In the past few years, there has been a return to the sub-genre of horror focusing on legions of the undead rising to attack the living. Zombie films were in their infancy in the 1960s during a time of political and social turmoil, so it seems appropriate that they’ve risen again in the new millennium. Remakes of old films and new takes on the zombie genre have become popular with audiences, raising millions at the box office.

Depending on how you look at it, zombie films can be a number of things. They’re sometimes shocking in their displays of graphic violence and gore – 1968’s original “Night of the Living Dead” shocked initial audiences, causing some to throw up upon leaving the theater. As mentioned above, they can be creative platforms for expressing political opinions regarding race, war and xenophobia, apparent in the most recent take on “Dawn of the Dead” (2004). They’re also capable of showcasing fears regarding science and health, where man becomes the monster through genetic mutation or disease. All of these elements can be found in most zombie films, but there are a few which make the best use of these tenets. Below are some recommendations for some of the best zombie films available today.



“Night of the Living Dead” (1968) dir. Romero

This landmark film by the auteur of the zombie film genre, George A. Romero was released in a year that was known for its political and social dissent worldwide. People throughout the United States were protesting the Vietnam War while the fight against discrimination was reaching its fever pitch. Romero says that “Night of the Living Dead” was born from this – he and his friends wanted to create a statement and they used their love and knowledge of film to do just that. Not only is this, the first of the zombie films incredible in terms of its themes, but also because it was one of the first “midnight films.” Shown at midnight on Fridays and Saturdays across the nation, it gained popularity and notoriety for its violence and gore. The acting and some of the special effects seem amateur by today’s standards, but within its context, the film is still horrifying even today. It was made to create some sort of reaction with its African American hero, brief scenes of nudity and the horror invoked as a young girl attacks and consumes her parents upon being “turned.” This classic is definitely worth checking out, whether you’re interested in seeing one of the first zombie films or you’re merely a fan of horror in general.



“28 Days Later…” (2002) dir. Boyle

This film rode in on the tide wave of new millennium zombie films, but it stands out as one of the best. “28 Days Later…” sees zombies created through a disease called “the rage” which spreads through blood and breeds extreme violence in its hosts. The protagonist, Jim, awakes in a hospital to find all of London quiet until he is confronted with the zombie menace. From then on, he unites with other survivors as they make a bid for fortified, safe ground. The film is terrifying in that the zombies are no longer still, slow-moving idiots, but intelligent, fast and violent hunters. The premise feels very possible and real, in part due to Boyle’s direction and the camerawork. Even more horrifying than the zombie menace is the ending when the survivors finally feel they’ve reached safe harbor. I won’t offer any spoilers, so go check it out if you’re dying to find out what happens! [As a side note, the sequel, “28 Weeks Later…” (2007) is absolute rubbish and not worth looking into!]



“Dawn of the Dead” (2004) dir. Snyder

Both the remake and the original (released in 1978, directed by George A. Romero), “Dawn of the Dead” are worth viewing, though I think the most recent version is more interesting and obviously, contemporary. From the start, the film builds a political background with which to set the story – the credits show a microscopic view of diseased cells generating and spreading. Disease is juxtaposed with the idea of bio warfare and the United States government is made to answer for public concern in television spots shown throughout the film as watched by the characters. Not only is it contemporary in terms of its political setting, but also in terms of its representations of violence. There are explosions, bodies littered with gunfire and buckets of blood spread throughout the picture. There are a few moments of jump-in-your-seat fear, but mostly it is the gore and violence that strikes the viewer. Like any horror film, there are some moments of “what were they thinking?” stupidity, but overall, the film is a fun, fast ride through the modern zombie genre. The original will feel dated in comparison, but the basic premise is the same. Note the sort of in-joke present in both of equating zombies with the spread of consumer culture as the survivors find themselves barricaded in a shopping mall.



