Captain Phillips

Director: Paul Greengrass
Starring: Tom Hanks, Barkhad Abdi, Catherine Keener
Written by: Billy Ray (screenplay), Richard Phillips (based upon the book "A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea")
Rated PG-13 for sustained intense sequences of menace, some violence with bloody images, and for substance use

Originally published in the East Tennessean.

 “Captain Phillips” is a gripping true story that rises above other thrillers due to the humanity and moral complexity of its characters.

The movie is based on the 2009 hijacking of the merchant vessel Maersk Alabama by four Somali pirates. The ship’s captain, Richard Phillips, was taken hostage which prompted the United States Navy to initiate a rescue operation. 

The part of Phillips is played to magnificent effect by the one and only Tom Hanks, who reminds us again why he is one of Hollywood’s greatest treasures. 

The role is quite demanding, both physically and emotionally, and Hanks matches the varying character pitches perfectly. He effectively exudes confidence while also keeping a twinkle of terror and vulnerability in his eye. His powerful performance in the film’s final moments brought me to tears and I’m not ashamed to admit it.

Breakout star Barkhad Abdi is magnetic. 

Though Hanks is the protagonist, I’d argue that the real star of the film is newcomer Barkhad Abdi, who plays Muse, the leader of the Somali pirates. His menacing demeanor disguises a wounded soul who’s only there as a victim of circumstances beyond his control. Muse is not a man motivated by greed, he’s motivated by survival.

He’s much like Phillips in this way. They’re both just trying to do the job they have to do to get by. Their shared humanity gives them an uneasy, unspoken alliance. Each may be standing in the other’s way but there’s a mutual sense of respect and understanding.

Both know that this is a collision course that simply could not have been averted.

The film dares to make us feel compassion for the antagonists where other films typically do not. They’re more than just cardboard cutouts to take pot shots at, we become attached to them. These are real people with real lives. When the Navy finally comes in and begs for a peaceful resolution, you pray they can find one, even if in your gut you know it doesn’t exist.

In a routine Hollywood production, the end of this film would be a triumph; a celebration of the efficiency of the American military and American resolve. In “Captain Phillips” it’s a tragedy; the unintended consequences of the global economy. There are no heroes or villains here, only victims.

Coming from Paul Greengrass, who directed “United 93” and the last two-thirds of the Bourne trilogy, it’s no surprise that the film features an almost overwhelming attention to detail. In the beginning, the dedication to procedure and authenticity is a little off-putting; giving the film a sluggish pace, but his documentary-like approach is ultimately what grabs us and throws us into a seat on the ship with the captured crew.

This subtle way of building anticipation ensures that everyone who sees the film will be digging their

nails into the nearest armrest, leg, wrist or helpless pet they can find.

The climax is almost unbearably intense. Be ready for it. 

Film is a monumentally powerful medium, and it’s always encouraging to see people like Greengrass – along with screenwriter Billy Ray -- leverage their art for understanding. “Captain Phillips” is the kind of movie that helps us to fathom the human condition, and see the world in a way that’s just not as visible without the aid of film. If we as humans have to share a planet with one another, we should at least strive for perspective so that we can coexist as peacefully as possible.

I’m not sure if “Captain Phillips” will do anything to advance the human race in such a profound way, but it’s commendable that it even tries. It does, however, have the potential to at least start a few conversations and that’s a step in the right direction.

“Captain Phillips” is a terrific film because it uses its entertainment value as a thriller to force the viewer to ask questions about the characters and themselves, and to reexamine how one feels about difficult topics like terrorism, globalization and – the greatest mystery of all – our fellow man. It will hold you captive. 

4.5 out of 5

The World's End

Director: Edgar Wright
Starring: Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Eddie Marsan, Rosamund Pike, Pierce Brosnan
Written by: Simon Pegg, Edgar Wright
Rated R for pervasive language including sexual references

Originally published in the East Tennessean

The team behind “Shaun of the Dead” and “Hot Fuzz” are back to conclude their loose trilogy of comedy mayhem with “The World’s End,” and just like its predecessors, it’s a slice of fried gold.

“The World’s End” is the funniest comedy of the year. It’s also an exhilarating action movie, a prescient science fiction film and a heartfelt buddy flick. Brewed together, these elements make for the one of the most enjoyable films I’ve seen in quite some time.

