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Director: Jon Turtletaub

Starring: John Travolta, Kyra Sedgwick, Forest Whitaker, Robert Duval,

Some rare motion pictures have the power to fill us with a sense of wonder and cause us to speculate on the possibilities, beyond what we think we know. Phenomenon is one of these scarce films, though not everyone seemed to see this aspect of the picture, as it made its way to becoming a favorite of many and ignored by many more. The acting is strong and the characters are appealing and authentic, but the real star here is screenwriter Gerald Di Pego’s wonderful story.

John Travolta is Gearoge Malley, a simple, small town mechanic who is trying to figure out how rabbits are eating his garden, and how to win the heart of the beautiful maker of ugly chairs named Lacey (Kyra Sedgwick). His entire life changes when he sees a bright light that knocks him from his feet, and stuns all those who know him, when people notice that he is becoming smarter, and smarter, but that’s not all that’s changed about George Malley. But how has he changed and where is it all going?

Phenomenon is a similar story to that of the 1968 feature, Charly (based on the novel, Flowers For Algernon) and is a delightful film that will make you wonder about the possibilities of human abilities. This is wrapped up in a wonderful story with characters that you will quickly grow to care about.

Director: Pete Travis

Starring: Dennis Quaid, Matthew Fox, Forest Whitaker, Bruce McGill, Edgar Ramirez, Said Taghmaoui, Ayelet Zurer, William Hurt, Sigourney Weaver, Zoe Saldana, Eduardo Noriega

Novice director Pete Travis’ inaugural big screen effort is a surprisingly taut action effort that manages to juggle lots of characters, and a complex plot, in a reasonably efficient manner. This is no small feat, even for a seasoned director, so Travis may be a guy to watch. The characters are soundly developed, considering their numbers and the acting is also commendable, though, Quaid overacts in the lead role. The intriguing story uses a modified Rashomon narrative style, which focuses on five characters’ differing perceptions of events during the same time period. This style kept me riveted to the unfolding story, though some character actions didn’t always make sense (especially at the end) and this puts a strain on the film’s credibility, but it is an action movie, so I won’t judge that too harshly. The movie flies back and forth at a lightning pace, as you would expect with this story style, with each character adding something to the viewer’s understanding of the events. The action scenes are chaotically filmed in the now-familiar, close-up style and are a little difficult to follow, but are not overdone, which is always a pleasant surprise. The end result, here, is an enjoyable action picture.

Dennis Quaid is Thomas Barnes, a Secret Service hero, who returns to duty, just in time to join the detail guarding the president (played by William Hurt) during a political, anti-terrorist rally in Spain. Security threats cause a last minute decision to replace the president with a double (has this ever happened?), which is probably good, since the double is shot as soon as he steps up to speak. Explosions, confusion and panic follow, and poor Mr. Barnes has a rocky return to active duty. A Spanish police officer, a visiting American tourist (Forest Whitaker), several Secret Service agents and others all have a different take on the events and this original method of unfolding the story is effective. My attention was riveted, and only an ending that could stand improvement kept this movie from getting a higher rating. Ask yourself this: Why is this guy suddenly worried about killing someone?

Vantage Point is a satisfying, fast-paced action film that will please fans of the genre, while providing a pleasant surprise to those with low expectations. Denzel Washington’s Deja Vu from last year, had a similar pace and cleverly stretched plotline, though similarities end there. Imagine In The Line of Fire, if it were sped up and told in a twenty minute time frame, and you will have some idea of what to expect here.

Director: Jon Poll

Starring: Anton Yechin, Robert Downey Jr., Hope Davis, Kat Dennings, Tyler Hilton

Director Jon Poll, of Meet The Fockers and Goldmember fame, reigns in his usual crazy comedy style to make Charlie Bartlett, which is a subdued dramedy that looks at teenagers searching for answers and asserting their independence in our pill-popping, therapy-driven society. It starts out comic and pulls more toward drama as the film progresses. The story is good and the characters are fine, particularly Charlie, himself. The acting is solid with the well-traveled Downey shining and backed up by a cast of talented youngsters. The dialog is good, but lacks the snappy one liners of more successful films of this genre.