“Shaun of the Dead” (2004) dir. Wright

Director Edgar Wright and writer/actor Simon Pegg are the go-to guys for hilarious send-ups of pop culture and film genres stereotypes. Picking and choosing from some of their favorite zombie films, the two compose “Shaun of the Dead” in which the main character, a slacker named Shaun tries to protect and help his friends against the zombie hordes. If you’re familiar enough with the zombie sub-genre of horror films, you’ll be able to pick out moments that clearly poke fun at other classics. It’s more funny than frightening, but there are still moments of disgusting gore and violence just as in any other zombie picture. It’s worth checking out whether you’re interested in zombies or not because it’s a genuinely hilarious and brilliant film.

I wrote a few short reviews for a friend's senior project. I split them into my recommended films and those that "suck." So here are the little reviews now with pictures!

Recommended Films:

“Let the Right One In” (2008) dir. Alfredson



This Swedish vampire flick picks some of the more classic elements of vampire mythology to mix with its depictions of extreme violence and gore. But beyond the vampire element is a coming-of-age story, which finds the protagonist, Oskar, a young boy who is bullied at school and feels alienated from his peers, finding solace and companionship in Eli, a reclusive, mysterious young girl. It runs out Eli is a vampire and she takes an intense interest in Oskar, befriending him and shielding him from his tormentors. The film is intense and bloody, but well-worth viewing. Especially intriguing is the ending, which could imply that the vampire Eli is a figment of Oskar’s fragmented personality, a defense mechanism with a body count.



“The Girl Who Leapt Through Time” (2006) dir. Hosoda

In the vein of Hayao Miyazaki or Makoto Shinkai, this Japanese animated film is more than a simple tale regarding growing up or first love, it asks questions time, space and history. Makoto is a teenage girl with a love of baseball and two great best friends, Chiaki and Kousuke. One day, she discovers a means of traveling back in time and instead of using it in any grand manner; she uses the time travel opportunities for little things like stopping her sister from eating her pudding or studying for a pop quiz that she’d previously flunked. However, these small actions have giant repercussions as she changes the fabric of time. It is science fiction at its best with intriguing scenarios regarding the physics of time travel, however it is also a beautiful and tender love story worth checking out for those into anime or merely fans of excellent films.



“The Wrestler” (2008) dir. Aronofsky

Mickey Rourke gives the performance of a lifetime as the aging, emotionally and physically pained wrestler Randy “The Ram” Robinson. The film plays like a documentary and feels just as real as we follow the day-to-day activities of Randy. He wrestles despite the physical pains he already faces due to his advancing age all the while battling his inner demons regarding the deteriorating relationship he has with his daughter and the loneliness he feels which he tries to fill with the attentions of a sympathetic stripper, Cassidy. The film is emotionally raw – touching one moment as Randy plays video games with a neighborhood boy and painful the next as he makes a heartfelt apology to his daughter. Rourke should have won the Oscar for Best Actor for his role and the film should have been at least nominated for a Best Picture Oscar.



“Ladies and Gentlemen, The Fabulous Stains” (1981) dir. Adler

This cult classic, recently released on DVD stars a young Diane Lane as Corinne “Third-Degree” Burns, lead vocalist of the girl band the Stains. The film is heralded as an inspiration for the riot grrl movement and features punk rock legends like Paul Cook and Steve Jones (of the Sex Pistols) and Paul Simonon (of the Clash). Upon first viewing, the film may seem a bit comical in its performances and dated early 80s aesthetic. However, it’s a good film based on the strength of performances from such young actors like Lane and Laura Dern. The soundtrack is great too, jumping from punk rock to new wave to reggae in one leap. The film questions the commercialism of popular music, the place and ability of females in punk and the strong bonds between teenage girls who find their identities through the formation of a band.