Simon Pegg (who co-wrote the film with director Edgar Wright) plays Gary King, an alcoholic who’s so stuck in the past that he continues to wear the same black duster that he brandished in his glory days. His life plateaued in 1990, when he and his four friends attempted to complete ‘The Golden Mile:’ 12 pubs, 12 pints, one night. The only problem is that they all became so drunk that they failed to complete their journey.

Pegg's manic performance is the highlight of the film. 

Fast-forward to present day and Gary has an epiphany at an Alcoholics Anonymous meeting that sends him scrambling to get the estranged gang back together, and return to their hometown of Newton Haven to finally complete their epic pub crawl.

Pegg is perfect in the role, giving the best performance of his career thus far. Gary is obnoxious, narcissistic, manipulative, and clueless but he’s also oddly charming and endearing. You can’t help but sympathize with his pathetic plight to get the band back together because you know this adventure is all he has left in the world.

However, each of his four friends is a tough sell, having moved on to seemingly idyllic lifestyles. Oliver (Martin Freeman) sells real estate, Steven (Paddy Considine) is an architect, Peter is heir to a BMW car dealership and Andy (Pegg’s usual partner-in-crime Nick Frost) is a corporate lawyer who’s 16 years sober thanks to Gary’s past antics.

The “Five Musketeers,” as Gary calls them, decide to come together mostly out of pity for their friend, but a few drinks in and they’re all mostly back to their past brotherly rapport. There’s a wonderful sense of camaraderie. The dialogue between the gang is quick, catchy and consistently funny.

A lot of care was put into the characters’ back stories and shared history making it feel like you’re actually dropping in on the musings of old friends. As the alcohol flows, the boys share fond memories, inside jokes and even rekindle friendly rivalries.

The acting is flawless. I especially enjoyed the subtle way the characters seem to get more intoxicated as the night wears on. You can tell the actors are having a blast. The sense of fun is palpable.

And then the real fun begins.

It would be criminal to spoil what happens next, but I will say that eventually Gary and company discover that their livers aren’t all that’s being threatened by their return to Newton Haven. A battle ensues that puts their lives -- and possibly the fate of the entire world -- at risk.

Where “Shaun of the Dead” spoofed horror films and “Hot Fuzz” took aim at action movies, “The World’s End” has set its sights on science fiction, and the omnipresent theme of apocalypse that runs rampant in our popular culture.

The action is elegantly choreographed and shot with an infectious energy thanks to director Edgar Wright’s signature organic transitions and punchy editing. The special effects are dazzling for a film of this scale and really draw you in to the more outlandish proceedings of the second half.

What I enjoyed most, though, were the pauses in the action and showmanship, where the tension between the characters is brought into the foreground. At the heart of “The World’s End” is a touching and emotional ode to friendship and a reminder that it’s not your past that matters, it’s who you shared it with that’s important.

Such drastic tonal shifts would seem jarring and contrived in a less accomplished film, but Wright weaves together these disparate genres seamlessly. I will admit that some scenes feel rushed, and the third act is a little rough, but it does little to harm the overall impact. This truly is a film with something for everyone.

Edgar Wright, Simon Pegg and Nick Frost have completed the quintessential comedy trilogy. Here’s hoping that these three immensely talented musketeers can continue to collaborate well after “The World’s End.”

4.5 out of 5 Stars. 

Top Ten Horror Films

Horror was the last genre that I embraced as a movie lover. I don't really enjoyed being scared. In fact, it kind of makes me angry most of the time (just ask my wife.) I've also found that most of the horror films that I've seen are pretty contrived, and are more concerned with upping the gore factor than with telling an effective story.

While I still believe that there are exponentially more bad scary movies than good, it's understandable given that it's possibly the most difficult genre for a director to pull off well, but it's worth sorting through the garbage to find the few gems. Great horror movies allow us to confront our fears in a safe environment and posit tough questions so that we may discover new things about ourselves. They show us the unthinkable so that we may think on the horrors that exist in our daily lives. They aren't content to simply scare, they create an atmosphere, envelop us and linger in the sub-conscious long after the movie's over. They are reflexive, cathartic, therapeutic. This is what horror does better than anything else and it's why I've come to love being scared. These are the top ten horror films that provoked the strongest reactions out of me.

10. Scream

This is one of the first slasher films I ever saw (through my fingers) and it holds up beautifully. It works so well as a horror film that I often forget it's also a clever spoof that takes aim at the precise formula that the slasher genre had devolved into. The iconic opening scene ratchets the tension up to 11 and never relents. The self-aware dialogue is so funny and such a joy to behold that it makes you forget what kind of movie you're watching. This renders the resulting descent into horror so much more harrowing. Scream adeptly skewers the competition while also being better at skewering than the competition. It has guts and brains, a rare combination.

