Starring:  Michael Fassbender, Carey Mulligan and James Badge Dale
Directed by:  Steve McQueen
Rated:  NC 17
Running time:  1 hour 41 mins
Fox Searchlight

Our Score: 4 out of 5 stars

I have officially dubbed 2011 as “the year of Michael Fassbender.”  Along with his breakout performance earlier this year in “X-men: First Class,” he is also earning raves for his upcoming role as Carl Jung in David Cronnenberg’s “A Dangerous Method.”  And he scores the proverbial hat trick with an Oscar-worthy performance in the new film, “Shame.”

In his early 30s, Brandon Sullivan (Fassbender) seems to have it all.  A great job.  An ever greater New York City apartment.  And a collection of porn that would put most of the adult book stores in Times Square to shame.  While Brandon constantly ignores the repeated phone calls on his answering machine he dabbles in pretty much every kind of sexual dalliance you can imagine.  And most probably some you can’t.  But an unexpected visit from his sister, Cissy (Mulligan), forces him to confront his sexual addiction.

Buoyed by a tour-de-force performance by Fassbender, “Shame” is an in-depth look at a man whose priorities and emotions are out of control.  A seemingly “nice guy” outwardly, Brandon is filled with a sexual desire that really borders on rage.  He is not afraid to proposition women in a bar, hook up with a stranger he’s just exchanged glances with on the subway or even indulge in the goings on in the back room of an out of the way gay club.  When his sister arrives he feels himself smothered.  The two obviously have a troubled history (“were not bad people,” Cissy tells Brandon’s boss, Dave.  “We just come from a bad place.”)  Brandon continues to indulge himself when he can, yet chastises Cissy for sleeping with the married Dave.  “Don’t talk to me about sex,” is Cissy’s retort to Brandon’s scolding.  It’s obvious that Brandon has a problem.  When his computer at work needs repairs there are hundreds of pornographic files found on the hard drive.  When Dave blames “an intern” all Brandon can do is nod.  Sex is oxygen to him.  He can’t live without it.

Director McQueen, who also co-wrote the script with British playwright Abi Morgan, keeps the film moving at almost breakneck speed.  The nudity in the film is graphic with a capital “G!”  But it doesn’t feel forced or just there for scandal’s sake.  We need to see what Brandon sees and attempt to feel the power he feels when he is in command.  Credit Fassbender for having the courage to literally strip his emotions bare.  A quiet, simple piano score by composer Harry Escott is a perfect complement to the images on screen.

The film is rated NC 17, a rating that causes problems with promotion.  No television commercials and very limited, if any, newspaper advertising means moviegoers are going to have to look hard to find it.  But it’s a search I highly recommend.

Directed by: Sarah Smith
Starring: James McAvoy, Hugh Laurie, Bill Nighy, Jim Broadbent, Imelda Staunton,
Ashley Jensen, Ramona Marquez
Distributed by: Columbia Pictures
MPAA Rating: PG
Running time: 97 minutes

Our Score: 3.5 out of 5 stars

The holidays seasons are here and that means new Christmas movies. For kids that weren’t able to see “A Harold and Kumar 3D Christmas”, this is the film for them. “Arthur Christmas” is fun for the whole family. It is very colorful and funny for kids and it is witty for adults. The film also mixes in a little flavor of sci-fi with the whole spaceship/sleigh. I caught the film presented in 3D and I thought it was just OK and could have been seen in 2D, without losing anything. The story is fun, the voice cast is fantastic and it also has some great heart.

The story of “Arthur Christmas” follows Santa Clause and his family as we see the behind the scenes of what happened on the night Santa delivers the presents to the children of the world. We meet Arthur who is the clumsy son of Santa but he has a real heart for the spirit of Christmas. His older brother Steve is running the show behind the scenes helping Santa with his high tech equipment but ends up missing one child. Arthur sets out on a journey with the help of Grandsanta to deliver that one gift and shows what Christmas is all about.

The voice of Arthur is played by James McAvoy. He is funny and very likable. Hugh Laurie, aka Fox’s House, voices Steve, Arthur’s older brother and runner up to take over Santa’s reign. He is a awesome baddie. Jim Broadbent voices the big guy, Santa, and Bill Nighy voices Grandsanta and steals the show easily (as usual). Keep an ear out for other notable voices as well such as Will Sasso as American James, Joan Cusack as Mission Control Elf, Michael Palin as Ernie Clicke, Dominic West as Field Sargent Elf and Andy Serkis as General Elf.

One thing I would like to let Sony know if you going to include a music video by Justin Bieber, please make sure next time to include it AFTER the credits and not before. It was torturous having to watch that video. Overall though, this film will surely get you in the Christmas spirit and ready for the holidays. Get your family together and head out to enjoy this film this holiday season.

