What's going on around here?!?!

Ok so I've been busy. My day job took me to a conference in Conneticut (which was lovely by the way) but, well, the timing was not good. You know that storm you've been hearing about ever and been seeing on the news? Yeah, I got caught in THAT! So now I'm stuck here on the East Coast. No worries, I'm making the best of a bad situation and will try to squeeze in some writing. So what's coming up?

Lots of reviews for some very different movies: the hard hitting British drama Fish Tank, the Academy Award nominated White Ribbon and should all go according to plan the newest version of the Wolfman.

I will be good and put up my links from last week and should all go according to plan you may be getting the Sickness Cinema in an ENTIRELY NEW FORMAT!

I will give you a hint...rhymes with shmodcast.

If you cannot sing then hum along

So this little tidbit showed up in Variety today.

Now obviously I'm not going to freak out and get over-excited about the mascot film of this site getting a sequel. It's tempting but lets proceed with cautious optimism.

As of now Anne Fletcher, who brought us the mega-hit The Proposal and 27 Dresses is attached to direct. Fletcher, a former choreographer certainly knows how to bring in a wide mainstream audience, could be an asset. I don't know if the film will have the nuance of the original without animator/director Kevin Lima at the helm. Who knows? It may be an enjoyable romp and that rarest of species, the good sequel.

Also a bit concerning is Jessie Nelson writing who's previous credits include Because I Said So and I am Sam. Though with these characters and situations acting as a foundation the material could transcend its origins.

I will say this though, having Fletcher around is a good indicator that James Marsden, who worked with Fletcher in 27 Dresses will likely be back as Prince Edward. Yay.

Come take a spin on the carny ride

I've been planning a Rohmer retrospective for a long time on the site, but unfortunately his films have been in high demand on netflix since the great director's passing.

So instead I rented the Insane Clown Posse movie "Big Money Hustlas."

Alongside two brave companions and a six-pack of Firestone Pale Walker (thanks Ter) we set about to watch this jug-sterpiece and let me tell you, I don't know how we managed to make it out alive.

The film which, alleges to be a parody/homage of blaxploitation films, is really just a piss poor series of messy, poorly timed, cheap looking scenes filled with "clever" "meta" "jokes" (I assure you each of these words belong in quotations). It's an hour and forty-five painful minutes that stretches out seemingly to eternity.

The plot is simple. New York (really Detroit, a fact the characters bring up many, many times) is under the grips of crime kingpin Big Baby Sweets (Violent J). Big Baby "needs his mother fucking money", something he repeats countless times in every scene. He and his crew of white gangsta posers, an ape man and a gas-mask wearing ninja terrorize little old ladies and stock footage of deer. I know that sounds amazing but it's just so poorly executed it's jaw-dropping-ly painful.

The apoplectic and gluttonous chief of police (played by the guy who does Mort Goldman's voice on Family Guy) calls upon San Francisco super-cop/pimp Sugar Bear (Shaggy 2 Dope) to clean up the streets. In the tradition of blaxploitation characters Sugar speaks in rhyme and is the coolest guy in the (juggalo-filled) room. He is partnered with the only non-corrupt cop on the beat Harry Cox. Sigh. Harland Williams, who was clearly given no script as the creatives felt he could rely on his improv chops, plays the nebbishy Cox. Terrible mistake. Williams work in this film makes his work in Half-Baked look like Daniel Day-Lewis in My Left Foot by comparison.

The film is loaded with cameos. Rudy Ray Moore drags out the last little scrap of credibility his Dolemite character has and pretty much runs it into the ground. He's not around for long though as "the movie couldn't afford him for that long." Mick Foley shows up as wrestler Cactus Sac (get it?) and the punk band the Misfits show up, for no discernible reason.

The movie is an unending stream of violence and vulgarity and I wouldn't have a problem with this if it weren't so damn amateurish and obvious. There is not one original or clever moment in the whole thing. Each attempt to be funny or meta or cool falls terribly flat. To make matters worse the DVD contains two ICP music videos which within seconds blow away the level of production values on hand for the movie.