9. The Blair Witch Project

The spawn of the found-footage epidemic is still one of the best examples of how to use the convention right. This film reminds us that what we don't see is often far more terrifying than what we do see. The film purports to be an actual documentary, following a small group of kids into the woods of their sleepy New England town in search of the fabled Blair Witch. The realistic presentation absorbs us into the film as if we're one of the characters and makes the terror within feel entirely too plausible for comfort. At the time of it's release, there were even some people who didn't realize the film was fictional. For me, this is still one of the most unsettling viewing experiences of my life. The final frames haunted me for days. 

8. 28 Days Later

The Walking Dead owes an enormous debt of gratitude to this British zombie flick. The film follows Jim, who awakens from a coma in an abandoned hospital (sound familiar yet) only to discover that an outbreak has turned most citizens into mindless flesh eaters. The similarities don't end there. The film also chooses to focus less on the "monsters" and more on the social decay that follows such an event and how it affects the humanity of its survivors. The difference is that the zombies here aren't zombies at all, they're rage-infected humans. They're fast, feral and probably the most frightening incarnation of the undead ever conjured. A single drop of their blood can infect a human in 20 seconds flat. There is no such thing as a comforting farewell here. The terror is relentless, the drama is poignant and the film is a masterpiece of the genre. 

7. A Nightmare on Elm Street (1984)

It may not be the scariest movie ever made but I dare you to dream up a more frightening concept than a man who can invade your dreams and kill you in your sleep. Sleep is necessary. Sleep is inevitable. There's no escape. No matter how much you resist, you have to succumb to it eventually. Here the teens have to face off against one of the most chilling and enduring horror icons in film history: the razor-gloved, hideously disfigured Freddy Krueger. The dialogue and acting may be a bit dated but there's no denying that the film exudes style, keeps the scares coming in rapid succession and toys with our perception of reality in some inventive ways. Freddy became a bit more comical as the series went on but here he's as serious as a heart attack and his appearance alone is likely to give you one. 

6. Bug

Nevermind The Exorcist, this is William Friedkin's masterpiece. Set in a single hotel room, Bug weaves a tale warning about the pitfalls of unquestioning love and unsubstantiated paranoia. On the surface, it more closely resembles a low-key character drama than a traditional horror film. Make no mistake, the film is a foreboding slow burn that escalates into something that -- like the titular "bugs" that may or may not exist -- really gets under your skin. Michael Shannon's performance in this movie is, frankly, one of the best I've ever seen in anything. Even during scenes where it's all you want to do, you can't take your eyes off of him. He's magnetic, ferocious, uncompromising, unbelievable yet utterly convincing. He makes you want to believe in him, even though you know you shouldn't, which is where the true horror in this film lies. 

5. The Fly (1986)

It may sound odd but this is the kind of movie I like to watch when I'm sick because, even though I may feel awful, I can always say, "hey, at least I'm not that guy. That guy in question is Seth Brundle (Jeff Goldblum) a brilliant scientist who has discovered the key to teleportation. At least, he thinks he has. The only thing needed to prove his invention is a human trial. A lone fly gets trapped in the pod with him and the two become one. Goldblum's transformation is, to put it bluntly, disgusting. He's slowly falling apart but he's also slowly falling in love with Veronica (Geena Davis) which makes his decay sting with tragedy. Anyone who's had a loved one suffer from a terminal illness will know that the pain in this film is anything but fiction. 

4. The Thing (1982)

Imagine an organism that can absorb and assume the appearance and memories of anything it touches. How do you know who's themself and who's... something else. The sense of paranoia in John Carpenters The Thing is almost unbearable and it's made even more tense by the atmosphere that he creates. The Antarctic setting leaves you feeling cold and isolated. The Thing forces us to question our perceptions of ourselves and our neighbors. We never know when something sinister is lurking beneath the surface of even our closest friends. Carpenter preys on that fear mercilessly. The movie has one of the best ambiguous endings of all time and Kurt Russel is the ultimate badass. His beard alone should have been enough to scare the thing away. It would me. 

