THE GIRL WITH THE DRAGON TATTOO is one of David Fincher's best films. As much as I like the original 2009 Swedish film, which is a solid adaptation of Stieg Larsson's international best-selling novel, Fincher's adaptation is superior for a number of reasons: (1) Unlike Niels Arden Oplev, who directed the original Swedish film, Fincher is an auteur filmmaker with a distinctive visual style. Visually speaking, there's nothing particularly interesting or remarkable about Oplev's version. Fincher, on the other hand, submerges the viewer into the cold, bleak, sinister Swedish winter landscape, a stylistically dark setting that enhances the equally dark narrative; (2) The characters, especially the titular protagonist and heroine brilliantly played by Rooney Mara, are more complex and fascinating; (3) Despite the fact that both adaptations feature nearly exact running lengths, the original Swedish film was plagued by a convoluted script and a languid pace. In Fincher's adaptation, scriptwriter Steven Zaillian has crafted an intricate, yet comprehensible (if the viewer is paying absolute attention, of course) script that provides the film with a smoother narrative and a tighter pace; (4) As for the performances, Fincher's adaptation edges out the original Swedish film due to a great supporting cast and Mara’s exceptional, fearless, Oscar-worthy performance as Lisbeth Salander. Noomi Rapace played the character in the original film, and although she was terrific, it was difficult to look beyond the rebellious, bad-ass goth-punk exterior and sympathize with her version of...[more]...

Wow....

Nicolas Winding Refn's latest directorial effort, the action-thriller DRIVE, not only blew me away, but it rendered me speechless as well. Once the end credits started rolling, I didn't get up from my seat until they finished rolling, a result of my being profoundly impressed by the film I had just seen. In terms of the narrative, there's nothing terribly original about DRIVE. With that said, DRIVE is all about the execution, and it's executed so brilliantly by Winding Refn, which makes the film stand out among Hollywood's plethora of formulaic, run-of-the-mill, and, for the most part, uninteresting action flicks.

Words cannot effectively describe how awesome and cool DRIVE is. It's an action film unlike any other before it, an arthouse action neo-noir that will satisfy fans of the genre, pleasantly surprise those who detest the genre, and impress film buffs and cinephiles alike. (It may even impress a few historians or professors of cinema.) The talented ensemble cast is great, anchored by a captivating performance by Ryan Gosling, and so are the cinematography and the retro 80s synth-pop soundtrack.

Moody, atmospheric, hyper-stylized, graphically violent, romantic, suspenseful, unpredictable, entertaining, and beautifully filmed: DRIVE is easily one of the best films of 2011. FAST & FURIOUS this is not! This is the antithesis of a typical Hollywood action movie. Don't believe me? Go see it for yourself!

I'm going to make this review short and sweet, because I'm tired and I desperately need to get some sleep...[more]...

I saw DON'T BE AFRAID OF THE DARK last night, and I was quite disappointed. It's easily the biggest disappointment of 2011, thus far. I really liked THE ORPHANAGE and SPLICE -- although I'm not a fan of the film -- was interesting to say the least, both of which Del Toro co-produced, but I didn't like DON'T BE AFRAID OF THE DARK one bit. The story is silly, absurd, and at times laughable. I simply couldn't take it seriously. For being a "horror" film, there's nothing remotely scary, creepy, or horrific about it, and I don't understand how it received an R-rating. (There's only one scene that I can remember being particularly violent.) Guy Pearce, a great, criminally underrated actor, is wasted in a cookie-cutter douchebag, neglectful father role. As for Katie Holmes, I'm not a fan of hers, and her performance in this film did nothing to change my mind. Best aspects of the film were the opening sequence, the gorgeous cinematography and lighting, and the performance by the child actress Bailee Madison, who plays the lead protagonist. (Del Toro has a thing for female children protagonists, as seen in the infinitely superior PAN'S LABYRINTH and CRONOS, both of which he fully wrote and directed.) Other than that, I'm afraid DON'T BE AFRAID OF THE DARK is nothing but a bore, devoid of any bone-chilling moments that one would expect from a film...[more]...