Really this is a film for the sadomasochistic, the brave or the foolish. I mean unless you'd like to spend an hour and forty five minutes with a film where the most clever moment is a pair of ninjas trapping an obese stripper with an elaborate pizza trap, this is probably not worth your time.

The Nominations Conisdered AGAIN

We come once again to the time of yelps for joy and nerdy hand-wringing-Oscar Nominations. Below you will find a list of the nominees and below each individual list my thoughts on who belongs, who doesn't and who was snubbed. Just a quick FYI I took out Documentary short subject as well as the shorts category as I've seen none of the films nominated and can't really speak with any authority on them. All due respect to the people who put the care and effort into these films but well, there just aren't a lot of opportunities to watch them. Hopefully digital media should change this soon. Anyone curious about my thoughts on the other categories please feel free to ask in the comments.

Best Picture
Avatar: James Cameron and Jon Landau, Producers
The Blind Side: Nominees to be determined
District 9: Peter Jackson and Carolynne Cunningham, Producers
An Education: Finola Dwyer and Amanda Posey, Producers
The Hurt Locker: Nominees to be determined
Inglourious Basterds: Lawrence Bender, Producer
Precious: Based on the Novel Push by Sapphire: Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers
A Serious Man: Joel Coen and Ethan Coen, Producers
Up: Jonas Rivera, Producer
Up in the Air: Daniel Dubiecki, Ivan Reitman, and Jason Reitman, Producers

Thoughts: Avatar's nomination was inevitable and it's definitely the sort of popular, attention grabbing film that the population can get behind and thus have a stake in the Oscars and boost ratings. That being said, its presence negates the need for the Blindside. Even the film's strongest supporters couldn't contend there are more deserving films that have been shunted aside for its spot. Unless of course those supporters are the sort that only see two or three movies a year (which indeed may be the case with many Blindside fans). It's very cool to see Up in the category since it further legitimizes animation as a method of storytelling instead of a separate genre to the mainstream. I'm pleased and surprised to see An Education in here but I don't have any expectations it will win. Congrats to District 9 too who wins just by being nominated. Precious was always going to be here but its subject matter may be too distressing for older (and let's face it, white) voters.

Will Win:I still put my money on Up in the Air for being topical and appealing to the highest number of voters. Still I'd love to be wrong and have it be Hurt Locker (Bigelow's DGA win is a handy indicator that UITA may be upset).

Should Win:Hurt Locker and Inglourious Basterds are both films people will be talking about LONG after 2009. The craft behind them is too strong to not make them indelible. A Serious Man is simply too dense and polarizing to connect with viewers but the more I think about the film the more I find to relish.

Snubbed: I will maintain for a long time that In the Loop was one of the best to come out this year (certainly the funniest). I had high hopes for the thuoghtful, somber Where the Wild Things Are but I can understand voters not getting it. Surprised to see Crazy Heart represented in other categories but not here. Same goes for the Messenger.

Actor in a Leading Role
Jeff Bridges in Crazy Heart
George Clooney in Up in the Air
Colin Firth in A Single Man
Morgan Freeman in Invictus
Jeremy Renner in The Hurt Locker

Thoughts: This was a pretty predictable bracket with the exception of (deserving) wild-card Renner. I'm actually pleased to Freeman in here as he really nails Mandela. Clooney as it his Clooney-ist is UITA and does nice work with it but it doesn't feel very stretchy. He shows himself to be vulnerable, sure, but it doesn't feel brave. The real contest is Bridges and Firth. Bridges perf feels very lived-in while Firth is a revelation. Neither man's work is overtly showy which is a nice change of pace but both are honest and exciting.

Will Win: Bridges will likely ride on the traction of his previous wins. Plus he gets the nod for representing a career's worth of great work.

Should Win: That being said Firth's work made me (and doubtless many other viewers) completely re-evaluate what the man is capable of.

Snubbed: Michael Stuhlbarg's wonderful, desperate work in A Serious Man is missing. Also, if you want to go quirky Matt Damon's very funny, very different sort work in The Informant! is woefully absent. Frankly i found Tobey Maguire's work in brothers to be powerful, unpredictable stuff. The actor showed depths I hadn't previously seen and as his character's psychosis grew I genuinely feared him. I didn't believe him as a baddie in the Good German but he sure as hell is believable in this. Sam Rockwell has his supporters for his intense work in Moon but the Oscars almost never reward genre performances.