3. Jaws

It's kind of strange to think that the world's first blockbuster was a horror movie. Alas, Jaws is the quintessential horror movie and launched the career of one of the world's most renowned directors, Steven Spielberg, though I can't give him all the credit. The malfunctioning shark prop prompted Spielberg to only give us fleeting glimpses of the shark until the big showdown at the end. The gamble worked. It capitalizes on our fear of the unknown and keeps us shaking in our seats in anticipation of the big reveal. It doesn't hurt that the rest of the movie is top-notch too, with well-rounded characters, memorable lines and that dreadful John Williams score, it's amazing to think that it was considered a huge risk before it was released. Though, I guess not as big of a risk as skinny-dipping off the coast of Amity Island. 

2. Let Me In

Let Me In is the story of two young misfits growing up in New Mexico, dealing with bullies, family drama, etc. Oh, did I mention that one of them (Chloe Moretz) is a vampire? Easily the most poetic of all the films on the list, the film works beautifully as a both a melancholic coming-of-age tale and a new take on the vampire mythos. The performances are magnificent, especially the mature turns from the two young leads, who were around 12-years-old at the time of filming. The characters are vividly drawn, the story is moving and the horror is understated yet affecting. Many think the original Swedish film Let the Right One In is superior, and maybe it is, but I'm a sucker for the American setting and 80s pop culture references. 

1. Alien

Alien often feels like a dream. The way the camera floats around the halls of the richly detailed spaceship is mesmerizing. It lulls you into a feeling of comfort early on, and then betrays you by setting a deadly alien loose aboard the ship. Much like The Thing, the sense of alienation is overwhelming. There's no means of escape and the Alien's acidic blood means you can't destroy it without punching a hole in the ship and killing the entire crew. What's more interesting is that the Alien's nature isn't really homicidal at all, it's simply trying to survive. The "And Then There Were None" formula has rarely been put to better use, if ever. This is achieved mostly by making us care about the characters, especially Ellen Ripley (Sigourney Weaver), film's greatest heroine. It also looks like it was filmed yesterday and includes some extraordinary practical effects which have rendered the film timeless. Oh, did I mention it's scary? It's not only the best horror movie ever made, it's also one of my favorite movies of all time. 

Honorable Mentions: Evil Dead II, The Cabin in the Woods, Cabin Fever, The Texas Chainsaw Massacre, The Silence of the Lambs, The Crazies, Dawn of the Dead, Frankenstein. 

The Twilight Saga: Breaking Dawn Part 2

Director: Bill Condon
Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Michael Sheen.
Written by: Melissa Rosenberg (screenplay) Stephenie Meyer (novel).
Rated PG-13 for sequences of violence including disturbing images, some sensuality and partial nudity.

When it comes to the Twilight franchise, I've always existed somewhere in the middle of the spectrum. I fail to comprehend the reason behind the series' immense success, but I also think that the backlash it has received in response to it's popularity is unwarranted. At least, I used to feel that way. That is, until I saw Breaking Dawn Part 2 and was forced onto the naysayers' bandwagon against my will. This movie is about as bad as it gets.

Guess who wins...
You're wrong. 

It's abundantly clear that the decision to split the final chapter into two films was entirely a financial one. There's absolutely no creative excuse for it, and the film suffers tremendously. It's all filler, no killer, if you will. Let me give you a spoiler-free synopsis of this movie: Edward and Bella have to protect their half-human half-vampire baby from the Volturi (who govern all vampires) because they think that the child is a full-on blood sucker, which is bad because vampiric children can't control their thirst, cause wanton destruction and could risk exposing their kind to humans. The Cullens then gather witnesses to meet with the Volturi to prove the child isn't immortal. They all meet in a snow-covered field. Credits. That's it.

This means that the final chapter of the saga is further burdened by the fact that they have to introduce a TON of new characters right before the big finale, which could have been OK were they not all as flat as cardboard. For example, there's "that one vampire who was in the Revolutionary War," which we remember because that's THE ONLY THING HE EVER TALKS ABOUT. The war ended 283 years prior to the events of this film yet he babbles on about it as if America were still fighting for it's independence. That's just lazy writing.

For a $75 million film, it's also not too fun to look at. I couldn't tell if the special effects were trying to stay faithful to the modestly-budgeted original film or if the animators just didn't care enough to make them look convincing. From the way characters run at super-speed, to their use of powers, to the eerie way that the young Renesmee's face looks exactly the same no matter how old she gets (she's seen as an infant to about 17 and every age in between), it's all poorly handled and results in some unintended hilarity.

Look how creepy this thing is!