RED STATE is the most interesting film I've seen since Terrence Malick's brilliant and phenomenal THE TREE OF LIFE earlier this summer. RED STATE is quite a different film, however. This is unlike any film Kevin Smith has ever directed before, a film that will undoubtedly polarize audiences. RED STATE is part horror flick, part dark comedy, part thriller, part drama, part social commentary, and -- perhaps the most effective part of the film -- part satire of the insane pastor Fred Phelps and his despicable Westboro Baptist Church. No matter what you, the viewer, thinks of RED STATE, it will throw you off, as it did me. Call it a misfire, a mixed bag, a missed opportunity, a masterpiece, a total disaster, an abomination, or whatever you want, RED STATE will leave you asking yourself, “What the hell did I just watch?!� Whether you love it or hate it, there are two things viewers (hopefully most, if not all) of RED STATE can agree on: (1) It's a unique and entertaining piece of work that no one expected from Kevin Smith; (2) Michael Parks delivers a fantastic, scene-stealing, Oscar-worthy performance as a far more psychotic version of Fred Phelps. RED STATE is like a tightrope, and the viewer is the tightrope artist, who can either walk perilously across the rope to the other side or fall over. As for myself, I did neither -- instead, I decided to remain stagnant while on the tightrope. And that...[more]...

Saw FRIGHT NIGHT last night. I didn't like the way it started. The set-up is a bore, full of stilted dialogue and scenes that are hardly amusing. Thankfully, things pick up later on, and it's a fun ride. Colin Farrell is great as Jerry, the cool, handsome, and sinister vampire who lives next door. So is Anton Yelchin as Charlie Brewster (who, surprisingly, is a douchebag at the beginning of the film, unlike the 1986 version of Brewster), the teenage geek who firmly believes Jerry is a vampire. Neither actor steals the show, though -- the actor who steals the show is David Tennant, who is absolutely hilarious as Las Vegas-based magician Peter Vincent. Unfortunately, Toni Collette, a great, underrated actress, is wasted in a cookie-cutter "single mom" role. In terms of the performances and special effects, 2011's FRIGHT NIGHT is superior in every way. While 2011's FRIGHT NIGHT may be an entertaining horror flick, I still prefer the 1986 original in all its 80s cheese glory.

Note: One of my favorite scenes is a cameo appearance by the original Jerry, Chris Sarandon. Cool scene!

Watched RISE OF THE PLANET OF THE APES last night. I was pleasantly surprised by the quality of the film. It's easily -- I realize this isn't saying much, considering the sequels and Tim Burton's gigantic misfire of a remake aren't very good -- the best installment in the seemingly dead franchise since the 1968 original. Human performances aside (John Lithgow is quite good, though), Andy Serkis, with the help of WETA and motion-capture technology, steals the show of Caesar. Serkis not only makes the viewer sympathize with Caesar, but cheer him on in the action-packed finale. This certainly isn't a perfect film -- problems include the human characters, which are nowhere near as likable or well-developed as Caesar, and a second act that isn't as engaging or entertaining as the first or third. Overall, I thoroughly enjoyed ROTPOTA. I forsee a sequel coming our way in the near future. I only hope that it isn't another remake of the 1968 classic, because the last time 20th Century Fox tried to do that, it failed miserably. Instead, I hope it's more of a reboot than a remake (e.g., BATMAN BEGINS). Those "damned dirty apes" are back!

Just returned from a late-night screening of TRANSFORMERS 3 (I refuse to type out its godawful and completely unnecessary subtitle), and I must say that I was pleasantly surprised. Not only is it a vast improvement over the second installment, which I still believe is an abomination, but it's also a total blast from start to finish. This might be my favorite entry in the series, thus far...[more]...

THE TREE OF LIFE is an awe-inspiring cinematic experience. Writer/director Terrence Malick has crafted a surreal, beautiful, poetic, spiritual, thought-provoking, and deeply poignant motion picture that's a feast for the eyes, a pleasure for the ears, and a challenge for the brain. The performances are terrific, the score by Alexandre Desplat, which samples classical music and opera, is simply ethereal, and the film includes one of the best, most amazing sequences in the history of cinema (I refuse to spoil it, but trust me, you'll know it when you see it). I don't know what exactly THE TREE OF LIFE is all about, but that's the real beauty of the film. It's a mystery in every sense of the word. THE TREE OF LIFE is the kind of film that's not intended to be completely understood, much like Stanley Kubrick's sci-fi masterpiece 2001: A SPACE ODYSSEY.