Starring: George Clooney, Shailene Woodley and Beau Bridges
Directed by: Alexander Payne
Rated: R
Running time: 1 hour 55 mins
Fox Searchlight

Our Score: 5 out of 5 stars

Officer, I’d like to report a crime. In 2004 Alexander Payne gave us the award winning film “Sideways.” I’d like you to arrest whoever made us wait seven years for his next one.

Matt King (Clooney) is a real estate lawyer in Hawaii. He is also the executor of his family’s estate: 25,000 untouched acres of paradise. While sorting through bids for the property Matt’s wife, Elizabeth, is injured in a boating accident. While she lays in a non-reversible coma Matt learns that his wife has been having an affair. Filled with grief over her inevitable death, he must also face the anger he feels because of her betrayal. And he must do this while caring to the needs of his two daughters: 10 year old Scottie (Amara Miller) and wise beyond her years 17 year old Alexandra (Woodley). It’s not a situation I’d wish on anyone.

Adapted from the book of the same name, this is the first film Payne has directed where he didn’t collaborate on the script with Jim Taylor (the two won an Oscar for “Sideways.” Still, writing has always been Payne’s strong suit and his work here with writers Nat Faxon and Jim Rash (the television film “Adopted”) shines. In voice-over King explains how his ancestors have been quite wealthy but frugal. Quoting his late father he advises that parents should “give their children enough money to do something…but not enough to do nothing.” Still, Matt does well enough to send Alexandra to private school and indulge his wife’s love for racing boats. Learning that Elizabeth was in love with the other man, Matt decides to track him down with the intent of letting him know her condition and allowing him to say his goodbyes. This turn of events could have easily slipped into standard “movie of the week” mode. But thanks to Clooney’s performance, you find yourself agreeing with Matt’s decisions, no matter how awkward they appear. This is one of Clooney’s strongest performances and he may have to clear space on his mantle for Oscar number two. He is at the top of his game in his scenes alone with the comatose Elizabeth. Asking questions that are unable to be answered his pain at his loss and her betrayal is heartbreaking.

As Matt’s young daughters, both Woodley and Miller shine. This is Miller’s first role and she shows that she’s a natural. Supporting work by Nick Krause, Robert Forster and Bridges add to the enjoyment. Throughout the film I kept pointing to a tan, curly haired gentlemen and saying to myself, “that looks like Michael Ontkean.” Guess what? It IS Michael Ontkean. Nice to see him on the big screen again. And yes, he looks good.

Starring: Jason Segel, Amy Adams and Chris Cooper
Directed by: James Bobin
Rated: PG
Running time: 1 hour 38 mins
Walt Disney Pictures

Our Score: 4 out of 5 stars

As someone born in 1960, I grew up with the Muppets. From “Sesame Street” to their appearances on “Saturday Night Live” to their own television show and films, if the stars of the show were made of felt I made sure I saw it. One of my prize possessions is a photograph of Jim Henson and Kermit that Jim Henson signed for me in 1983. It would be fair to say that I’m a devoted Muppet-arian. In fact, my son and I were once asked to leave the gift shop at the Disney/MGM Studios because we loudly protested that Elmo is not a Muppet. This began a long running feud with Elmo that was patched up last year in New York City. But I digress.

It’s been twelve years since the gang have been on the big screen. An absence noticed by Gary (Segel) and his younger brother, Walter (voiced by Peter Linz). They have loved the Muppets since they were little. But no one loves them more than Walter. He has collected every toy, DVD and knick knack relating to the group and dreams only of one day taking a tour of Muppet Studios. When Gary and his girlfriend of 10 years, Mary (Adams), take a trip to Los Angeles they take Walter along. His wish of seeing Muppet Studios is about to come true. But some wishes may be better off un-granted.

Capturing the flavor of the old television series while featuring guest stars more popular with today’s younger generation, “The Muppets” is a fun ride down the nostalgia highway. When they arrive in California the trio learn that Muppet Studios is about to be purchased by rich oil baron Tex Richman (Cooper), who has promised to use the land to build a Muppet Museum. But there’s oil under them there buildings and Richman’s real plan is to drill for it. When Walter finds this out, and discovers that for $10 million the studio can be saved, he tracks down Kermit the Frog (voiced by Steve Whitmire) in the hopes of convincing him to put on a show to raise the money. Kermit is up for it but has lost contact with the gang. Fozzie Bear (Eric Jacobson) is now performing in a tribute review called “The Moopets.” Gonzo (Dave Goelz) is a plumbing magnate. And Miss Piggy is in Paris overseeing the plus-size edition of Vogue magazine. Eventually everyone agrees to come together for one last gig. But will it be enough?

