Company

Our Score: 5 out 5 stars

What a great time early Hollywood must have been like. Then you could turn up at any film studio, get work as an extra and, if you caught the right eye, build a career. It’s 1928 and the reigning king of the movies is George Valentin (Dujardin). We meet him at the premiere of his latest adventure film, a spy film that features George and his trusty sidekick, known to fans as the Dog (Uggie). While mingling with fans afterwards, he poses for a photograph with a female fan (Bejo) who takes the opportunity to give him a peck on the cheek as the cameras flash. The next day the trade papers run the photo on the front page. The photo does not make George’s wife, Doris (Penelope Ann Miller) happy. Of course, as someone who sits about the house reading fan magazines just so she can deface any photo of George she comes across, nothing much does. It also angers studio head Al Zimmer, who blames the photo for pushing the release of the new film to page 5. Yet soon the lives of the star, the fan and the mogul will merge into one of the most original films of this decade.

A nominee for the Palme d’Or at the Cannes Film Festival, where Dujardin was named Best Actor, “The Artist” is a beautifully photographed story about accepting change even when it frightens you. George is not impressed with the new miracle of talking pictures. He decides he will write and direct his own film, using the skills he’s honed as an actor to tell the story without sound. His studio, however, disagrees. They’ve cast their newest up and coming star, Peppy Miller (the one time photographed fan/film extra), in a talkie. While doing a radio interview Peppy disdains the actors of silent Hollywood, dismissing their acting as “mugging for the camera.” This upsets George, who learns that his film will open the same day as Peppy’s. As George leaves the mostly empty theatre showing his film he finds himself caught in a mob of people. He realizes they are all crowded in front of the theatre playing Peppy’s movie. The public has spoken. But George will not.

In 1981 I had the great fortune to attend a screening of Abel Gance’s silent classic “Napoleon,” accompanied by a full orchestra. It was there that I learned that film is, first and foremost, a visual art form. Minutes could go by without a title card and you never lost a beat in the story. The same is true with “The Artist.” As George and Peppy begin to kindle a relationship their eyes and body language tell a story that words can’t begin to do justice to. The cast is brilliant. Dujardin is sure to earn an Academy Award nomination for his work here and, if he wins, he would be only the second Best Actor winner to win for a silent film role. Ironically the first winner, Emil Jennings, saw his career in Hollywood fade after the invention of talking pictures due to his heavy German accent. Bejo matches Dujardin scene for scene, giving the film an “A Star is Born” feel. Other notable performances are delivered by Goodman, Miller, James Cromwell and Malcolm McDowell. The film is beautifully photographed and the original score, by composer Ludovic Bource, is the perfect accompaniment.

Starring: Jamie Bell, Andy Serkis and Daniel Craig
Directed by: Steven Spielberg
Rated: PG
Running time: 1 hour 47 minutes
Paramount

Our Score: 5 out 5 stars

In 1981, after reading a review that compared his recent “Raiders of the Lost Ark” with the illustrated adventures of a young man named “Tintin,” director Steven Spielberg began reading the various comics detailing the escapades of the diminutive Belgian investigative journalist. In 1983 he purchased the rights to make a film. The saying goes that all good things come to those who wait. After almost 30 years the wait is over. And well worth it.

While visiting the local market Tintin (Bell) is captivated by a model ship, the Unicorn, being offered for sale. The seller seems eager to move it and the sale is made for the whopping price of one pound. Moments later another buyer identifying himself as Mr. Sakharine (Craig) attempts to buy the ship, offering much more than the original asking price. But a sale is a sale and, despite his best offer, Mr. Sakharine watches Tintin walk off with the ship. Intrigued by Sakharine’s urgent insistence on obtaining the model, Tintin, with the help of his dog Snowy, does what he does best. Investigate.