One of the more interesting aspects of the film is Bella's transformation into a vampire, but it's still pretty underwhelming. She mostly takes to it like a well-worn shoe (aside from a slight incident with a mountain climber, if you can call it that), eliminating any sort of tension that could have come from discovering and controlling her new identity. It's a shame considering the rest of the film is sorely lacking in conflict. Her self-control is supposed to be indicative of her strong-willed character but it seems more like a missed opportunity. I will admit, though, that it's kind of nice to see Kristen Stewart unleashed a bit from the more emotionally-restrictive role of "Human Bella."

Also, I have to give a shout out to imprinting, which is beyond creepy.  I'ms orry but there's no justification for it. The only rational excuse for it's existence as a plot device is that the writer must have felt like Jacob needed some sort of consolation prize. So instead of getting Bella, he gets... Bella's daughter? Who he really doesn't deserve anyway considering he's a petulant, controlling, self-absorbed child who is among the most annoying characters in film history. The worst part? It's not made very clear whether Renesmee has much choice in the matter, which opens up a whole other subject that I don't even want to get into. Moving on...

The derivative anti-climax is sure to please fans of the book with the way that it subverts their expectations while remaining faithful but everyone else will roll their eyes so hard that their optic nerves will be put in jeopardy. The only thing that makes it more insulting is that they had to include a dash of deus ex machina to tie up the remaining loose ends. The best praise I can give is that it's probably as good as it could have been considering the source material, and Michael Sheen's performance as the leader of the Volturi is suitably wacky, acknowledging how ridiculous the whole thing is. He seems to be the only one in on the joke.

Of the franchise's many flaws, this one is the most glaring.

The plot barely moves, the dialogue is cringe-worthy and the acting and directing is incredibly shoddy. It's pretty obvious that most of the cast and crew haven't invested too much love, care or faith in the material, though it's hard to blame them when the studio is just trying to milk their cash cow for all it's worth. The coda includes a bit of fan service that's sure to please and, if I'm being honest, it's unlikely that those who loved the rest of the series will be disappointed with this one. I, however, went in as a mostly indifferent Twilight viewer and found it to be the hole that sunk the franchise ship into the sea of my contempt. I've heard rumblings of a franchise reboot in the near future. Nothing short of imprinting on it will convince me it's a good idea.

1 out of 5

Top Ten Guilty Pleasure Movies

Even the snobbiest of movie snobs can't deny that there are some horrible movies out there that we can't help but love. Oftentimes nostalgia kicks in and reminds us of another time and place in our lives that we feel compelled to revisit. Sometimes, it's because the movie's so bad that we find new avenues of enjoyment that that the filmmakers may not have intended. Occasionally  it's inexplicable.

Regardless of why, we all have films that we hold close to our hearts but may be embarrassed to admit it. I'm no exception. So, I figured a great way to kick off my Ten Top Ten would be to eschew any potential pretensions I may have and level with you. I like some really terrible movies. Fair warning: you may be shocked, repulsed or downright disturbed by what you you are about to see. These are my cinematic guilty pleasures.

10. The Notebook

Though it's status has been slightly diminished by the onslaught of Nicholas Sparks imitations (mostly, from Sparks himself), I still stand by the fact that The Notebook is one of the best and most enduring pure-romance films of the past decade. It's undeniably romantic, eminently quotable and is quite possibly the greatest date movie of all time. Plus, the chemistry between Ryan Gosling and Rachel McAdams is electric, and solidified them as two of the more bankable stars in Hollywood. It's time to man up, boys, and admit to the world that this movie makes you cry, and you love every second of it 

9. Last Action Hero

Framed around the story of a boy who somehow finds himself transported into the fictional world of his favorite action movie, I still maintain that Last Action Hero is one of the more brilliant satires out there. Arnold Schwarzenegger, being the good sport that he is, sends up the action movie cliches that he helped establish and gives a winking, self-deprecating performance as Jack Slater, a stereotypical action hero who is eventually thrust into the real world and no longer bound by the rules of movies. It's not always as clever as it thinks it is and the kid is quite annoying, but it's all in good fun and there are some interesting musings about the relationship between a writer and the characters that he or she creates. For a young boy (me) who grew up on action flicks, it's quite magical. Plus, it has a scene with Arnold as Hamlet. What more could you ask for?

8. Teenage Mutant Ninja Turtles

This one coasts by almost entirely on nostalgia. I can't tell you how many times I watched this movie as a kid. So much so that I was still able to quote most of the film many years after I had moved on from the lovable heroes in a half shell. Looking back, I'm surprised by how dark the film is (both in terms of storytelling and the visual palette) and by how much the animatronic turtle suits still hold up, especially since little else does. Still, it's so goofy and unpretentious that I can't help but love it. It's a story about humanoid turtles... that are ninjas. What you see is what you get. Oh, it also spawned a sequel. And this slice of fried gold.