You have to give credit to Disney for attempting any Muppet project. Long time Muppet-eers Frank Oz and Jerry Nelson declined to be a part of the project. But they pushed forward and have done the Muppets, and the memory of Jim Henson, justice. Much of the credit has to go to Segel, a long time Muppet fan who also co-wrote the screenplay. His Gary is so bright and full of light, it’s easy to see how Segel himself can easily get lost in this fantasy world. Adams, whose done her share of singing as the princess in “Enchanted,” is so wide eyed sometimes that you’d think she’d never seen the Muppets before they came on set. And young Walter is a fine edition to the Muppet family. Credit too must go to the Muppet-eers, who eschewed using CGI to give the characters legs, allowing them to walk down the street or participate in a musical number without the help of a computer. Speaking of music, if there’s a drawback to the film it’s the original songs. With the exception of “Life’s a Happy Song” the songs are pretty much undistinguishable. This fact is hammered home when Kermit reprises “The Rainbow Connection” from “The Muppet Movie.” Granted, Paul Williams is one of the great lyricists of the 20th Century but the producers of the new film could have tried harder. Muppet takes on contemporary hits come off better, including a barbershop quartet rendition of Nirvana’s “Smells Like Teen Spirit.” And any film that allows Chris Cooper to rap can’t be all bad.

I would also urge you to get to the theatre early to catch the new PIXAR “Toy Story” short film that precedes the film.

Starring: Michelle Williams, Kenneth Branagh and Eddie Redmayne
Directed by: Simon Curtis
Rated: R
Running time: 1 hour 41 mins
The Weinstein Company

Our Score: 4 1/2 out of 5 stars

There are some things that can never be explained. In Hollywood, actors are a dime a dozen. But there are very few STARS. And one of the biggest of them all was Marilyn Monroe.

1956. In a film studio in England, two of the film world’s greatest attractions have contracted to star in a film together. Representing England, Sir Laurence Olivier (Branagh), still considered to this day one of the greatest actors EVER. From the United States, newly married to husband number three, Ms. Marilyn Monroe (Williams). And her entourage of publicity men, handlers and acting coach. Olivier wants to be a movie star. Monroe wants to be a great actress. And when the cameras began to roll on what would become “The Prince and the Showgirl,” young Colin Clark (Redmayne) was there to watch it all.

Full of outstanding performances, “My Week With Marilyn” gives viewers a small look inside the life and very fragile psyche’ of an actress who, with just a glance or a whisper, could turn strong men into jelly. But in spite of her worldwide fame, Monroe was a sad, damaged woman who used her beauty as a way to attract men that she hoped would protect her. Her third husband, the playwright Arthur Miller (Dougray Scott) stayed in the marriage for five years, but like husband number two, Joe Dimaggio, could not handle the constant spotlight his wife was under. A spotlight that reached across the pond to England and, really, the entire world. Williams is excellent as Monroe. Though she is made up some to resemble her, Williams eschews doing a strict impersonation, instead letting us see inside the real Marilyn. While visiting Buckingham Palace she is immediately surrounded by fans. “Shall I be her,” she asks her companion. In a split second gone is Norma Jean Mortensen, replaced by MARILYN MONROE. It’s a rare ability to completely switch gears that quickly and successfully but Williams pulls it off.

Equally good is Branagh who, thanks to his fame on the London stage, is his generations’ Olivier. The torch continues to be passed with Dame Judi Dench playing Dame Sybil Thorndike, an actress whose distinguished career on stage ran for more then six decades. Other famous names are brought to life, including Vivien Leigh (Julia Ormond), Olivier’s wife and promotions genius Arthur P. Jacobs (Toby Jones), who would go on to produce the “Planet of the Apes” films. And it’s a pleasure to see Emma Watson in a film that doesn’t have “Harry Potter” in the title. As movie loving Colin, who is made 3rd Assistant Director (mostly because they “didn’t have one yet”) Redmayne is as wide eyed and innocent as a child being set loose in a candy story. He wants to be strong but, like countless men before and after, he allows himself to fall in love. The actors are led through their paces by veteran television director Curtis, making his feature film debut. Curtis has wisely studied many of the most iconic photos of Monroe and then incorporated those images in the film. As the film unfolds you suddenly find yourself remembering an image you’d seen from your past, realizing only after you’ve moved on that your memory is as crystal clear as a fine set of china. The pacing is leisurely, allowing you to get lost in the past, which the period detail truly allow you to do.

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Starring:  Robert Pattinson, Kristen Stewart and Taylor Lautner
Directed by:  Bill Condon
Rated:  PG 13
Running time:  1 hour 57 mins
Summit Entertainment

Our Score: 3.5 out of 5 stars

It would be easy to dismiss the “Twilight” film series as nothing more than a series of chick-flicks with a few monsters thrown in for the guys.  But that would do the films a great injustice.  Yes, they ARE a series of chick-flicks with a few monsters thrown in, but when you get past the romance you have a pretty interesting story.