I will make no secret here that if Hollywood was heaven Steven Spielberg would be my god (little “g” of course). His film “Jaws” is the reason I began my interest in movies and that interest has guided me both personally and professionally, up to and including being able to write film reviews. That being said, I would be remiss if I didn’t say that even if Steven Soderbergh had directed “The Adventures of Tintin” I would still rave about it.

Presented in the format known as motion capture, where the actions of the actors are digitally transferred to a computer, “The Adventures of Tintin” is an adventure film that carries you away in its magic. As Tintin and Snowy begin their quest they run into Captain Haddock (Serkis), whose ship has been chartered by Sakharine for a journey to Morocco. When Sakharine attempts to cause a mutiny, Haddock, Tintin and Snowy escape and make their way by land and air to the African country where they encounter another model of the Unicorn. And a clue that could lead them to a fantastic treasure!

I have never read a “Tintin” comic. In fact, if I hadn’t grown up with a few friends that collected comic books I most likely wouldn’t have heard of them. And I say this because, Tintin fan or not, if you like adventure you will like this film. Director Spielberg has given us sharks and U.F.Os and aliens and dinosaurs. His vision, of course, but helped by brilliant special effects people. And the same goes here. This is the best motion capture film I’ve ever seen. The attention to detail is incredible, so much so that you can even see the small flecks of dust when they are reflected by a flashlight. My biggest complaint about motion capture films had been that no matter how “natural” the characters appeared their eyes always looked creepy. Credit Spielberg and team, which includes “Lord of the Rings” director Peter Jackson, for clearing up that problem. The characters appear as lifelike as a digitally created person can. Especially one who bears a striking resemblance to Spielberg. And, as he has for over twenty films with the director, John Williams provides a brilliant score that captures the on screen story beautifully.

Click here to check out our interview with Wayne Stables, Visual Effects Supervisor for “The Adventures of Tintin”

Starring: Jodie Foster, John C. Reilly, Kate Winslet, Christoph Walz
Director: Roman Polanski
Running Time: 1 hr 19 min
Studio: Sony Pictures Classics

Our Score: 4 out of 5 stars

Billed as a “new comedy with no manners”, Roman Polanski’s “Carnage” casts four Hollywood stars with incredible clout – Jodie Foster, Kate Winslet, John C. Reilly and Christoph Walz – and lets them go at it with all of the unbridled fury that they can muster. And over the course of a brief yet potent 80 minutes it’s a joy to see each of them contribute to the wild chaos that unfolds.

Based upon Yasmina Reza’s wildly successful play, “God of Carnage”, the premise of the film is a fairly simple one: two sets of parents meet up in a rather small apartment in New York City to discuss a playground altercation between their two sons.  Tension is evident from the onset and eventually forced civility and proper manners transform into sharp-tongued rage and physical outbursts that result in decimated coffee table books, smashed tulips and a drowned cell phone.  But the overall effect of their verbal carnage runs far deeper than destruction of each character’s prized possessions.  The venom that each spits at the other, be it through sarcasm or interrogation, strikes at each other’s core beings and true beliefs.  Despite this inherently vicious drama, the film manages to play as a dark comedy because – let’s face it – it’s a guilty pleasure to vicariously watch adults devolve into the sandbox bullies that are just as vicious as the children that they are ostensibly there to protect.

The quick and edgy rhythmic dialog by which the film achieves this is nearly identical to Reza’s script for her stage play – which is not altogether surprising given that she and Polanski collaborated on the screenplay.  And because the film takes place almost entirely in the living room of Foster and Reilly’s apartment, the confined space increases the pressure of the volatility of the situation through sheer claustrophobia.  While this largely works throughout the majority of the film as each character builds up to detonation, it somewhat neuters the explosions that a more spacious set would have allowed for.  As such, Winslet’s final act of floral cruelty plays as more of an anti-climatic coda than a dynamic tantrum and the film ends abruptly and somewhat flat.