7. Mighty Morphin' Power Rangers: The Movie

This is another staple of my childhood. Aside from Back to the Future, I've probably seen this movie more than anything else. It is simply... AWESOME! There, I said it. The film opens with a fairly exhilarating sky-diving sequence, has an army of ooze people, some re-animated dinosaur skeletons, giant robots and rollerblading. ROLLERBLADING! (I was tempted to write this whole thing in all caps.) It's so over-the-top, unapologetically cheesy and filled with cringe-inducing, pun-laden dialogue (my favorite line: "I have a bone to pick with you!"), it's understandable that people loathed it. However, my love of the show and the mega scenery-chewing of Paul Freeman as the film's villain, Ivan Ooze ensures that I'll never conform to the majority opinion. I'm a Ranger for life.

6. The Boondock Saints

"The Boondock Saints is great!" you say? Well, I think so too, but hop over to it's Rotten Tomatoes page for a second and check out it's approval rating. Go ahead. I'll wait...

20 percent. 20 PERCENT! There are more critics out there that like That's My Boy than The Boondock Saints. Think about that for a moment. It's almost enough for me to reconsider my job aspirations. For those that haven't seen it, all you need to know is it has the man who eventually becomes Daryl Dixon, and Willem Dafoe dresses in drag. You're welcome.

5. Bad Boys II

...is such a bad movie. It's absolutely horrible. It's profane, cruel, beyond stupid, waaaaaayyyyy too long, ugly, Martin Lawrence, and morally repugnant to even the most open of minds. But, Michael Bay's single-minded insistence on topping himself with escalating action set pieces is mind-boggling. Say what you will about the man as a director, but he really knows how to blow stuff up in the most spectacular of fashion. Skip all the stuff in between and marvel at how much destruction the Fresh Prince and  Big Momma can cause without consequence. Dare I say, it's a work of art.

4. Little Nicky
This one gets points mostly for the fact that it's easily the weirdest thing that Adam Sandler has ever done and, by extension, one of the most creative. This zany high-concept comedy tasks Sandler with playing Nicky, the sweet-natured son of the devil (Harvey Keitel in a perfectly nutty performance) who must go to Earth to prevent his two brothers from literally unleashing Hell there. Filled to the brim with a cast of funny faces and excellent cameos (including Quentin Tarantino as a blind doom-spewing priest), the movie is so wacky that it's impossible for me not to succumb to its odd charms.

3. Joe Dirt
Some people would probably rather have Christopher Walken stab them in the face with a soldering iron than to have to watch this again, but I think Joe Dirt succeeds as the white trash alternative to Forrest Gump. Joe's quest to find his parents is sort of endearing and he imparts wisdom like a redneck sage. It must be the mullet. While it's excessive toilet humor wears thin after a while, Joe Dirt excels due to it's memorable cast of characters, great soundtrack and Mr. Dirte's ability to "keep on keepin' on" in the face of adversity. It's a garden. Dig it.

2. Space Jam
You know what? On second thought, there's no shame in this. Space Jam is great. Moving on.

1. Batman and Robin
This is it. The Cardinal Sin of movie geekdom. Any self-respecting Batman fan knows that this is the worst thing to happen to the Caped Crusader since... well... ever. The auteur of awful, Joel Schumacher directs the Batman franchise into the ground with Arnold Schwarzenegger's incessant puns, the overly broad acting, the camp tone and, of course, Batsuit nipples. Still, it's one of those movies in which their existence is so puzzling that I can't help but keep coming back to it and enjoying it for the strange beast that it is. A heaping of nostalgia doesn't hurt. It was a lot of fun as a kid.It's also comforting to know that if this hadn't been such a mess then we may not have had Christopher Nolan's masterful trilogy some years later. So, it's a good history lesson.

As you can probably tell, I'm reaching here. This one is about as inexcusable as it gets. I can't really explain it, but Batman and Robin is my ultimate guilty pleasure. Since I'm doing a poor job at justifying my love for such a train wreck, I'll let Mr. Freeze explain it for me:

Chronicle

Director: Josh Trank
Starring: Dane DeHaan, Alex Russell, Michael B. Jordan.
Written by: Max Landis (screenplay) Max Landis, Josh Trank (story).
Rated PG-13 for intense action and violence, thematic material, some language, sexual content and teen drinking.