Movies That Suck:



“I Know Who Killed Me” (2007) dir. Sivertson

Billed as Lindsay Lohan’s comeback vehicle, this ridiculous thriller is abysmal in so many ways it’s hard to know where to start. The pretentious and amateur use of black and white sequences featuring splashes of important color was annoying rather than artistic. We are supposed to associate red with Dakota Moss, the “bad girl” stripper who awakens after an attack by a serial killer while blue is the color favored by Aubrey Fleming, the innocent aspiring writer and college student who goes missing (and later awakens as Moss). The convoluted plot involving a serial killer, a doppelganger and a family secret is comical at best. Lohan doesn’t even try to act, making the film even more painful to watch. “I Know Who Killed Me” is torturously bad and should only be attempted by those looking for a good laugh.



“The X-Files: I Want to Believe” (2008) dir. Carter

As a self-proclaimed “X-Files” nerd, I was thrilled to learn they were continuing the series through a film sequel to “The X-Files: Fight the Future” (1998). Disappointment set in immediately though upon viewing the film. All the wonderful elements of the story are removed and all that remains is a third-rate thriller. Even the mystery that Mulder and Scully must uncover is dull! It was a flop at the box office and deservingly so. I hope this did kill any whispers of continuing the franchise if all that’s left is the hollow shell of the classic series that it was…



“My Blueberry Nights” (2007) dir. Kar-Wai

Here is another film that I was hoping to love and ended up loathing instead. Chinese director Wong Kar-Wai known for his character-driven pieces like “Chungking Express” and “In the Mood for Love” here directs his first English-language film. It stars singer Norah Jones as Elizabeth, a young woman trying to find herself and her (literal) place in the world. The cast reads like a dream – Jude Law, Natalie Portman, David Strathairn and Rachel Weisz, unfortunately all of them fall short in their roles. It appears that Wong Kar-Wai’s aesthetic, slow pacing and quirky storytelling do not translate well to an American picture. If you’re interested in his work, look for his classics like those mentioned previously, which showcase his unique directorial style and flare for storytelling.



“In the Name of the King: A Dungeon Siege Tale” (2007) dir. Boll

Can this even be called a film? I think a farce would be more appropriate. The film certainly has the pedigree for an awful film – director Uwe Boll won the Razzie Award (which “‘dis’honor” the worst films of the year) for worst director and the film similarly swept the Razzies in terms of nominations. All of the performances are painful to watch and the story and fantasy elements are more comical than magical. This is one of those films that is only worth watching with a group of friends and a bunch of alcohol.

I cannot count how many times I have seen the same Audrey Hepburn as Holly Golightly “Breakfast at Tiffany’s” poster on the wall of someone’s room while trolling OurBedrooms on LiveJournal. And I shudder to think of how many times this starlet and that popstar have said how they absolutely idolize Marilyn Monroe. Are Hepburn and Monroe the only film icons floating around in the consciousness of every young woman’s mind? If so, I feel a good old fashioned, old Hollywood intervention is necessary. Allow me to introduce to you some other options, all of which possessed great style, talent, beauty and wit.

( The List )

He will be missed....

Clearly more important than a proper entry is ( The Empire Top 500 Films List )

So often in film criticism and in film reviews, one finds that a film is either determined as "good" or "bad." Grey area rarely appears. Some critics posit that middle-of-the-row interpretations are not what the reading audience wants and others would say that films so rarely illicit such an ambivalent reaction.

Well, I find there are three relatively recent films upon which I can make no clear judgment. They are: "Marie Antoinette" (2006) dir. Coppola, "Miss Pettigrew Lives for a Day" (2008) dir. Nalluri and finally, "Penelope" (2008) dir. Palansky.


"Marie Antoinette" (2006) dir. Coppola

Director Sophia Coppola's "Marie Antoinette" (2006), documents the turbulent life of France's queen whose charmed life crumbled during the French Revolution. Most of the film's duration depicts Marie's life before this fall from grace, showing her as a young girl married off and taken away from her family and native country to be placed on France's throne. Antoinette is portrayed as a young party girl, the 18th century equivalent of Paris Hilton, literally - she is shown trying on shoes in one scene, attending an opulent party in another and going through throes of men in one steamy affair after the other.

