Silver Screen: The Score Card, February 17, 2011 Edition

Silver Screen: The Score Card, February 17, 2011 Edition
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Silver Screen: 127 Hours ****
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Silver Screen: Blue Valentine ****
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Silver Screen: Grown Ups *
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Silver Screen: Inception ****1/2
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Silver Screen: Knight and Day *1/2
Silver Screen: Let Me In ***
Silver Screen: Life as We Know It *1/2
Silver Screen: Megamind ***1/2
Silver Screen: My Soul to Take 3D 1/2*
Silver Screen: No Strings Attached ***
Silver Screen: Paranormal Activity II ***1/2
Silver Screen: Piranha 3D ***1/2
Silver Screen: Predators ***
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Silver Screen: Sex and the City II 1/2*
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Silver Screen: The Audubon Trilogy: Fugitive Narratives and the Drama of the Natural World
Silver Screen: The Dilemma *1/2
Silver Screen: The Expendables **1/2
Silver Screen: The Fighter ****
Silver Screen: The Green Hornet **1/2
Silver Screen: The Karate Kid ***
Silver Screen: The Karate Kid ***
Silver Screen: The King's Speech ****
Silver Screen: The Last Airbender *
Silver Screen: The Last Exorcism ***
Silver Screen: The Mechanic **1/2
Silver Screen: The Next Three Days ***
Silver Screen: The Other Guys ***
Silver Screen: The Rite *
Silver Screen: The Roommate *1/2
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Silver Screen: The Score Card, February 17, 2011 Edition
Bryan Miller

> Opening this week (Friday unless otherwise noted).

< Leaving Carbondale this Friday.

For more film reviews and capsules, see the Nightlife section of


by Bryan Miller unless otherwise credited.

Black Swan (R, ****): Darren Aronofsky's feverish retelling of Swan Lake is another stylistic triumph for the director, and a cerebral stunt that's also backed up by a solid story and defiantly toes (and screams across) the line of melodrama without quite tipping into it. Natalie Portman is excellent as the ambitious but frail, sheltered ballerina Nina, who is daunted by the psychological strain of both creating art and navigating the hazards of her industry. Repressed by her overbearing mother (Barbara Hershey), pushed to the edge by her manipulative director (Vincent Cassel), and threatened by her seductive potential replacement (Mila Kunis), Nina finds that losing yourself into art can be not unlike just plain losing yourself. It's a trippy flick, and Aronofsky exploits the grotesquerie lying behind the images that are so beautiful from afar. Always intense, occasionally frightening, it's one of the season's most bombastic and provocative films.

Blue Valentine (R, ****): This intense, heartbreaking film tells the story of a marriage, but the narrative is split into two parallel stories: One in which sad, lost Cindy (Michelle Williams) meets aimless but amiable blue-collar dilettante Dean (Ryan Gosling), and the other in which the two not so mutually decide to end their marriage after a long, disastrous night in a cheap hotel room. Director and cowriter Derek Cianfrance does a remarkable job with this heavily improvised, hyper-realistic film, which rings wrenchingly true. Exceptional performances by both leads make this incredibly hard-to-watch film definitely worth the pain.

< The Dilemma (PG-13, *1/2): A happily married salesman (Vince Vaughn) discovers that the wife of his best friend and business partner (Kevin James) is cheating on him, bringing up the titual quandary of to tell or not to tell. Director Ron Howard could have made it into a drama or a comedy; a slow, brooding psychodrama; or a farcical comedy of errors. But instead of making one of these movies, Howard seems to have attempted to mash them all into one movie. The result is an agonizing, terrible movie that combines the awkward silence of failed jokes with the jaw-clenching quiet tension of a protracted and grim portrayal of a marital-meltdown weepie. Costarring Jennifer Connelly, Winona Ryder, and Channing Tatum.

The Fighter (R, ****): It's Christian Bale, ostensibly the supporting player, who dominates David O. Russell's true-life boxing tale. But that's apropos, as the crux of the drama is little brother and future title contender Micky Ward (Mark Wahlberg) struggling to escape his fallen pugilist sibling's shadow. He's held back by bad habits and affection for his self-motivated family members (not just his brother but his domineering mother, played by Melissa Leo, and a gaggle of ghastly sisters). His new girlfriend (Amy Adams) presses him to strike on his own for one last shot at greatness in the ring. Russell cut his teeth as a maker of interesting, oddball films (from the hilarious Flirting with Disaster to the increasingly weird and wonderful I Heart Huckabees and Three Kings), but here he proves he can work with a straight story, too, and proves that an inspirational sports movie can come by its inspiring swells of bravado honestly. Bale is electric, and the rest of the ensemble shines around him.