As the opening credits end, we are met by Jacob (Lautner), angrily running off.  Seems the mailman has brought him an invite to the wedding of the season in rustic Forks, Washington.  Jacob’s best friend, Bella (Stewart) is to be wed to tan-deprived Edward (Pattinson) and he’s not very happy with the news.  Edward himself is reluctant.  Not that he doesn’t love Bella.  It’s just that, for them to have children, it would help if she, too, became a vampire.  Despite several bad omens telling her “no,” Bella and Edward walk down the aisle, then head off on the honeymoon of a lifetime.  (I guess you could say an “after” life time).  But love is not a guarantee of happiness.

The fourth film in the popular series (with a final film coming next year), “TBD-1” is smartly directed by Bill Condon (“Gods and Monsters,” “Dreamgirls”) in a straight forward manner that keeps the film from bogging down in its last act.  Helping keep the film moving is the outstanding camera work of cinematographer Guillermo Navarro, who has shot some of Guillermo del Toro’s best work.  The story should be familiar to “Twilight” fans.  Not having read the books I don’t know if this last chapter could have been told in one film.  The final 30 mins are padded with constant shots of a weakened Bella, her swollen belly and intermittent glances from Edward and Jacob.

The cast have obviously become comfortable in their roles, yet are strong enough to not appear lazy.  With not a lot to do towards the end of the film but look worried, Pattinson and Lautner could have easily dialed their performances in.  That they didn’t is a testament to Condon’s direction.  Stewart gets the lion’s share of the dramatics here.  Carrying a demon child can’t be healthy for anyone, but it really takes its toll on Bella.  Highest marks to the make up people who turned the vibrant Stewart into a sickly, emaciated martyr-to-be.  Both male leads are also comfortable in their skins, though it would be nice if Lautner didn’t squint so much.  Speaking of skins, I’m not sure what the over/under was in Vegas but it takes approximately eight seconds into the film before Lautner takes his shirt off.  The supporting cast earns their pay.  It is their story that is the most interesting, especially the blood-sucking Cullen Family.  Perhaps after the next film the producers can focus attention on them and give them their own movie.  Peter Facinelli is strong as the patriarch of the family.  In a recent interview I did with him I commented on how much I always thought he resembled Tom Cruise.  Here, with his coloring and hair, he had me thinking of another vampire: Lestat from “Interview With the Vampire.” And I mean that comparison in a positive way.

The biggest disappointment to me were the visual effects used to create Jacob and his pack when they roam the woods as wolves.  They move very herky/jerky, not gracefully as they should.  It’s like the producers hired the guys that did the dogs on the top of the building in “Ghostbusters” to create the beasts.  If the comments from the fans around me are to be believed, the screenplay is very true to the book.  If you’ve read the books you are aware of the problems Bella deals with while with child.  Parents may want to think twice about bringing their younger Twi-hards or at least anticipate covering their eyes.  And please hang around during the end credits for a quick hint of “Breaking Dawn – Part 2.”

Starring the voices of: Elijah Wood, Hank Azaria and Robin Williams
Directed by: George Miller
Rated: PG 13
Running time: 1 hour 40 mins
Warner Brothers

Our Score: 3 out of 5 stars

Penguins are so darn cuddly. So much so that films like “March of the Penguins” and the first “Happy Feet” waddled home with Academy Awards. And lots of money. Add those two facts up and you get “Happy Feet Two.”

With the thumping beat of “Sexyback” on the soundtrack, we return once again to the waddle of penguins (that’s right, kids, a group of penguins is called a waddle) that enchanted us in “Happy Feet.” Mumble (Wood) is grown up and married to Gloria (Pink, taking over from the late Brittany Murphy). They have a young boy named Erik (Ava Acres) who is, shall we say, choreographically challenged. Mumble couldn’t carry a tune in a bucket but he could sure trip the light fantastic. Sadly it appears that, when it comes to dancing, Erik has two left flippers. Meanwhile, out to sea, we come across two daring krill named Will (Brad Pitt) and Bill (Matt Damon). Will wants to see the world, leave the large school of fellow krill they swim with and snack on something other then plants. “I want to eat something with a face,” he declares to Bill. Old penguin pal Ramon (Williams) can’t seem to buy a date, so he decides to head out in the world to find the future Mrs. Ramon. Dejected by his lack of rhythm, Erik follows Ramon. When the two come across a flying penguin named Sven (Azaria) the adventure begins.

Beautiful to look at and featuring strong voice work, “Happy Feet Two” is a musical that suffers musically. While the first film relied on such classic songs as “Somebody to Love,” “Boogie Wonderland” and “Tell Me Something Good,” many of the songs in the sequel are original. And bland. Though I admit I have no idea how you would go about rhyming the word “penguin.” It’s not that songs like L.L. Cool J’s “Mama Said Knock You Out” or the Rivingtons’ oldie “Papa-Oom-Mow-Mow” are better known. It’s just that they’re better written.