The story is familiar enough and comes at an appropriate time, mirroring the wild and privileges lives of many young celebutantes of today. Whether this was Coppola's point is questionable, but it certainly gives the tale more interest. The performances are mediocre, particularly the lead role, played by Kirsten Dunst. What really sticks out about this film is the visuals, soundtrack and direction.



The sets, costumes and cinematography work in tandem to create gorgeous and lush imagery. It gives a sense of the 18th century, while still remaining contemporary and this effect is also achieved through the soundtrack. Classical music mixes with tracks from Siouxsie and the Banshees, The Strokes and New Order. Coppola's direction works in much the same manner, her visual style and way of editing along with her very particular choices regarding all those elements mentioned above make the film.

I enjoyed the film to the extent that I loved the visuals and soundtrack. But the typical way in which the story unfolded and the lackluster performances separated me from the film. Even reflecting upon it now, more than a year after I've seen it, I still cannot come to any real decision regarding it.


"Miss Pettigrew Lives for a Day" (2008) dir. Nalluri

"Miss Pettigrew Lives for a Day" fairs slightly better. The film, based on a 1938 novel by Winifred Watson, tells the story of Guinevere Pettigrew (Frances McDormand), a down-on-her-luck nanny thrust into the streets by her most recent employer. Spotting a chance at redemption (and a paying position), she steals the card of Delysia LaFosse (Amy Adams). Through her improbable friendship with LaFosse, Pettigrew finds herself caught in a web of deceit involving the attentions of Delysia's three beaux. While maneuvering herself and Delysia through the affairs, she finds herself getting a makeover, attending exclusive parties and fashion shows and meeting designer Joe Blomfeld (Ciaran Hinds) whom she is instantly drawn to. The film sets a quick pace, following the duo's exploits from the morning of one day to the next.

McDormand and Adams give charming performances in their respective roles and the supporting cast works too. The comedy of manners pitting the staid, but strong Pettigrew against her vapid, but fun charge LaFosse also contributes to the film's appeal. The vision of 30s London created through lovely fashions and art deco interiors gives the film a realistic feel and the fast pace makes the film feel like a 30s screwball comedy.



It seems like I can only say good things about the film, right? Well, despite liking most everything about the picture, it still feels like something was lacking. It's one of those films you like, but you aren't necessarily in love with. Though thoroughly enjoyable, "Miss Pettigrew Lives for a Day" lacks that mysterious something.


"Penelope" (2008) dir. Palansky

Finally, there is Reece Witherspoon's producing vehicle "Penelope." Penelope (Christina Ricci), the product of a terrible family curse, is born with a porcine nose, much to the horror of her mother. Her parents keep her locked away for fear of the public's reaction and derision (but more likely, their own fear of family ruin at the hands of society). Despite all this, Penelope grows up to be a strong, intelligent young woman determined to make her own way in life and not depend on one of her mother's chosen suitors to break the curse. She escapes her family's posh home and finds herself roaming the streets of London, meeting new people and making friends all on her own (her snout covered all the while, mind you). Before her flight from home, she'd met Max (James McAvoy), a possible suitor whom she'd felt a real connection with, but upon her big reveal, had had no real reaction. Their romance develops over the course of the film, finding its bloom at the end after Penelope reveals that she had the power to break the curse all along (by believing in herself).

The message of the film is clear and a bit of a detriment to the overall story. So obvious is the message and so cheesily executed, that it is more laughable than a good portion of the actual comedy found in the film. Though this picture is marketed as more of a children's film, a lot of the humor and details seem more catered toward adults. Ricci's performance as Penelope is dull, it's as if the actress didn't really want to be there and her ambivalence regarding the role is evident in her performance. McAvoy does little better - though he charms as the charlatan Max (nee Johnny), he seems bored with the role. Unfortunately, all of the actors in their respective roles seem bored or mildly irritated with their characters in the film thus the performances are an unfortunate aspect of the film.