< The Green Hornet (PG-13, **1/2): This comedic riff on the superhero movie succeeds partly as a comedy and not much at all as an action flick. Seth Rogen cowrites and stars as Brit Reid, the layabout heir to a media fortune who decides to use his money to become a masked crimefighter to carry on the legacy of his late crusading journalist father (Tom Wilkinson). Problem is, Brit has no skills, so he employs his sidekick Kato (Jay Chou) to do all the actual superheroing. It's a funny concept that grows tedious as Brit refuses to learn or grow or do much of anything rather than trash talk and hit on his secretary (Cameron Diaz). A lazy plot and a terrible villain (Inglourious Basterds' Christoph Waltz, an excellent actor given no material to work with) turn the last hour into a grind. Director Michel Gondry's eye-popping visuals surface only occasionally as his distinctive sensibility is subjugated to that of Rogen, which is not an even trade. Only in the 2D version.

The King's Speech (R, ****): The story of King Edward VIII's abdication of the throne in favor of the love of an American woman has been told many times before, but director Tom Hooper's excellent film follows a much less salacious consequence of the royal changeover, which is the ascension of Edward's brother, King George VI (Colin Firth), and his struggles with a speech impediment. The smaller-scale story becomes a microcosm of the newly crowned little brother's struggle with the responsibilities of leadership and the psychological baggage that comes with royal life. Geoffrey Rush is fantastic as the Australian speech therapist whose unconventional methods help Firth's staid ruler find his footing. Hooper's focus on this singular conflict amidst a more sweeping backdrop-- World War II is looming-- helps humanize the characters and cut through the faç ade of the monarchy without ever sinking to the level of lurid tell-all. Helena Bonham Carter costars as the future queen.

The Mechanic (R, **1/2): Reliable action star Jason Statham is nicely paired with a scruffy Ben Foster in this remake of a 1972 Charles Bronson vehicle. After Statham's master assassin reluctantly agrees to bump off his own mentor (Donald Sutherland), he decides to aid the man's violent but misguided son (Foster) by teaching him the ins and outs of the hired-killing game. But allegiances are divided both by the past and the shady dealings of our antihero's employer, a wealthy cabal led by the wonderfully villainous Tony Goldwyn. The remake retains enough of the slower pacing and character focus of the seventies original-- relative to the genre, of course-- to be interesting, and the nicely paced action leads up to a nicely executed if predictable climax.

No Strings Attached (R, ***): Ivan Reitman directs this romantic comedy about a pair of longtime friends, a writer (Ashton Kutcher) and a doctor (Natalie Portman), who embark on a fling but promise not to develop romantic feelings for one another. Inevitably, of course, this friends-with-benefits accord leads to the two developing feelings for one another. No Strings Attached rarely deviates from the standard constructs of its genre-- it not only lacks a gimmick, it's almost plotless, consisting almost entirely of quiet moments and appealing banter, occasionally implausible but always character-driven and surprisingly amiable. Featuring Kevin Kline, Greta Gerwig, Cary Elwes, and Ludacris.

127 Hours (R, ****): Danny Boyle (Slumdog Millionaire) directs this true story about outdoorsman Aron Ralston (James Franco), who needed to cut off his own arm after an accident in the wilderness trapped him under a boulder. Flashbacks to Aron's youth give the movie substance, exploring the dark undercurrent of unhappiness that prevented the energetic, type-A Aron from fully living his life and connecting to the people around him, perhaps too willing to construct his lifestyle around his character flaws rather than facing them. More than a daring piece of filmmaking and a compelling drama, 127 Hours is an emotionally resonant experience that lingers in the mind long after the visceral shock of the climax fades away.

The Rite (PG-13, *): Deadly dull exorcism flick that never deviates from the formula of the genre. The uninspiring Colin O'Donoghue stars as a skeptical would-be priest who goes to Italy to study under exorcist Father Trevant (Anthony Hopkins), only to encounter a demon and rediscover his faith. It's mostly a watered down Exorcist-knockoff masquerading as a character study, but it packs absolutely no punch. Skip it and check out Daniel Stamm's far superior The Last Exorcism instead, which basically attempts to do everything this movies does, only Stamm actually succeeds sometimes.