Charlie Bartlett, played by the seasoned, but little known, Anton Yelchin, is a likable rich kid lacking guidance in a one-parent mansion, when his misplaced creativity and entrepreneurial spirit leads him to set up a printing press to make counterfeit ID at his boarding school. He is expelled, and his mother, played by Hope Davis (who also played Anton’s mother in Hearts in Atlantis, strangely enough) decides to try public school, where poor Charlie initially has some problems fitting in, until he turns into the school therapist, and pill dispenser. Along the way, he crosses paths with the new principal, (Robert Downey Jr.) and his cute daughter, Susan (Kat Dennings), as well as the school bully, Murphy, played by Tyler Hilton (nope, no relation to you-know-who).

Charlie Bartlett starts out with a neat idea and the film is slightly reminiscent of classics like Matthew Broderick’s Day Off, Risky Business and dozens of other lesser known features, the titles of which I’ve forgotten. It is pretty decent entertainment, but doesn’t quite have the zip to make it a real hit and I‘m afraid it is destined to join the dozens of unnamed and forgotten films mentioned above.

Director: Adam Brooks

Starring: Ryan Reynolds, Abigail Breslin, Elizabeth Banks, Isla Fisher, Rachel Weisz, Kevin Kline, Derek Luke

Writer/director, Adam Brooks has cleverly combined romantic comedy with a bit of light mystery to come up with a pretty good story, that holds the viewer’s interest, but could have been punched up with some more jokes. The acting is solid by the entire cast, including pretty boy, Ryan Reynolds who may just turn into a bankable lead, yet. Abigail Breslin (Little Miss Sunshine) is excellent once again, though the light script didn’t give her much of a challenge.

Ryan Reynolds is Will Hayes, a divorced ad executive, who goes to pick up his eleven year old daughter, Maya from school, only to find that a sex education class has made her inordinately curious about her father’s dating past and his relationship with her mother. Will eventually agrees to tell her the story of his three great loves, but on the condition that he change their names and not tell Maya which one would actually become her mother. Thus, we are launched into flashbacks of Will’s romantic past which includes his college sweetheart, Emily (Elizabeth Banks), a quirky copy girl named April (Isla Fisher), and a free spirited writer named Summer (Rachel Weisz). The whole thing is light romance that builds to a contrived, but satisfying, finish.

Definitely Maybe is a pleasant, well-made chick flick that will serve as two hours of refreshing entertainment, but will likely not be remembered by the time you see another film. When making a film like this, I think the rule to go by is ‘make us laugh, or make us cry’. “Definitely Maybe” doesn’t do either.

Director: Mark Waters

Starring: Freddie Highmore, Mary-Louise Parker, Sarah Bolger, David Strathairn, Seth Rogen, Martin Short

The massive success of the Harry Potter movies mean that studios will be scrambling to turn every piece of adolescent fantasy literature into a film trilogy, as soon as possible. Thus, enters the Spiderwick Chronicles based on a series of books by Holly Black and Tony DiTerlizzi. Director Mark Waters, of Mean Girls fame, does what he can with a formulaic and predictable story set in yet another world where fantastic creatures abound, but humans can’t see them. The visual effects were either rather poor, or trying not to scare their little viewers, but judging by the high level of violence that the film has, I would bet on the latter. The acting is pretty good, including young Freddie Highmore (August Rush) who plays twins.