Actor in a Supporting Role
Matt Damon in Invictus
Woody Harrelson in The Messenger
Christopher Plummer in The Last Station
Stanley Tucci in The Lovely Bones
Christoph Waltz in Inglourious Basterds

Thoughts: This has always been Waltz's to lose. He won't. Boy will I be ticked if he does lose. Also Damon in Invictus is so damn inconsequential, what they're really doing is rewarding his physical transformation from The Informant! to soccer star.

Will Win: Waltz.

Should Win: That's a BINGO!

Snubbed: Frankly I would switch out Tucci in Lovely bones and replace him with Tucci in Julie & Julia. Wouldn't mind seeing some love for Christian McKay in Me & Orson Welles. Oh also Peter Capaldi and James Gandolfini deserve nods for their work in In the Loop.

Actress in a Leading Role
Sandra Bullock in The Blind Side
Helen Mirren in The Last Station
Carey Mulligan in An Education
Gabourey Sidibe in Precious: Based on the Novel Push by Sapphire
Meryl Streep in Julie & Julia

Thoughts: I know what's going to happen here. I know what's going to happen and I don't like it one bit. Sidibe is too young and I can't see her career extending past the film (though you could say the same for Jennifer Hudson, who basically won an award for singing a song well). Mirren doesn't have the traction she had with Queen, Last Station is too unknown. People love Streep (and it's certainly jusitified for her work here), but the movie may be too light for it to be a contender.

Will Win: That leaves Bullock for playing a sassy-brassy Texas mom who just can't help but be wonderful and help the under-privileged. I'm glad that Bullock is trying to push herself dramatically but come on. This is not the best female performance of the year.

Should Win: From this list it's Mulligan who gives a real, lived in performance. Oh wel,, I see a very long career ahead for this girl and the traction from the nomination should only help her career.

Snubbed: AGH! Where is Tilda Swinton whogave one of the years best performances in Julia? What's especially damning is that the role is so different from the ice queens (both literal and figurative) that Swinton normally play. Abbie Cornish's delightful work in Bright Star (a movie that's generally been ignored this award season) is also deserving.

Actress in a Supporting Role
Penélope Cruz in Nine
Vera Farmiga in Up in the Air
Maggie Gyllenhaal in Crazy Heart
Anna Kendrick in Up in the Air
Mo’Nique in Precious: Based on the Novel Push by Sapphire

Thoughts: Pretty much the bracket we've seen all season with the exception of Cruz. I can't begin to fathom what she's doing here. She sings fine, but if you had to pick someone from Nine it should have been Cotillard (again if you HAD to pick someone from Nine). Kendrick has a whole career ahead of her so we'll see her again. Gyllenhaal is great but there is nothing that feels unique in the part that suggests that only she could play it.

Will Win: Mo'Nique. It's a big, powerful performance from someone who has been in the industry for a while but has never pushed herself dramatically on this kind of platform. It feels like a "brave" vote for voters.

Should Win: Farmiga does subtle work in UITA and does what no woman with the exception of JLo has done in a film. That is, have genuine charisma with Clooney. She's that rarity in film; a career driven woman who really does have it all and plays it convincingly.

Snubbed: Melanie Laurent's Shoshana from Basterds goes from victim to angry wrath of God and the movie is richer for it. The role is a wonderful showcase for the actress and a fascinating character. Samantha Morton's work in The Messenger is nuanced, moving stuff. She does a lot with not a lot of screen-time. Rachel Weisz also brings heretofore unseen comic chops in Brothers Bloom and kind of makes fans re-evaluate her.