The voice cast does very well adding their personalities, as well as their voices, to the characters. Pitt and Damon get the lion’s share of the good lines and they’re comic typing is impeccable. Azaria has fun with Sven while Robin Williams does double duty as both Ramon and Lovelace. Pink is strong as Gloria while other voices (Sofia Vergara, Common, Anthony LaPaglia) keep the story moving. The film slows down some when Mumble tries to group the various wintry wildlife together but is still visually lovely to look at. Again, the original songs make it not that lovely to listen to.

Starring: Anton Yelchin, Felicity Jones and Jennifer Lawrence
Directed by: Drake Doremus
Rated: PG 13
Running time: 1 hour 30 mins
Paramount Vantage

Our Score: 3 out of 5 stars

There have been countless movies about young love. From “Romeo and Juliet” (the one from 1968) to “The Notebook,” the notion of two people at the beginning of what they hope will last forever has been a popular topic. Built on two very strong performances, “Like Crazy” joins the list.

Jacob (Yelchin) and Anna (Jones) are Los Angeles based students that share a college class. Jacob, who is hoping to be a furniture designer, has exchanged glances with aspiring writer Anna, but hasn’t been able to work up the courage to ask her out. One day after class he finds a note from Anna on his windshield. “PS,” she adds, “I’m not a nutcase.” After an evening out where they discover a taste for whiskey and a love for Paul Simon, the two become inseparable. Their romance has one drawback. Anna is English and soon her student visa will run out. She promises to return in the fall on a work visa but, in a spontaneous decision (and what is young love if not spontaneous) she decides to just stay in the US. The things some will do for love.

Told in close-ups and slow fades, “Like Crazy” is a film that begins strong and kind of limps to an ending that mystified me. Like the recent “Martha Marcy May Marlene” the film moves along on the back of a strong performance (two here) then just stops dead. Which is disappointing because, when it’s on track, the film shamelessly captures and revels in the marvels of young love. Nervous laughter that turns into giggles. Casual glances and stuttering during small talk. Those are sure signs that you’re falling in love. The film takes a harsh turn when, because she overstayed her student visa, Anna is barred from returning to the United States, even as a tourist. She and Jacob pledge to be true but soon their phone calls are ending in a quick “Bye” instead of a breathless “I love you.” Both find others to spend time with but on the rare occasions they’re together (Jacob visits England) they begin to rekindle the old spark. But though absence makes the heart grow fonder sometimes it makes it forgetful.

Director Doremus, who co-wrote the film with Ben York Jones, shows a fine hand with character development. His camera lingers almost as if spying on Jacob and Anna as their relationship grows. During an early date at an outside café, rather than show them in a standard two-shot, or just cut back and forth in the same scene, he frames both of them separately. Even though you know they are sitting across the table from each other, they could be in separate rooms. Both stars give well crafted performances. Yelchin, probably more known for the recent “Star Trek” reboot and the recent “Fright Night” remake, hits the right notes as a young man whose life is turned upside down thanks to that funny thing called love. Felicity Jones is equally strong. Almost docile at first she rides an emotional rollercoaster as the relationships in her life move along. Solid supporting work is also turned in by “Winter’s Bone” star Lawrence and “Twilight” saga’s Charlie Bewley as other players in the game.

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Starring: Adam Sandler, Katie Holmes and Al Pacino
Directed by: Dennis Dugan
Rated: PG
Running time: 1 hour 31 mins
Columbia

Our Score: 3 out of 5 stars

As the holiday season approaches, it’s time to make way for a new comedy starring the hilariously funny…Al Pacino? That’s right. Pacino has a small but pivotal role in “Jack and Jill” and, in a film full of people known for being funny, pretty much stands alone.

Jack (Sandler) is a successful creator of television commercials. One of his clients, the folks over at Dunkin’ Donuts, wants him to secure the talents of one Al Pacino to promote their new product, Dunk-A-Chino. But Jack has other things on his mind, mainly the upcoming yearly Thanksgiving visit of his twin sister, Jill (also Sandler). Where Jack has always been the popular twin, Jill has taken a back seat. Now, with their mother recently passed, the two must find a way to tolerate each other during the sure to be festive holiday season.

A one note joke that runs an hour and a half, “Jack and Jill” gives Sandler the chance to use the same “funny lady” voice that he used on his early comedy CDs. With his high pitched whine you almost expect to hear Jill proclaim, “they’re all gonna laugh at you,” or perhaps implore you to “play with your cock and balls for mama.” Along the way we meet many of the Sandler comedy troupe, including Allen Covert, who appears to be channeling the homeless man turned caddie he played in “Happy Gilmore.” Along with the regulars are some fun bits from such well known people as Jared from Subway and Vince, the Shamwow! Guy. We are also joined by his two young children: a young boy adopted from India when less than two weeks old and a little girl who is always curiously dressed exactly as her doll. The boy has discovered scotch tape and it’s fun to see what household item he’ll apply to his body next.