I’ve never been thoroughly convinced that the found-footage genre has been a good thing for Hollywood. Instead of acting as a meaningful extension of the story, it’s typically employed as a cheap studio gimmick to minimize investment and maximize returns. Cloverfield is the only film in the genre that's really impressed me. Seeing it on the big screen is the closest a film has ever come to imitating the exhilaration of a roller coaster ride. Unfortunately, it still suffers from many of the shortcomings that have always held the format from achieving greatness: poor shot composition, limited perspective, vomit-inducing shakiness and that lingering question in the back of everyone’s mind, “Why don’t they just put the camera down and run away?”

DiCap... I mean, DeHaan delivers a fierce performance.

Chronicle circumvents every single criticism levied at faux-documentaries by making it integral to the story’s impact. High-school senior, Andrew Detmer (played to unsettling perfection by Dane Dehaan), is defined by his camera. He documents his every move, preferring to view the world around him through a window rather than dealing with the defects of his life head-on. His mother is slowly being eaten away by cancer. His father, an alcoholic, abuses him. He chronicles his interactions with them as a means to help him cope with the toll that it’s taken on his well-being.

The only person that Andrew speaks to is his cousin, Matt (Alex Russell), a self-proclaimed philosopher. He does his best to improve Andrew’s morale but he rarely prevails. It’s evident that their relationship doesn't really exist outside of Matt giving Andrew a ride to school – a place where he eats lunch alone and is bullied mercilessly. Carrying a bulky camera around on his shoulder doesn't help matters.

Experiencing the world from Andrew’s perspective is enthralling and never feels less than real, which is key to what prevents the film’s biggest conceit from falling apart. Eventually Andrew and Matt, accompanied by fellow classmate Steve (Michael B. Jordan), stumble upon a supernatural phenomenon and develop telekinetic powers. What could have been a jarring transition ends up feeling very natural because of how grounded the characters are. The illusion of reality is never once broken (except those LEGOs looked pretty fake.)

Chronicle is more than an absorbing character study, it’s an inventive take on the superhero genre because writer, Max Landis (son of John), drops the word “hero” from his vocabulary altogether. The boys here harbor no guilt for their newfound abilities, and do not insist on using their powers for good. They do what any average teenager would do: they wreak innocent havoc in the name of fun.

The three "afflicted" young men begin to develop a tight bond with one another. (So close, in fact, that when one is in trouble, the others are signaled with a nosebleed.) Andrew’s new-found companions and developing abilities act as a catalyst for his changing demeanor. His camera is no longer a scapegoat for his insecurities. Why hide behind a camera when you can levitate it? (which works wonders for composition, by the way). He trains his lens on himself and his friends, fascinated by the gifts that they've inexplicably received. He routinely pores over the footage for clues on how to unlock their true potential.

Josh Trank, in his directorial debut, has solidified himself as a filmmaker to keep an eye on. He excels at making intimate moments feel grand and is obviously very good at making his actors feel comfortable with one another. The three leads are having a blast and their interactions are a lot of fun to be a part of. For those of us who have seen the previews, it’s no surprise when Chronicle's more sinister undertones are unearthed. The shock is in how much you care about the severe repercussions of their ever-expanding powers.

To explain what I mean without spoilers, Chronicle is best viewed as an allegory for the dangers of teenage repression and isolation. I’m sure that many people will be able to identify with some of the struggles that our “heroes” have to endure; which is great because, ultimately, it cautions kids by showing them exactly what happens when you forgo the responsibility that comes with such great power. It also just happens to be a fun slice of pop cinema: the kind of film that can only exist when a studio takes a chance on new talent and unconventional themes.

At one point, Andrew identifies himself as the apex predator, calling his seat at the top of the food chain. In a way, I think that’s the perfect way to describe Chronicle. It is the apex of the found footage genre. The only complaint that I could possibly impose on an otherwise brilliant film is that the climax feels a bit bigger than the film that it’s in. In keeping with the found footage look we hop from various recording devices -- ranging from cell phones to security cameras -- to frame the action. Unfortunately, it ends up undermining the otherwise powerful conclusion with unnecessary choppiness (and in some cases, seems to abandon the shooting style altogether.) However, this small distraction doesn't prevent Chronicle from taking its seat on the throne as king of the genre.