Animated Feature Film
Coraline: Henry Selick
Fantastic Mr. Fox: Wes Anderson
The Princess and the Frog: John Musker and Ron Clements
The Secret of Kells: Tomm Moore
Up: Pete Docter

Thoughts: Most years this is Pixar and whatever animated movie came out that yar. This year, however, I'm pleased to say this is a legitimately solid field. Except of course for Secret of Kells which apparently was only released to voters and came with copious bjs and hjs. I'm sorry if Oscar nomination morning Roger Ebert tweets he's never heard of your film there is something MIGHTY fishy going on. Kels aside, I thoroughly enjoyed all of these films and what's more they all feel different. Great year for animation.

Will Win: Up. Because despite all the competition Up still has got it.

Should Win: Up.

Snubbed: Such a rich year that three better known films could just as easily takes Kels spot. First, there's the much better than you'd think Cloudy with a Chance of Meatballs. Don't let the advertising fool you, this was maybe the movie that made me laugh third-most of any movie I saw this year (behind In the Loop and Zombieland). I've heard wonderful things about a Town Called Panic (though it never played near me) and the same goes for Miyazaki's Ponyo.

Writing (Adapted Screenplay)
District 9: Written by Neill Blomkamp and Terri Tatchell
An Education: Screenplay by Nick Hornby
In the Loop: Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, and Tony Roche
Precious: Based on the Novel ‘Push’ by Sapphire: Screenplay by Geoffrey Fletcher
Up in the Air: Screenplay by Jason Reitman and Sheldon Turner

Thoughts: Yay, finally a nod to the brilliant In the Loop. I'm a bit baffled that having a pre-existing character in your film suddenly shuts you out from an original screenplay nom, but there you go. Similarly District 9 being based on Blomkamp's short-film feels pretty weak to render it adapted. These were big, exciting ORIGINAL ideas people. Anyway it's Reitman's to lose as he's been cleaning up all over the place for this one.

Will Win: Reitman and Turner (doubt Turner will be at the awards).

Should Win: I'd love to see the In the Loop guys take it. I'm sure the speech would be wonderful and if the fun and good reviews didn't encourage them to make another movie maybe the award would. Also wouldn't mind hearing Nick Hornby's speech. Always awesome.

Snubbed: Where the Wild Things Are, no doubt a challenge to adapt but I think they perfectly captured the tone of the thing. Crazy Heart is apparently based on a novel and it's script is pretty tight despite the hangdog aesthetics that abound in the film.

Writing (Original Screenplay)
The Hurt Locker: Written by Mark Boal
Inglourious Basterds: Written by Quentin Tarantino
The Messenger: Written by Alessandro Camon and Oren Moverman
A Serious Man: Written by Joel Coen and Ethan Coen
Up: Screenplay by Bob Peterson, Pete Docter; Story by Pete Docter, Bob Peterson, and Tom McCarthy

Thoughts: Great line-up. No complaints here. Thank goodness Avatar wasn't nominated. Even the film's most ardent defenders couldn't possibly champion the script.

Will Win: This would probably be a sure thing for Hurt Locker...

Should Win: ...but oh man it would be so cool to see Quentin get the nod for his talky, extremely unconventional WWII film.

Snubbed: You could make an argument for (500) Days of Summer...if you've never seen Annie Hall.

Directing
Avatar: James Cameron
The Hurt Locker: Kathryn Bigelow
Inglourious Basterds: Quentin Tarantino
Precious: Based on the Novel Push by Sapphire: Lee Daniels
Up in the Air: Jason Reitman

Thoughts: Precious is known far more for its performances than its direction (though OBVIOUSLY the two are intertwined). Frankly Reitman's been a bit of a snotty shit on the campaign trail and lord knows Cameron doesn't need the ego boost. That really brings it down to two.

Will Win: Bigelow has been churning out quality action films for nearly three decades. She has mastered her craft and creates taut films. Throw in the weight and timeliness of the Iraq war and the Hurt Locker looks like a lock. Plus the Oscars are long overdue to reward a female director (especially one who deserves it).

Should Win: Bigelow, though Tarantino brings equal portions manic energy and grace to Basterds so I wouldn't mind it if he upsets.

Snubbed: Spike Jonze does a pretty remarkable job with Wild Things, both in terms of technical work and performances. The Coens do career best work in A Serious Man but the work was likely too personal and inaccessible for many.