The premise gets annoying after awhile, but that is when Pacino shows up to make things interesting. He gets great laughs spoofing his serious side while on stage and, when his Oscar is accidentally damaged, zings the Academy Awards. He even manages to belt out “The Impossible Dream” from “The Man of La Mancha.” Pacino is truly, as they say in show business, a triple threat! And to see him play off his very stern on-screen reputation is a welcome treat. Hoo-ah!

The script loses steam shortly after it begins to boil, with the only new “idea” being to put Jack and Jill in another unusual situation. Look…they can jump rope! If anyone but Sandler had been playing Jill the film may have worked better. But his constant whining makes Jill more sympathetic, to the point where you can forgive her the occasional break of wind. Heck, when Pacino is on screen you can almost forgive anything.

Starring: Elizabeth Olsen, John Hawkes and Sarah Paulson
Directed by: Sean Durkin
Rated: R
Running time: 1 hour 42 mins
Fox Searchlight

Our Score: 2.5 out of 5 stars

A powerful father-figure runs a small “family.” His specialty is taking in young women who have had bad home lives. He talks to them, sings them songs and then eventually “cleanses” them (wink). If you’re thinking Charles Manson you’re not far off. Only this time the “M” in question is Martha. Or Marcy May. Or Marlene.

A mediocre film at best, the film is being heralded for what is truly its best feature: the breakout performance by newcomer Elizabeth Olsen (gratuitous mention that she is the younger sister of the famed Olsen twins). When we first meet Olsen, she is part of the working commune. One morning she wakes up in her communal bed and heads into the woods. “Marcy May,” someone yells after her, “where are you going?” Soon she finds herself in town where she goes to the nearest pay phone and dials. After ignoring the continuous “hellos” coming from the other end of the phone she mumbles into the mouthpiece. “Martha” comes the questioning reply. Confused yet?

The feature writing/directing debut of Durkin, the film has many freshman mistakes that, while they don’t bury the film, help slow it down. The movie is told in both present time and flashback. When Martha meets Patrick (Hawkes, an Oscar nominee for “Winter’s Bone), the head of the “family,” he tells her she looks like a Marcy May. When we join her in the present, reunited after two years with her sister (Paulson) and her new husband (Hugh Dancy) she is clearly oblivious on how to act. When she goes swimming she thinks nothing of diving in naked. And she has no idea what shes done wrong after she climbs into bed with sis and her hubby in the middle of their lovemaking. Both notice that Martha is acting strange but it isn’t until an hour and a half into the film that the magic question is asked: What happened to you? A rather choppy ending doesn’t do the film any favors either.

On the plus side, the performances are pretty solid across the board. Hawkes has a quiet peacefulness in his performance, yet still manages to project true menace. We can’t quite see through him, and that is what allows him to convince his followers to submit to him freely. But the star here is Olsen. If Hawkes is Manson then Olsen is Linda Kasabian. She has seen the little man behind the curtain and wants to run while she still can. Her performance puts this film on the “I like it” side of two and a half stars.

Starring: Leonardo DiCaprio, Armie Hammer and Judi Dench
Directed by: Clint Eastwood
Rated: R
Running time: 1 hour 50 mins
Warner Brothers

Our Score: 4 out of 5 stars

For the past two decades, Hollywood has been on the Clint Eastwood bandwagon. After he won an Oscar for directing “Unforgiven,” (the film also won Best Picture), Eastwood was finally accepted as a filmmaker of the highest order. Never mind that Warner Brothers dumped “Unforgiven” in theatres in the first week of August. To the studio it was just another one of “Clint’s projects”…in exchange for Eastwood doing an action film or a variation on Dirty Harry, the studio would finance a more personal film. Films like “Honkytonk Man,” “Bronco Billy” and “White Hunter, Black Heart” emerged from that deal. Well made films that showed a side of Eastwood that surprised many. Since “Unforgiven,” Eastwood has directed some of the best films of the past 20 years, among them “Mystic River,” “Million Dollar Baby” (Oscars for directing and picture), “Flags of our Fathers” and “Gran Torino.” Now, as he approaches his 82nd birthday, Eastwood gives us “J. Edgar.”

The time is the 1960s. FBI director J. Edgar Hoover (DiCaprio) has decided to recount his story and that of the bureau. It begins in 1919, where we find J. Edgar still living at home with his mother and sister and traveling via bicycle. He is gung ho about his career in the justice department. So much so, that his idea of a date includes taking his girl to the crime library to show off the card-catalog system he designed. In 1924 the 29-year old Hoover is named acting director of the Bureau of Investigation (renamed in 1935 as the Federal Bureau of Investigation). At the time of his appointment, Hoover’s agents had no police powers. They could not arrest, nor were they issued firearms. When a group of agents gathers for a raid, Hoover produces a suitcase full of pistols, telling the men they are a gift from him. After the kidnapping of Charles Lindbergh’s (Josh Lucas) son, the bureau gets noticed because of the various ideas (finger printing, studying varying woods) Hoover promotes that helps solve the case (another story altogether). As the years progress, Hoover orders his personal secretary Helen Gandy (Naomi Watts), the former library date, to begin storing his “confidential” files. These contain the dirt he has dug up on various politicians and businessmen. “Information is power,” he tells her. He also interviews and hires a young man named Clyde Tolson (Hammer). Hoover is piqued by the note in Tolson’s background report that states he’s never seen in the company of women. Hmmmmm.