Recently separated Helen Grace (Mary-Louise Parker), brings her daughter Mallory (Sarah Bolger), and twin boys, Jared and Simon (both played by Freddie Highmore), out to the country, where Helen has conveniently just inherited a grand old mansion. That happens a lot in Hollywood, though I can’t say that I have ever known anyone to inherit a mansion and no money, but anyway, they inherit this house and almost immediately strange poltergeist-type things start happening. Soon enough we find that the cause of these things is a weird little elf-like guy named Thumbletack (voiced by Martin Short) and his concern is over a book written by former home owner, Arthur Spiderwick (David Strathairn). It turns out he has written a guide to all the amazing and magical creatures that live invisibly among us, and this is a pretty important book, so some nasty creatures want to get it.

This is mediocre family fare that some parents may find to be inappropriately violent for younger viewers and borderline boring for their adult escorts. It is cut from the same cloth as things like Stardust and The Golden Compass, but this genre has been overdone lately and has been done better than this.

Director: Doug Liman

Starring: Hayden Christensen, Samuel L. Jackson, Jamie Bell, Rachel Bilson, Michael Rooker,

Bourne Identity director, Doug Liman has not lost his touch for fast-paced, cool, action film-making and the proof is in this exciting adaptation of Steven Gould’s novel. Hayden Christensen has finally got a hit that doesn‘t involve slipping over to the dark side. The imaginative story is far-fetched, but as far as the action genre goes, its not too ridiculous, though the characters could have had more personality and development. My main issue with this film, however, is that we are being dragged, with a ring clamped on our noses, through a disturbing, commercially-driven sequel set-up. This, of course, leads to an ending that resolves nothing and left me feeling a little ripped off.

Hayden Christensen plays David Rice, who, as a teenager, finds himself able to teleport. Soon, he is using this somewhat unusual skill to live a luxurious, jet-set lifestyle (without the jet), that gives us some nice world tour shots, but into his sparkling lagoon of decadent tranquility, ripples soon appear in the guise of a stern, white-haired authority figure, Roland (Samuel L. Jackson). David’s worriless consequence-free existence is shattered, since, as Roland says, “There are always consequences”.

Jumpers is an entertaining action effort that will please the adrenaline junkies, and shouldn’t put off discerning fans more than one would expect from a movie based on teleportation. The whole thing reminded me of a lighter version of Interview With A Vampire, with its secret world of those with special powers and their enemies. Just be ready for its ending that sounds like a cash register that hasn’t yet finished ringing, and probably won’t until the cash from another two movies is in the bank.

Director: Kenneth Branagh

Starring: Michael Caine, Jude Law,

Director Kenneth Branagh, best known for his Shakespearean projects, adapts another stage play to the screen, with this remake of a 1972 mystery feature. Branagh makes effective use of unusual camera angles, moody lighting, and colors while the top-notch performers masterfully deliver their dialog that is as clever as one would expect from a theatrical conversion. The Harold Pinter, classic-style mystery keeps the viewer wondering right to the end. The first twist comes before the film even begins, with the casting of Michael Caine, who played the younger man in the original 1972 motion picture, and accepted the role of the mature man in this 21st century edition, while Jude Law steps into Caine’s previous role.

Jude Law is Milo Tindle, who is visiting the wealthy husband of his lover, to ask him to grant her a divorce. Instead of a quick agreement, the two men verbally spar, until Wyke (Michael Caine) offers Milo a chance to make some money that will allow him to support his new, money-draining woman. A deal is struck, but that is just the beginning. The twists soon begin and just don’t stop, though they are overdone and will put off some viewers.

Fine acting aficionados, and fans of old-fashioned, not-over-until-its-over, mysteries, will appreciate this visually stylish and twist-filled actor’s workshop. It starts out stronger than it finishes, but is still enjoyable. I have never seen the original film, though I’m told that it compares poorly (when isn’t the original better?). I can’t make comparisons, myself, but I did find this rendition to be entertaining, though the first half is noticeably stronger than the second.