The Best of the Worst

Empire Magazine posted a list of the "50 Worst Movies of All Time" and my friend Joel asked if I'd be interested on commenting on the list on the blog. I'm always happy to take requests (especially since they relieve me of the burden of original content) so lets do this.

50. Spider-Man 3-WRONG! While overstuffed and a bit too much helplessness from the protagonist the film is hardly a wash. Plenty of great moments and I LIKE the dancing. Why? Well because Peter Parker is inherently a dork and even if he was acting like a jerk, he WOULD be a goofy sort of jerk. There's just too much stuff in here that makes the film worthwhile to be considered a "worst." Most disappointing maybe.

49. Showgirls-Certainly a contender; bad acting, worse dialogue and beyond trashy aesthetics. Some of it's deliberate on the part of Paul Verhoeven (who has since gotten back on track) but some of it...yeesh.

48. Town & Country-Happy to say I missed this one. Warren Beatty was great in the 60's, 70's and 80's, but man know when to fold 'em.

47. Soul Plane-Soon to be advertised with "Oscar Winner Mo'Nique." Never seen it.

46. Howard the Duck-Good lord, yes completely belongs on this one.Awful, awful, awful. The movie that will make you wish for the time when Leah Thompson was creepily hitting on her own son as opposed to a DUCK.

45. Blade Trinity-Listen to enough interviews with Patton Oswalt and you might hear about the absolute crap storm that went down with Wesley Snipes behind the scenes in this one. With two such strong entries preceding it, Trinity is a pretty crappy come down.

44. Matrix Revolutions-Can anyone explain this to me? Can anyone explain this crappy Messiah parable to anyone? Definitely belongs.

43. Year One-Not great, not especially funny, but Oliver Platt's pretty solid. Bad but maybe not quite ready for "all-time."

42. Parting Shots-Never seen it (or even heard of it). Next.

41. Van Helsing-Yes. Stultifying action scenes abound as Universal whores out its legacy monster characters. Ugh, what a crap factory.

40. Superman IV-Jon Cryer as the incompetent nephew, the crappily named Mark Pillow as the Nuclear Man. Epic fail.

39. Dungeons and Dragons-Whatever happened to writer/director Corey Solomon? Who knows and who cares? This shoddy crapsterpiece nearly ended the fantasy genre on-screen before Rings and Potter saved it.

38. Son of the Mask-A sequel nobody ask for that arrived years after its sell-by date. Creepy dog, creepy baby and Alan Cumming as Loki for no reason. Frank put it perfectly "Fucking boo!" Definitely belongs on the list.

37. Max Payne-What I have seen of this looks pretty staggeringly bad. But I think it's just the sort of generic bad/boring as opposed to all-time bad.

36. Eragon-Hey look, the original idea train is coming...ooo no wait, we missed it.

35. House of the Dead-Any Uwe Boll film is a solid contender for a list of worst. Everything from technique to story is awful.

34. I Know Who Killed Me-But I don't know who saw this movie.

33. Ultraviolet-Kurt Wimmer's Equilibrium feels fresh (if occasionally heavy handed) but with a bigger budget Wimmer only made a mess. You don't care about the characters or situation one bit.

32. The Spirit-It's a mess but an entertaining mess. It appeals to a certain sensibility, a mad sensibility to be sure. I can understand why it's on the list but it definitely has vision. Crazy, crazy vision.

31. The Pink Panther 2-Too dumb and harmless to be on this list. Go pick on something truly terrible. The plot is actually kind of clever, just not well executed.

30. Scary Movie-Profane and obvious. It belongs on this list because you can certainly trace a line from this, to say, Epic Movie.

29. Southland Tales-Another mess but I don't fault its ambitions. There is definitely a lot of thought behind this but it's not especially well-executed. It's very frustrating to watch so I can understand.

28. The Sweetest Thing-An attempt to make a gross-out film "for girls" doesn't really work. More like a massive blow to the actresses' dignity than all-timer.