Directed with a steady hand, “J. Edgar” is a film with much more flash then substance. A straight-forward biography, the film moves along evenly. But with no emotional high or low point, there is nothing that makes you sit up and take notice. The fault lies in the script by “Milk” Oscar winner Dustin Lance Black. The story is compelling, but with little color to draw you into it. The cast, however, is first rate. DiCaprio, his blue-green eyes hidden behind brown contacts, immerses himself in the role of Hoover, giving one of the best performances of his career. Hammer, so good as the Winklevoss twins in “Social Network,” gives Tolson a quietness that lets the audience into his thoughts. Dench is strong as Ma Hoover. She’s all too aware of Edgar’s peccadilloes, and none too happy. “I’d rather have a son be dead instead of a daffodil,” she tells Edgar one night, using the slang of the period. But daffodil or not, the film belongs to DiCaprio, who even in makeup commands the screen.

Starring:Jim Lindberg, Fat Mike, Flea
Director: Andrea Blaugrund Nevins
Oscilloscope Laboratories
Runtime: 98 minutes

Film Review: 5 out 5 stars

“The Other F Word” was directed by Andrea Blaugrund Nevins and was Executive Produced by Jeremy Chilnick and Morgan Spurlock. “The Other F Word” centers on Pennywise vocalist Jim Lindberg and several other prominent punk rock artists as they struggle to balance their lives as parents while still staying true to their bands original messages. “The Other F Word” does more than just scratch the service of parenting and musicianship as it takes a fresh and at times emotional look at a genre that has often been discredited and tossed to the side.

The second I heard about this film I couldn’t wait to see it. Here were all the guys in the bands I grew up listening to talking about what I myself will soon be…A father. It was really great to see guys like Fat Mike of Nofx and Flea of the Red Hot Chili Peppers in a completely different environment than that of the one we as the general public normally see them in. The film was more than just about being a father in a punk rock band. The interviews with those involved in this were filled with in depth, and at times emotional stories of what it was like growing up and how they were treated by their families. This film also features some great archival footage coupled with new footage that really compliments the film as a whole. Great footage an awesome sound track and some really great messages is what you will find in “The Other F Word”. Even if you are not a fan of punk rock or never heard of any of the people in this film I recommend you still go see it as this is more than just another music themed documentary.

For more info on the film go to www.theotherfword.com

Starring: John Cho, Kal Penn and Neil Patrick Harris
Directed by: Todd Strauss-Schulson
Rated: R
Running time: 1 hour 30 mins
Warner Brothers

Our Score: 4 out 5 stars

I’ve found out over the years that the best of the adult-humored raunchy comedies have one thing in common. The unquestionable bond of friendship. Dante’ and Randall in “Clerks.” Seth and Evan in “Superbad.” Now add to that list Harold and Kumar.

It’s been two years since we last saw the title characters. We find Harold (Cho) working on Wall Street, married and anticipating spending the holidays hosting his wives’ family. Kumar (Penn) has grown a beard, lost Vanessa and spends his time sampling the finest holiday themed marijuana his Santa Claus-playing dealer (Patton Oswald) can provide. When a package meant for Harold arrives at Kumar’s apartment, he decides to personally deliver it. And so begins the season of giving.

Funny to its core and filmed in gloriously rendered, over the top 3D, “A Very Harold and Kumar 3D Christmas” is full of the humor fans of the previous films have come to expect. And like the previous films, the story’s success revolves around it’s supporting cast. Danny Trejo plays Harold’s father-in-law, a rough and tough character who has a soft place in his heart for Christmas. He has brought along his own tree, which he has spent the last eight years growing just for the big holiday. Throw in a waffle-cooking robot, a crazed Russian gangster and the always funny Neil Patrick Harris and you’ve got a film that keeps you laughing from start to finish.

Unlike so many other films advertised in 3D, this one not only utilizes the process but takes it to its intended level. Eggs, traffic barrels, shattered glass…even a clay-mated rendering of an important body part hurl towards the audience with seemingly nothing to contain them. The jokes come fast and are definitely of the adult variety. And another extended musical cameo by “NPH” is a true highlight. The two leads have developed a genuine bond between them, one the audience can feel. For Harold and Kumar, Christmas without each other is…well, definitely not Christmas!

Starring: Ben Stiller, Eddie Murphy and Alan Alda
Directed by: Brett Ratner
Rated: PG 13
Running time: 1 hour 44 mins
Universal

Our Score: 4 out of 5 stars

To the current generation of filmgoers, Eddie Murphy is best known as the voice of Donkey in the “Shrek” films.