The Roommate (PG-13, *1/2): Though it's not credited as a remake of 1992's tawdry psychosexual drama Single White Female, this cheesy thriller copies the earlier film note for note, from the pet-killing (borrowed originally from Fatal Attraction, of course) to significantly cleaned-up versions of the prominent sex scenes. The setting is in college, but it might as well be any given generic apartment building, as one TV actress (Leighton Meester) terrorizes another (Minka Kelly) after they're randomly assigned to bunk together. As with last year's similarly tame and vapid Sorority Row, you have to wonder why bother making a bloodless, mostly sexless version of a sex-and-blood movie.

True Grit (PG-13, ****1/2): It's not surprising that the Coen brothers' take on Charles Portis's novel, previously filmed as a classic John Wayne vehicle, is both distinctive and exceptional, but it is startling how the brothers can impress even when expectations are set high. We should be able to surmise what the dark-humored auteurs would do with proven source material, a bevy of fantastic actors, and master cinematographer Roger Deakins, yet somehow the movie still bowls you over. Jeff Bridges does wonders with the mantle of Rooster Cogburn, a cantankerous lawman for hire who begrudgingly teams up with an eccentric Texas Ranger (Matt Damon) to help a steely teenaged girl (Hailee Steinfeld) find the assassin (Josh Brolin) who killer father. It's not an ironic commentary on the western as archetype, metaphor, or cinema history. It's a western-- rugged, beautiful, and spiked with morbid mirth. Bridges somehow manages to keep getting better, and Steinfeld is exceptional in her feature-film debut.

Also in or Coming to Local Theaters

> Big Mommas: Like Father, Like Son (PG-13): In the improbable second sequel to the cross-dressing action-comedy semi-hit, Martin Lawrence returns as a detective who dresses as a pushy older lady-- way before Tyler Perry turned the gimmick into preachy melodrama-- to solve crimes. This time around he's aided by his similarly gender-bending son (the extremely likeable Brandon T. Jackson), who must don the dress to infiltrate an all-girl school.

< Country Strong (PG-13): Gwyneth Paltrow stars as a washed-up country singer attempting a comeback and striking up a relationship with a young songwriter (Garrett Hedlund). Costarring Tim McGraw.

The Eagle (PG-13): Kevin Macdonald (Last King of Scotland) directs this action-adventure tale about a Roman soldier (Channing Tatum) attempting to reclaim his family's honor by recovering a lost artifact. Featuring Jamie Bell and Donald Sutherland.

Gnomeo and Juliet (G): Computer-animated kiddie comedy about two lawn gnomes from adjacent yards who fall in love despite a war between the neighbors. Featuring a lot of Shakespeare jokes and the voices of James McAvoy, Emily Blunt, Michael Caine, and Jason Statham.

> I Am Number Four (PG-13): Generic Marvel Comics knockoff à la the dull Jumper, this one about a superpowered teen hunted by a mysterious organization that is seeking to eradicate everyone like him. Featuring Deadwood's Timothy Olyphant, directed by D.J. Caruso (Disturbia, The Salton Sea), and cowritten by the Smallville team of Alfred Gough and Miles Millar.

Just Go with It (PG-13): Adam Sandler stars in this Adam Sandlerish comedy about an Adam Sandler type who pretends to be married to get low-risk hookups with sympathetic women. But when he meets a girl he's actually into (swimsuit model Brooklyn Decker), he must convince his assistant (Jennifer Aniston) and her kids to pretend to be his family in the midst of a divorce. Featuring Nick Swardson.

Never Say Never 3D (G): This concert film is a documentary biopic of helmet-haired tween-pop star Justin Bieber that leads up to a big performance at Madison Square Garden. I'm going to go ahead and say I will never see this.

Sanctum (R): James Cameron-produced 3D adventure thriller based loosely on a true story about a group of explorers who are trapped in an underwater cave during a freak rainstorm. Featuring pretty much nobody, said nobodies including Richard Roxburgh (the queeny Dracula from Van Helsing) and Ioan Gruffud (the forgettable Mister Fantastic from the failed Fantastic Four series).

> Unknown (PG-13): A doctor (Liam Neeson) narrowly survives a car crash only to wake up and find that neither his wife (Mad Men's January Jones) nor anybody else remembers who he is, with another man (Aidan Quinn) comfortably fit into his life. Jaume Collet-Serra (The Orphan) directs this thriller also featuring Frank Langella and Downfall's Bruno Ganz.