27. Street Fighter-Gloriously camp. Awful, yes, but lots of fun to watch.

26. Glitter-Oh yeah, definitely belongs on a worst of list.

25. Transformers: Revenge of the Fallen-A fun, fun punching-bag. I don't know if what I hate is the movie, but what it represents. Getting closer to the future in Idiocracy, that's for sure.

24. Speed 2-Nice, solid choice.

23. Freddy Got Fingered-Points for insanity and boldness. Points off for absolutely crap execution.

22. Jaws: The Revenge-Silly, silly movie. But it's not the worst single on this list.

21. Alone in the Dark-Ha, yes, excellent choice.

20. Swept Away-Whining, obnoxious and damaged the good rep of an actual good movie. Damn skippy.

19. Gigli-"It's turkey time, gobble gobble" It sure is gang, it surrrrre is.

18. Dreamcatcher-Awful and belongs on the list, but funnnnn to watch.

17. White Chicks-Yes, definitely. Crap, crap, crap.

16. Plan 9 from Outer Space-It's not well made but it's made of love and vision. It's a special little movie for all its ineptitude.

15. Catwoman-Oooh yeah, totally belongs.

14. Disaster Movie-This one and all its ilk need to be burned.

13. The Avengers-"John Steed, what a horse's ass of a name", what a horse's ass of a movie.

12. Norbit-Ugh, each entry is starting to get more and more painful.

11. Meet the Spartans-Please make it stop.

10. The Room-Makes me both hope, and worry for, humanity. You're tearing me apart Lisa!!!! Wish I could watch this with a big group of friends so they too can know what I've suffered.

9. Highlander 2: The Quickening-Doesn't belong on the list, for the subtitle alone.

8. The Happening-May be too soon to call but definitely a contender.

7. Sex Lives of the Potato Men-Never saw it or heard of it. Must be a British thing.

6. Heaven's Gate-Dull and messy but not a worst of all time.

5. Epic Movie-Gahhhh this is terrible. Make it stop.

4. Raise the Titanic-Really? Is it THAT bad?

3. The Love Guru-Embarrassing and ego-driven, but more forgettable and unfunny then worst of all time material.

2. Battlefield Earth-Ah yes, right where it belongs.

1. Batman and Robin-And so endeth the lesson.

Link of Darkness

The best soundtracks and scores of 2009. Great picks.

The always clever and crotchety Devin Faraci just returned from Sundance and boy did he see a lot of movies. Many of them sound great. Can't wait.

Kim Morgan delivers a sharp, well written look at the influence of the late JD Salinger on film.

Miramax is folding, it's inevitable but sad. Here are several different tributes to the finest the company had to offer here and here.

An intriguing look at some unconventional Oscar picks courtesy of the House Next Door here and here.

Another tribute to Zelda Rubinstein here. Probably a bit less slapdash than mine.

Hey, you know When in Rome? Kristen Bell deserves better and here are some suggestions.

From the amazing folks who brought you the Robocop rap, here comes the Aliens rap.

Zelda Rubinstein RIP

It's been said but...


When I was a little kid the horror movie that scared me the most (even though i didn't atually watch it) was Child's Play. Ugh, creepy ass doll.

But the first movie that scared the bejeezum out of me was Hooper and Speilberg's Poltergeist.
I've since come to respect the film for it's ability to both terrify and yet still create a sense of awe in the unknown. Also cause of Craig T. Nelson's GLORIOUS freak out (YOU DIDN'T MOVE THE BODIES!).

But when conventional hacks are unable to effectively bust the ghosts, it's the diminutive medium with the bizarre voiced Tangia that gives the necessary haunting advice that ultimately saves the Freeling family. Zelda Rubinstein's odd vocal characteristics and stature immediately made her a horror icon. I've heard nothing but wonderful things about the lady and the world is a sadder place without this classy lady.

Go into the light.

All are welcome.

Zelda Rubenstein 1930-2010

No Shit, Sherlock

Fidelity to character. Whenever a major property is adapted to the big screen the internet seems to go up in arms or embrace whole-heartedly depending on how close to the source material the movie hews. When it was announced that stylist Guy Ritchie was going to be directing an action-packed remake of Sherlock Holmes with (gasp) American Robert Downey Jr as Holmes tongues clicked and message boards flamed. "Where's his deerstalker cap? His pipe? Holmes is no fighter!" people cried.