As one would expect from such an all-star dream team, the performances are consistently excellent both individually and as a collective.  Foster plays the role of the humanitarian Penelope with a more even-keel than Marcia Gay Harden did in the Broadway production (one for which Harden won a Tony Award) but it works well within the ensemble.  Reilly once again demonstrates his amazing comedic ability as Michael, the everyman father that, while simplistic in his ways, often delivers some of the film’s most brutal observations.  It’s a true testimony to his versatility as an actor that he can pull off both modes seamlessly and believably.  Winslet’s ever-expressive face serves her well in the role of the refined yet unsatisfied Nancy.  With a twitch of her dark eyebrows, we know exactly which gear she’s shifted into.  But as Alan, the conniving and cell phone-encumbered lawyer, it’s Walz who serves as the film’s catalyst by stirring the entire volatile group while maintaining a quiet – albeit sharply sarcastic – composure. The vicious subtlety that won him an Oscar for his portrayal of Colonel Hans Landa in Tarantino’s “Inglorious Basterds” is gloriously on display here and could easily earn him another nod from the Academy and quite possibly another gold statuette.   When he states in deliberately soft yet biting tones “I believe in the god of carnage who has ruled the world uninterruptedly since the dawn of time” we’ve come to sense the presence of that chaotic deity and are all the better for watching his disciples exorcize their demons.

Starring: Tom Cruise, Paula Patton and Jeremy Renner
Directed by: Brad Bird
Rated: PG 13
Running time: 2 hours 13 minutes
Paramount

Our Score: 4 1/2 out of 5 stars

Things are not going well on the other side of the world. In Budapest, a loyal American agent is shot dead during what was supposed to be a routine mission. At the same time, in Moscow, an elaborate prison break is being executed. The subject of the mission: one Ethan Hunt (Cruise). As he reaches the end of his escape route he yells to one of his rescuers, “Light the fuse!” Cue the music.

It’s been five years since the last “Mission.” Since then, Ethan’s team has been re-staffed and they are wary of working with him. Many rumors circulated after the death of Hunt’s wife, among them that he went rogue and killed the people responsible for her death. But now he and his skills are needed. A shadowy figure calling himself COBALT is looking to launch a nuclear weapon. He has managed to obtain the equipment necessary and now just needs the launch codes. He has also managed to frame Hunt and company for bombing the Russian Kremlin. Of course, like the instructions say, the members of the IMF have been disavowed. They are on their own as they try to prevent what will surely become World War III.

Many film fans balked when director Brad Bird was chosen to direct “M:I 4.” They needn’t have worried. With such classic animated films behind him like “The Iron Giant” and “The Incredibles,” Bird has only shifted his skills to now include real live people on screen. He fills the screen with wall to wall action, making sure there isn’t a dull moment to slow down the story. Shot all over the world, cinematographer Robert Elswit, who is the DP of choice for Paul Thomas Anderson and won an Oscar for his work on “There Will Be Blood” takes advantage of the different locales with almost breathtaking beauty. The production managed to secure the approval to film in and, most importantly, outside the Burj Khalifa in Dubai, which is the tallest building in the world. Setting their cameras at the very ledge of a 130th floor window, Bird and Elswit gives us a view we would never be able to achieve in our lives.

The cast is just as committed as the director. Cruise is obviously comfortable in Hunt’s shoes and gives a strong performance. He is joined by a trio of actors that make up his new team. Patton, best known for romantic comedies, kicks serious ass as Jane. Simon Pegg, also known for comedies, plays Benji. He’s the gadget guy who can’t wait to go on a mission that requires him to wear a mask. But the surprise here is Renner. After back to back Oscar nominations (for “The Hurt Locker” and “The Town,” you may have him pegged as a serious bad ass. And he is. But he also shows a flair for comedy and completes the team. Good work is also turned in by Tom Wilkinson and Anil Kapoor (the game show host in “Slumdog Millionaire.”