Malick has worked in the film industry for over forty years, and THE TREE OF LIFE is barely his fifth directorial effort. THE TREE OF LIFE is not Malick's first great picture, but it is, after a four-decade-long career, his magnum opus.

Note #1: Needless to say, THE TREE OF LIFE is the best film of 2011, thus far.

Note #2: My grade may go up to a 10/10 after another viewing.

I finally saw THE GREEN HORNET last night...

I actually thought it was a lot of fun, even though it has its share of problems (one of which is Cameron Diaz, whose role as a dull love interest is completely superfluous). As the titular character and his sidekick Kato, respectively, Seth Rogen and Jay Chou have real chemistry, and they're quite funny together -- this actually surprised me, because I walked into the film thinking they would have zero chemistry. Christoph Waltz steals the show as Chudnofsky, a dangerous, short-tempered villain with serious self-esteem issues. THE GREEN HORNET is directed by the incredibly talented and imaginative Michel Gondry, and his visual flair is present in the film. This is certainly not a film that Gondry will be remembered for, but I enjoyed it for what it was: a funny, ridiculous, and entertaining action comedy.

Note: Gondry, once again, uses a song by The White Stripes -- "Blue Orchid" -- in a particular scene, which, for me, was a moment that was as awesome as it was bittersweet. The White Stripes announced their unfortunate breakup three weeks ago.

BLACK SWAN is my second favorite film of 2010, right behind Christopher Nolan’s marvelous mind-bender INCEPTION. Darren Aronofsky has crafted a gloomy, trippy, and Kubrickian psychological thriller about the dangers of obsession that fucks with your head and breaks your heart...[more]...

Another top-notch picture from David Fincher, who continues to prove that he is one of the best filmmakers working in the industry today. Other than the aforementioned director, the film's highlights are its lead actor and screenwriter. Jesse Eisenberg delivers a terrific, Oscar-worthy performance as Mark Zuckerberg, the highly intelligent, ruthless, arrogant, sometimes likable, and sometimes loathsome mastermind behind Facebook. Aaron Sorkin's screenplay is absolutely brilliant, brimming with razor-sharp, witty, and rapid-fire dialogue that recalls a classic Howard Hawks comedy like HIS GIRL FRIDAY. Sorkin unquestionably deserves an Oscar nomination, if not an Oscar, for his screenplay.

The bleak, creepy score by Nine Inch Nails founder Trent Reznor and Atticus Ross fits the film and Fincher's stunning visual style perfectly and enhances every single scene.

No matter how one feels about Facebook or the cultural phenomenon it has spawned, THE SOCIAL NETWORK is a fast-paced, very entertaining, and engrossing inside look into its inception and rise. This film has something to offer "Facebookers" and non-users -- not to mention critics -- alike. In other words, it's a must-see.

Another short and sweet review:

SALT, to my great surprise, was a fun, thrilling, and fast-paced roller-coaster ride, despite its preposterous script. A combination of THE FUGITIVE, PATRIOT GAMES, and the Jason Bourne films. This is easily Angelina Jolie's best action film as a lead. In addition to her solid performance and her being a fucking bad-ass, she's well-supported by two great, underrated actors in Liev Schreiber and Chiwetel Ejiofor. I can't think of another actress that can balance serious dramas and "popcorn fun" action flicks as well as she can. If SALT turns into a franchise, I'll definitely pay to see the next installment.

Note: If there's a sequel, I want Jolie to show more skin! She's wears too much clothing in this film. At least she showed some leg...better than nothing, right?

Note #2: I digged the score by James Newton Howard.

Here's a short and sweet review...[more]...