People are idiots.

If Downey's Holmes displays little resemblance to, say, Basil Rathbone's Holmes (and I really must protest, how many of my fellow bloggers have actually sat down and watched all the other iterations of Holmes?) he more than makes up for it to fidelity in Sir Arthur Conan Doyle's original print creation. The original Holmes is a scrapper, a master of disguise, frequently anti-social and more than willing to indulge in cocaine (reading the text it's his snuff packet that Holmes delves into more than his pipe). Above and beyond all this though is Holmes esire to match his boundless wit and logic against the most puzzling challenges the world of crime has to offer him. Downey's bold, manic energy works PERFECTLY for the character as originally conceived. He bristles at the mundane and domestic and in this film Holmes, the master of reason is placed against a seemingly supernatural foe.
If this film is comparable to any recent release I'd say that Ritchie, Downey and the team of screenwriters has captured the lightning in a bottle that endured audiences to Pirates of the Carribean. Both films attack what could be rather calcified genre pieces with energetic pacing and a modern sensibility. Ritchie finds a good groove as a studio director and makes good use of his speed-up/slow-down to turn Holmes action as an extension of character. Holmes approaches combat as yet another puzzle to solve. In voice-over Downey runs through exactly how to strike and block his opponent to ensure their defeat. It looks cool but doesn't sacrifice Holmes acting and behaving like Holmes. This modern sensibility carries through not only in action but in interaction.
There couldn't really be Holmes without Watson and Jude Law's control and slow-burn serve as an excellent counter-point to Downey's manic bluster. The two actors are fearless enough to play out the Holmes/Watson partnership very much as a bromance. They're not afraid to express their admiration and affection for one another, even when they're driving each other crazy. They're not constantly bickering, but they're definitely not always on the same page. The pot is stirred even further by the fact that Watson is trying to break up the partnership by getting married (a device that leads to a number of amusing scenes as Holmes tries to employ all his cunning to stop the engagement).
Holmes is not without romantic entanglement, though his interest is as much intellectual as sexual. The screenwriters bring in another Doyle character, Irene Adler (Rachel McAdams) as the one woman who Holmes could ever be interested in because she is as cunning as she is. The character works but she's not as fleshed or fun as Downey and Law. Mark Strong makes an impression as baddie Lord Blackwell (though for once he's outclassed in a film rather than stealing it whole). It doesn't ultimately matter as the film hints at a much better known Holmes nemesis waiting in the wings for a sequel.

But perhaps Holmes biggest villains this time out are his detractors. One of the most common complaints I've seen leveled at this film is that Holmes doesn't do any mystery solving. I can't fathom what movie the people who are making this complaint were watching. While the true villain is never in question, the film more than tickles fancy as a how-did-they-do-it as opposed to a whodunit. Ritchie plays fair, having his camera pan on relevant clues throughout. He leaves a trail for those as observant as Holmes to follow and the solutions are quite fun. The film only really falters at the very end when it tries to give the thing a Michael Bay-ish set-piece with Holmes climbing a massive piece of construction after he and his cohorts race to disarm a bomb. It's a bit much and the climax is ultimately more interested in having Holmes reveal the nature of his deduction anyway.

The bottom line is Sherlock Holmes flat out works as entertainment that is smarter and more fun then it has any right to be. Why? Because explosions don't matter, it's character that counts.

Funny How Fallin' Feels Like Flyin'