The visual effects are spectacular, including a sand storm that begins in the desert and slowly envelops Dubai. I saw the film in IMAX and this is the perfect film for the format. This is Cruise and company’s greatest mission so far.

“Mission: Impossible – Ghost Protocol” is now playing exclusively in IMAX theatres. It opens wide December 21st.”

Starring: Robert Downey, Jr., Jude Law and Jared Harris
Directed by: Guy Ritchie
Rated: PG 13
Running time: 2 hours 9 minutes
Warner Brothers

Our Score: 4 out of 5 stars

It is 1891. At his typewriter, Dr. James Watson (Law) is completing his memoirs. He has come to the chapter concerning his wedding and perhaps he and Sherlock Holmes’(Downey) greatest adventure. “It was 1878, “ he begins.

Told in director Guy Ritchie’s inimitable style, “Sherlock Holmes: A Game of Shadows” is a worthy follow up to 2009’s initial “Holmes” film. The familiar faces are back but it’s a new face that makes the film so enjoyably fun…the face of Holmes greatest adversary, Professor James Moriarty (Harris). As evil to the core as Holmes is brilliant, Moriarty has devised a way to not only begin a major military conflict but also make a fortune off of it. With the soon to be newlywed Watson contemplating the end of his work with Holmes, our private investigator instills the assistance of his older brother, Mycroft (the always dependable Stephen Fry) As Watson heads to Brighton with his new bride, Holmes gains the confidence of a gypsy woman named Simza (Noomi Rapace, who starred as the original “Girl with the Dragon Tattoo”). But is the new team clever enough to match wits with Moriarty’s genius?

The formula for a good adventure film is two-fold. First, you need likeable characters. And second, you need adventure. Both ingredients are featured here in spades. Refining the chemistry they began building in the first film, Downey and Law are more like an old married couple then professional partners. If I were to liken them to another film duo, I would call them the Riggs and Murtaugh of the 19th century. Their comfort with each other makes them seem like old friends to the audience. Fry, who hosts Great Britain’s annual BAFTA awards each year (I would love to see him do the Academy Awards) is great comic relief. In her first English language film, Rapace makes a fine debut. And as Professor Moriarty, “Mad Men” co-star Harris proves himself a most worthy addition to the Holmes canon. The visual effects are outstanding while the gadgets Holmes comes up with would rival anything “Q” could come up with for James Bond.

Starring: Daniel Craig, Rooney Mara and Christopher Plummer
Directed by: David Fincher
Rated: R
Running time: 2 hours 38 minutes
Sony Pictures

Our Score: 5 out of 5 stars

Swedish magazine publisher Mikael Blomkvist (Craig) is having a bad day. He’s just been found guilty of libel after publishing a very damning article about one of the country’s largest businessmen. Four hours away a phone conversation is being held. “No note,” is heard before the phone is hung up. Thus begins a tale to rival “The Silence of the Lambs.”

Based on the popular series of novels by Stieg Larsson (three books, over 27 million copies sold), “The Girl With the Dragon Tattoo” has already been made into a well received film (as have the other two novels). But this is not a remake. This is director Fincher’s vision of the story. And, as Fincher has shown in films like “Se7en” and “Zodiac,” that vision is often unflinching. The film is really best described as a play. In Act One we meet, separately, both Mikael as well as computer hacker extraordinaire Lisbeth Salander (Mara). Hoping to put the libel case behind him, Mikael accepts an offer from business tycoon Henrik Vanger (Plummer) to help him write his autobiography. But the offer is really a front. Vanger is the man whose telephone conversation we overheard. His granddaughter disappeared forty years ago under mysterious circumstances and he wants Mikael to solve the mystery. In coming to the decision to hire Mikael, Vanger’s attorney, Frode (played perfectly by Steven Berkoff) hired the best to investigate Mikael’s background. The best was Lisbeth. When Mikael asks for permission to hire an assistant he is introduced to Lisbeth. After a brief conversation, Mikael describes the task. “I want you to help me catch a killer of women.”