To another, he’s known for some horrible films, including “Imagine That,” “The Adventures of Pluto Nash,” “Norbit,” “Meet Dave”…the list goes on. With the exception of his Oscar nominated performance in “Dreamgirls” (and as much as I love Alan Arkin, I’ve got to say that Eddie was robbed on Oscar night), he hasn’t made a good live-action film in almost a decade.

To my generation, he is remembered as one of the brightest comedy stars to ever hit Hollywood. Beginning with “48 Hours” and then following up with such popular films as “Trading Places,” “Beverly Hills Cop” and “Coming to America,” Murphy was the standard that all other comedians were compared to. As he celebrates his 50th birthday it gives me great pleasure to say, “Welcome back, Eddie!”

Josh Kovacs (Stiller) is a busy man. As building manager of The Tower, a pricey condo building in New York City, he is constantly making sure his overly pampered tenants stay happy. Especially Arthur Shaw (Alda), who occupies the penthouse and spends his mornings in the rooftop pool. When Shaw is arrested by the FBI for fraud (think Bernie Madoff), Kovacs reveals to his staff that he had entrusted Shaw with their pension fund which, if the FBI is right, is now worthless. Angered and outraged, Josh hatches a plan with some of his co-workers to rob Shaw of the money he’s stolen and, presumably, hidden in a secret safe in his penthouse. Now he just has to find himself “someone who steals.”

Part heist film, part comedy, “Tower Heist” is an enjoyable ride that boasts no less than five Oscar nominees among the cast. Written by Ted Griffin (“Ocean’s Eleven”) and Jeff Nathanson (“Catch Me If You Can”), “Tower Heist” is a film that rides on the shoulders of its talented cast. Stiller is his usual solid self, while Casey Affleck plays a variation of his “Ocean’s Eleven” character. Alda chews the scenery as the architect of the Ponzi scheme that destroys not only a pension fund but the lives it was supposed to fuel. In his second humorous performance this year, following “30 Minutes or Less,” Michael Pena’ continues to surprise on screen. Matthew Broderick, Judd Hirsch and Tea Leoni fill out the main cast, all of them delivering solid work. But it is Murphy, seemingly channeling himself playing Billy Ray Valentine in “Trading Places,” that steals the show here. It’s so nice to see a funny Eddie Murphy on the big screen again. I welcome him back and hope he’s back to stay.

With the current Occupy Wall Street” movement happening in this country, “Tower Heist” is a very relevant film for these times. The script is full of sharp observances and some hilarious scenes, including one where a discussion of the movie “The Doberman Gang” evolves into “The Boys from Brazil” which in turn evolves into “Boys Don’t Cry.”

Starring the voices of: Antonio Banderas, Salma Hayek and Zach Galifianakis
Directed by: Chris Miller
Rated: PG
Running time: 1 hour 30 mins
Dreamworks

Our Score: 5 out of 5 stars

Ah, Shrek. You are truly the Ogre who keeps giving. After four films featuring you and your pals you’ve stepped aside and given us “Puss in Boots,” a film that is simply, along with your studio-mate “Kung Fu Panda 2,” one of the best animated films of the year. Or any year.

Having graced previous “Shrek” sequels, the film finds our sad eyed feline hero reminiscing about his childhood as he plots his most daring deed. It seems that Puss (Banderas) wants to get his paws on the fabled magic beans in the hopes of nabbing the goose that lays golden eggs. This has been a lifelong dream of Puss, who as a young orphan became best pals with another famous nursery rhyme figure, the oblong (and very fragile) Humpty Dumpty (Galifianakis). Currently the beans are in the possession of the hideous Jack (Billy Bob Thornton) and his equally ugly wife Jill (Amy Sedaris). But, with the help of a new femme feline fatale named Kitty Softpaws (Hayek), Puss is sure he is the right cat for the job.

Playing like a film by Robert Rodriguez or Sergio Leone, “Puss in Boots” is many films in one. It’s an old fashioned spaghetti western. It’s a comedy. It’s a buddy film. And it’s in 3D! The film is anchored by the vocal talents of its cast. Banderas is smooth as silk as Puss, a tough talking el gato who will duel you one minute and then sweetly lap up a glass of leche’ the next. Hayek brings life to Kitty, infusing her with a toughness that belies her appearance. As Humpty Dumpty, Galifianakis shines. Beneath his beige exterior Humpty is truly a bad egg, and Galifianakis hits just the right notes.

The film also excels visually. There are several great set pieces throughout the movie, with a highlight being an initial duel between Puss and Kitty. That the battle is a dance off only makes the action more exciting. Like “Kung Fu Panda 2” before it, Dreamworks proves again that when it comes to animation and the 3D process, they are the tops. Director Miller, who also directed “Shrek the Third,” keeps the film moving ahead with a steady stream of visual delights. Dare I say, in honor of Humpty, that the film is “egg”ceptional?

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