In a splash of autumnal browns and golds the weathered visage of Jeff Bridges steps into some dive-bar spotlight, picks up his guitar and sings, barely out of a drunken stupor about how "fallin' feels like flyin'." It's an apt description for rookie director Scott Cooper's Crazy Heart. The film, which at its core about an alcoholic hitting rock bottom and pulling his life together, is never crushingly somber and often quite a joy to watch. The film, while small and simple in scope, is masterfully acted and manages to be pensive without ever becoming maudlin.
At the heart of the film is Jeff Bridge's Bad Blake, a country singer whose musical repertoire feels like a hybrid of Merle Haggard and Leonard Cohen. Blake, who was once a renowned songwriter and performer, has fallen on hard times and is now reduced to playing in bowling alleys and spending his nights either with floozy fans, booze, or more often than not, both. Blake is a masterful creation, a perfect synthesis of all the elements that have made Bridges the one of the most respected actor/stars of the past several decades. As Blake, Bridges has the wry likability of The Dude, the frustration of Duane Jackson and on stage the control of President Evans. Things slowly begin to turn around for Blake when he meets Maggie Gyllenhaal's reporter Jean. She's a single mom who is seeking an interview with Blake and the two quickly fall into an easy chemistry. At first Jean wants to maintain a professional distance, but she quickly gives in. They're too knowing to play the games of young lovers and Gyllenhaal brings a sinewy sensuality to her early scenes with Bridges. She doesn't just like him because it says so in the script, these characters work, even when they make bad decisions.
As the bond between Bad, Jean and her son deepens, Bad is moved to try to reinvigorate his career and reconnects with his new-country superstar protege Tommy Sweet (an always improving Colin Farrell). Of course the road to redemption is beset by all kinds of obstacles and while Bad does get his priorities straight, it is at great personal cost. If this is all starting to feel like a country music version of the Wrestler the comparison is apt. However, Cooper is a little less inclined toward melodrama than Aronofsky. He never pushes or manipulates and is content in keeping things as quiet as need be. The film takes its time and the viewing experience is richer for it. Cooper has an amazing cast of performers and lets them hold the stage, letting the audience enjoy genuine moments.

There are millions of tiny, wonderful details that puts Bridges alongside Christoph Waltz and Colin Firth as delivering one the finest male performances of the year. First off, there is Bridge's appearance. Bad Blake is a wreck of a once attractive man, he has let himself go. Bridges looks like a wet muskrat; scraggy haired, salt and pepper hair, leading each scene with his gut. Yet underneath it all there are still traces and swagger of a star and the composure of a professional. Take for example a scene where Bad is playing as a warm-up act for Tommy and Tommy sneaks up behind him to the delight of the audience. A broader film would have a more stated reaction from Bad, perhaps chagrin or surprise, but Bridges always aware of the character has Bad give Tommy a quick tip of his hat to Tommy. It's such a tiny moment but it's gloriously authentic, Bad is functional enough and lived enough that he knows how to deal with this sort of thing. Another scene finds Bad and his friend Wayne (a majestic Robert Duvall) on a boat as Bad recovers from a nasty hangover. It's a quiet moment where the two men hold the screen with idle chatter, quiet singing and fishing. It's the type of moment that is generally absent from mainstream American cinema. The audience isn't bombarded with flash but instead is embraced by quiet.

Oh and I'd be remiss if I didn't mention the sensational songs by T. Bone Burnett and Stephen Bruton. Honestly, I defy you to see this movie and not want the soundtrack immediately after. Bridges may not have the prettiest voice in the world but he has the chops to pull off each song. I could see them fitting seamlessly into a country jukebox between Kris Kristoferson and Waylon Jennings. There is so much to recommend about this film. Though I'm curious to see if it's just the exceptional alchemy of the actors and their material or if Cooper really has the goods as a director.

The Tooth Link

Do you have netflix? If you don't you should, ESPECIALLY because God's special gift to film lovers, Criterion, has put a huge chunk of their film archive online for instant streaming. These are spectacular films and they're available to you to watch RIGHT NOW. Here is a list of but a few of the new great films they've added.

The AV Club was on fire this week with several fantastic articles. First up was a list of tough guys appearing in children's films (in honor of Jackie Chan and the Rock's most recent cash-grabs).

Noel Murray wrote a wonderful piece about what he is dubbing "fogeyism" though its really more about what's going on with auteurs and the state of independent film.

I don't often agree with The Playlist but they've put together wonderful list of breakthrough performances from 2009.

iO9 has a nice short piece about how to build character through action rather than dialogue.

Joblo had a cute venn diagram about Denzel Washington.

Over at Topless Robot they put together a list of the coolest firearms in sci-fi.