4.5 out of 5

Mission: Impossible - Ghost Protocol

Director: Brad Bird
Starring: Tom Cruise, Paula Patton, Simon Pegg, Jeremy Renner, Michael Nyqvist.
Written by: Josh Appelbaum,  Andre Nemec (Screenplay), Bruce Geller (TV series).
Rated PG-13 for sequences of intense action and violence.

I grew up on action movies. As a child with a hyper-active imagination, the intricacies of plot and acting didn’t matter much to me. I was just there to see the every-man action hero prevail over the seemingly insurmountable evil that stood before him. I craved fistfights, explosions, and one-liners, but most of all, I wanted to live through these icons and believe that I too was capable of something extraordinary.

"Did I leave the stove on?"

Regrettably, these films are an endangered species. Sure, we’ve got a superhero for every color of the rainbow now but it’s not always easy to relate to the tribulations of genius billionaires (both bat-clad and iron-suited alike) and adolescent web-heads, especially when their adventures rely so heavily on whimsical powers, supernatural villains and special effects.

Enter Mission: Impossible – Ghost Protocol, a refreshingly old-school action flick whose sole goal is to dazzle its audience, not through CG wizardry but through the humanity of its stars (and the insanity of Tom Cruise.) The tension is relentless, the set-pieces are thrilling, and the team dynamic among Cruise and his cohorts is compelling enough to make-up for the film’s lack of a memorable villain.

The story’s simplicity is mind-boggling: Dude's got nuclear launch codes. Stop dude with nuclear launch codes. That’s it. Oh, and then there’s Ghost Protocol: that ominous fine print that reads something like, “Should your mission be compromised, the government will disavow any knowledge of your existence.” You’ve probably heard something to that effect in numerous spy films before, but here the plot device is actually put into motion and brilliantly ups the stakes for our heroes by leaving them without back-up.

The Cruise Crew

Ethan Hunt (Cruise), the man that redefines the term “impossible,” is back with a team comprised of: the butt-kicking babe, Jane (Paula Patton), the wise-cracking hacker, Benji (Simon Pegg) and the unwitting “analyst,” Brandt (Jeremy Renner). Pay no heed to my back-of-the-box descriptions of these characters. They all defy the pitfalls of action-film clichés by being fully-developed people with conflicting feelings regarding the extreme situation they’ve been put in. Each one is personally invested in the mission beyond the world-ending consequences should they fail.

Unfortunately this attention to detail also makes it glaringly obvious that the antagonist, Kurt Hendricks (Michael Nyqvist), is as flat and docile as his name might imply. Arguably, the villain should be the most interesting character in an action film. The hero can be excused for lacking a defined personality because he/she acts as the avatar for the audience. The bad guy, however, should always act as the good guy’s MacGuffin -- driving them indefatigably towards their goal -- by taking a unique stance against something that is universally accepted as “good.”

A truly great villain can even evoke sympathy towards their plight by truly believing their actions are to the benefit of mankind. This is something that is hinted at throughout the film but, ultimately, it doesn't work. Hendricks harbors none of the characteristics of a great nemesis. He lacks menace. And his rationale for why he wants to destroy the world is never elaborated further than “life needs to start over sometimes.” It’s incredibly frustrating to see such a provocative philosophy go to waste in an otherwise top-notch thrill-ride.

See what I mean?

Though I will admit, said thrills do almost make up for this oversight. Director Brad Bird (making an undeniably impressive live-action debut) has streamlined the Mission: Impossible franchise into a breathless adrenaline generator; able to turn even the simplest of tasks -- such as hopping onto a meandering train cart -- into an opportunity to keep the viewer on edge. Bird and co. hop from set piece to set piece at a dizzying pace and compromises nothing in the process. There are at least three scenes here that rival the best that similar films have to offer.

The high point of high points is the much-hyped Burj Khalifa climb, where Cruise clambers up the side of the world’s tallest building. You might want to bring an inhaler, because it’s every bit as asthma-inducing as the ads will have you believe. The vertigo-afflicted among us have been warned.

Renner has exceptional balance

Mission: Impossible – Ghost Protocol is so much fun that it forced the kid in me to claw his way to the surface. I can imagine myself reenacting the insanity onscreen by climbing up trees, chasing down neighborhood kids on bicycles and fighting for an object that will “save the world.” For me, that’s the best praise I can give an action film. Sure, the plot isn’t anything original. And maybe the villain doesn’t live up to the standards set by the likes of Hans Gruber and the Terminator, but when you have a movie as expertly made as this, it doesn’t matter. Ghost Protocol ranks among the classics of the genre and is easily the best film in the M:I franchise

4.5 out of 5