It’s almost hard to describe a film that features Led Zeppelin’s “Immigrant Song” during its opening credits and then ends the film with Enya’s “Sail Away.” I’ll start with brilliant. Following the blueprint created by Larsson and adapted by Oscar winning screenwriter Steven Zaillian (“Schindler’s List”), the film follows both Mikael and Lisbeth and captures them at their most vulnerable. Lisbeth, a slight woman who lives on junk food and McDonalds (she explains that due to her metabolism she can’t put on weight) is a ward of the state. After several unsuccessful placements she seemed to have found a kind guardian. But when he takes ill she is taken advantage of by the attorney who oversees her finances. Mikael, a skilled journalist, is like a fish out of water as he tries to solve a forty year mystery under the guise of literature. As he begins to interview Vangers family members the subject of the missing girl is always brought up. And just as often, it’s dismissed by those who are tired of living in the past. But with Lisbeth’s help the mystery begins to unravel, as piece by piece the puzzle begins to come together.

Though the film is certainly Fincher’s vision, that vision is maintained thanks to a brilliant cast. Craig is solid as Mikael. With an easy tone in his voice he is able to ingratiate himself to anyone he speaks with, gaining their trust and encouraging them to disclose secrets long held. Plummer and Berkoff are equally strong, as is Stellan Skarsgard, who plays Henrik’s brother, Martin. They are brilliantly matched by Mara, who underwent an incredible physical transformation (including having several places on her body pierced) to play the waifish Lisbeth. Her eyes ringed in black and her voice low and deliberate, Lisbeth is only looking for someone to trust. To those who violate that trust, the consequences are severe!

Technically the film is just as powerful. Cinematographer Jeff Cronenweth’s cameras capture both the beauty and isolation of the Swedish countryside while the musical score created by Trent Reznor and Atticus Ross helps paint the on-screen pictures. Both musicians worked with Fincher on “The Social Network” (as did Mara, who portrayed the girl who upset Mark Zuckerberg at the beginning of the film) and again they manage to capture the director in their music. The film is not for the faint of heart. Fans of the book know there are some pretty shocking moments and Fincher and cast have not shied away from them. The recently released “Shame” received an NC 17 rating with material not as rough as portrayed here.

Starring: Gary Oldman, John Hurt and Colin Firth
Directed by: Tomas Alfredson
Rated: R
Running time: 2 hours 7 minutes
Focus Features

Our Score: 4 out of 5 stars

1973. During the height of the Cold War, an attempt to capture a Russian mole inside Britain’s MI6 organization. When the operation goes horribly wrong, the head of MI6, known as “C” (Hurt) announces his retirement. “What about Smiley,” he’s asked. “Smiley is leaving with me,” is the reply.

Based on the best selling novel by John le Carre’, “Tinker Tailor Soldier Spy” is a very faithful adaptation of the story. Filmed previously as a seven part mini-series that starred the great Alec Guiness as Smiley, the new version gives Oldman, one of film’s greatest chameleons, a rare starring role. And he certainly makes the most of it. Oldman has played a variety of characters from a rasta-style pimp to Lee Harvey Oswald and he has always managed to get inside the character and make them believable. The same here with George Smiley. His face almost hidden by oversized glasses, Smiley is the anti-James Bond. He is quiet and intellectual in his pursuits. The action here is spare. This is a thriller that you have to pay attention to. You will be rewarded for your efforts.

Director Alfredson, who created the original horror hit “Let the Right One In” proves that he doesn’t need vampires and blood to keep the audience on the edge of its seats. He keeps the story flowing smoothly, aided in part by an incredible supporting cast. Hurt. Firth. Toby Jones, Ciaran Hinds. Every actor down to the smallest part has been properly cast. Special mention is due Mark Strong, who resembles a cross between fellow actors Stanley Tucci and Elias Koteas .