With his latest film, the sci-fi epic INCEPTION, writer and director Christopher Nolan has crafted another intricate, mesmerizing, provocative, intelligent, mind-bending, and brilliant cinematic puzzle and near-masterpiece, much like his breakthrough feature (and still his best piece of work, thus far) MEMENTO. The story is absolutely engrossing, the performances from the wonderful ensemble cast are great (with the sole lead Leonardo DiCaprio delivering the most impressive, complex performance) the action sequences are spectacular and thrilling (e.g., the fight scene that transpires in the hotel hallway and room, which is all I can say about said scene without spoiling the one aspect that makes it so fucking awesome), the cinematography is stunning, and the score by Hans Zimmer is haunting and heart-pounding...[more]...

Just got back from a late-night screening of PREDATORS. I must say that I was pleasantly surprised by the final product. PREDATORS is solid popcorn entertainment, filled with action, gore, neon-green blood, and some comedic moments. If you're worried about a "soft R," there's no need to worry any longer; this film earns its R-rating. My only complaint is a last-minute twist that feels unnecessary and makes very little sense (at least to me; if anyone can explain it to me, feel free to do so by sending me a message).

This is easily the best Predator installment since PREDATOR 2 (a guilty-pleasure in every sense of the word), released in 1990, starring Danny Glover and Gary Busey. Not to mention it's a million times better than those godawful, piss poor AVP flicks. I can't believe it took 20th Century Fox two fucking decades to make a good Predator film. Thankfully, the wait is over, and I think most of the credit should go to Robert Rodriguez, who produced and supervised the film.

By the way, Adrien Brody plays one bad-ass motherfucker here, and in terms of bad-assery, he holds his own against Laurence Fishburne. Who would've thought? Watching this film, I thought to myself: "This is the same guy who won an Oscar for THE PIANIST?!" Brody should consider taking more action roles, perhaps one for a super-hero/comic book flick next.

There's only two things you need to know about Thirst, Chan-Wook Park's latest picture: (1) it's about a priest who turns into a vampire and struggles with his desires for human blood; (2) it's graphically violent, bizarre, and more fucked up than 2003's Oldboy. Although Thirst is about a vampire, I don't believe it's a 100% "vampire film," because Park incorporates romance and pitch-black humor, both of which play a big part (if you will) in the film. A dark, twisted, bloody vampire romantic-dramedy is an apt description of Thirst. The story is engaging, the performances are strong, and overall, I thoroughly enjoyed the film. However, it runs a little long. I felt the film's length, which may have been a result of not sleeping at all the night before -- I never get any sleeping during Comic-Con week -- or not having any substantial, energizing food inside my stomach. The film could've used a little bit of trimming, nonetheless. I do plan on seeing Thirst again, simply because I think it deserves my $10 for a second viewing, instead of watching it only once for absolutely nothing. Thirst is certainly not a film for everyone, but if you're a fan of Park's previous work and vampires, this is the film for you.

Strider

A sorrowful, haunting, and epic western/character study about the final days of notorious American outlaw and larger-than-life figure Jesse James, which examines a theme of fame and its various effects on people. Brad Pitt, in possibly the role of his career, delivers a terrific, Oscar-worthy performance as one of the titular characters, a man who's deeply regretful of the terrible deeds he's committed, on the verge of losing his sanity, tired of the world, and who loathes the creature he's become. Casey Affleck holds his own, scene after scene, against Pitt as the other titular character, Robert Ford, a creepy, insecure 19-year-old who worships James as if he were a god. In addition to the superb performances, The Assassination of Jesse James by the Coward Robert Ford boasts gorgeous cinematography and a downright eerie and brilliant score by Nick Cave and Warren Ellis that makes the visuals even more stunning. Despite a near three-hour running length and slow pace, The Assassination of Jesse James… is an absorbing picture.

Strider

Tony Gilroy, scriptwriter for all three Bourne films, makes his directorial debut with Michael Clayton, an intelligent, gripping, and well-crafted legal thriller that doesn't rely on action sequences or heavy violence to be thrilling. The great ensemble cast -- George Clooney, Tilda Swinton, Tom Wilkinson, and Sydney Pollack -- all deliver fine performances. An unnecessary subplot involving the titular character and his two brothers is the only part of the film that's ineffective, as it kills some of its momentum and does absolutely nothing for the story. Michael Clayton is perfect for those who enjoy smart and entertaining thrillers that require the viewer to think.

SPIDER-MAN 3 is a massive piece of cinematic horseshit...period.