Director: Xavier Gens

Starring: Timothy Olyphant, Dougray Scott, Olga Kurylenko, Robert Knepper, Ulrich Thomsen, Michael Offei

Little known director Xavier Gens joins the auspicious club of directors whose career has been reduced to movies based on video games. As far as that sorry film genre goes, this effort is not bad. It offers plenty of imaginative slo-mo action and is thankfully sparing with the handheld scenes. The graphic violence is framed by a minimal story that is a blatant Bourne rip-off, that runs out of steam before they fun out of film. The dialog and characters are standard fare for the genre and the overall result may please action fans and few others.

Timothy Olyphant plays a cranium-tattooed man of few words who has been raised with a number (47) instead of a name to become part of a lethal Hair Club For Men, each of whom is yet another perfectly trained killer, blah, blah, blah. You know the story. It’s nothing new or innovative. However, this time out, something goes wrong, when the man whose brains he has blown out, turns out to still be alive. This somehow leads to a bunch of people trying to kill poor number 47, while he tries to figure out why the man he killed isn’t dead. He meets a girl (they always meet a girl), who helps him figure things out, and find a little humanity, while he’s leaving dead bodies all over the place.

Hitman is a run of the mill action film, that is long on body count and short on substance. If you like these high-energy shoot-em ups, then you will still find this to be a pleasant, but unmemorable motion picture, but if you have seen all the Bournes and the latest Jason Statham release, then i guess you have to watch something.

Director: Andy Tennant

Starring: Matthew McConaughey, Kate Hudson, Donald Sutherland, Alexis Dziena, Ray Winstone, Ewen Bremner, Kevin Hart, Malcolm Jamal-Warner, Brian Hooks

Co-writer/director, Andy Tennant (Sweet Home Alabama, Hitch), is back in the rom-com business again with this romantic/comedy adventure film that is blessed with some beautiful, Caribbean scenery, and saddled with a variable speed formula story that roars forward with exhilaration at times, and falls back into a putt-putt, check-your-watch, pace at others. Matthew McConaughey is at home as a charming underachiever, but Kate Hudson doesn’t always seem to know how to play his frustrated soon-to-be ex-wife. The direction is similarly erratic with some nice shots while others seem rushed, and the action often falls flat.

Matthew McConaughey is an irresponsible, but charming, treasure hunter, named Finn, who starts out pretty down on his luck when he accidentally sinks his own boat. This puts him in deadly debt to a silly gangsta rap crew lead by Bigg Bunny (Kevin Hart). As if this isn’t enough, his estranged wife, and former treasure hunting companion, Tess (Kate Hudson), is divorcing him. Fate (and coincidental cinema at its best) intervenes, however, to land Finn on Tess’ employer’s boat, and soon his passion and charm has won over her bored billionaire boss, Nigel (Donald Sutherland) and his dippy, socialite daughter, Gemma, and the well-appointed yacht is turned around to go on a treasure hunt. There are, of course, others after the treasure as well, including partner-turned rival, Moe (the voice of Beowulf).

I rather enjoyed Fool’s Gold, probably for the same reasons that I like Overboard (coincidentally starring Kate’s Mom, Goldie Hawn) and, to a lesser extent, Cocktail. There are obscenely expensive boats and a lavish lifestyle that I can’t even afford to buy a magazine about, beautiful paradise settings and attractive women in bathing suits. If the preview leads you to believe that you won’t like it, then you won’t. It is exactly what it appears to be. If, however, you just want some light, fluffy fare that will make you wish for a hot holiday in some island country with steel drums, overpriced girly drinks and under priced beer, then you can probably look past the flaws here, (and there are many), enough to enjoy a two hour Caribbean getaway.

Boogie Nights - movie quotes:
“Aren’t you gonna take your skates off?”
“I never take my skates off.”

“I got a feeling that behind those jeans is something wonderful just waiting to get out.”

When I close my eyes, I see this thing, a sign, I see this name in bright blue neon lights with a purple outline. And this name is so bright and so sharp that the sign - it just blows up because the name is so powerful… It says, “Dirk Diggler.”

Movie lines from Boogie Nights