As in many of the other films, here the visuals are a savior. Penelope's brightly colored costumes and interiors refresh the otherwise dull and monotone colors of the surrounding world. The gorgeous cinematography heightens this visual and narrative affect to great use. Penelope's wonderful clothes and whimsical abode give her the vibrancy and charm lacking in Ricci's performance.

However, colors, costumes and sets alone do not a film make and thus "Penelope", though cute, is more often cringeworthy than enjoyable.

It's kind of unfortunate when a film elicits such ambivalent or mediocre responses from critics. After all, a reaction, whether good or bad, is better than none at all.

Being the film nerd I am, I belong to the AFI mailing list. A few weeks ago, I received an email to enter a contest guessing the top 10 films in 10 genres, so I tried my hand. The results aired this week and I did relatively well. All of my guesses were in at least the top 10 and some of my answers were even #1! Here's a comparison:

Animation
Guess: "Snow White and the Seven Dwarfs"
Actual: "Snow White and the Seven Dwarfs"
Why I guessed?: As it was the first animated film that garnered commercial and critical success, uniting adults and children in cinemas around the country, I figured this would be the best guess.

Romantic Comedies
Guess: "The Philadelphia Story"
Actual: "City Lights"
Why I guessed?: I figured this would be the best pick simply because it's a classic example of the screwball comedy genre, always among the AFI top 100 and a favorite of many (excluding me).



Western
Guess: "The Searchers"
Actual: "The Searchers"
Why I guessed?: This is an important film in the canon of western films primarily because Wayne's character isn't the typical good guy gunslinger he played - his character was flawed and hateful. Plus many consider it Ford's western.

Sports
Guess: "Raging Bull"
Actual: "Raging Bull"
Why I guessed?: It seemed to make the most sense in terms of the category and stood out among the bunch as the most well-regarded.

Mystery
Guess: "The Maltese Falcon"
Actual: "Vertigo"
Why I guessed?: It's the classic hardboiled mystery film and a constant member of the AFI top 100.

Fantasy
Guess: "Lord of the Rings: The Fellowship of the Ring"
Actual: "The Wizard of Oz"
Why I guessed?: I guess it was the second or third film that won the Oscar, in any case, I figured it's a fan favorite and a critical darling, plus I thought they might throw a curve ball and go with a recent film....

Sci-Fi
Guess: "2001: A Space Odyssey"
Actual: "2001: A Space Odyssey"
Why I guessed?: Though it was much maligned at the time of its release, its become a sci-fi classic. Also, I didn't think they'd go obvious and put "Star Wars" as #1 (sorry Paul).

Gangster
Guess: "Public Enemy"
Actual: "The Godfather, Part I"
Why I guessed?: I thought they'd throw another curve ball and go with something older, so I picked a classic gangster picture.

Courtroom Drama
Guess: "To Kill a Mockingbird"
Actual: "To Kill a Mockingbird"
Why I guessed?: Atticus Finch was picked as the number one hero in film, so I figured this would be the best bet.

Epic
Guess: I can't remember!
Actual: "Lawrence of Arabia"
Why I guessed?: I think I might have picked "Lawrence of Arabia", but I'm not positive...

Some pretty random "classic" genres, huh? For more information and to see the other nine films in the lists, go here!

The film I'm anticipating the most (besides the typical summer fare) this year is Catherine Breillat's "The Last Mistress." However, I do have a lot of apprehension regarding the film as well. I HATE Catherine Breillat's films. I'm sure she's an intelligent woman with a lot to say, but I hate her work. I've only seen her "A Real Young Girl" and parts of "Sex is Comedy", but that was enough for me. I don't mind graphic nudity and sex, but the subjects and sensations addressed in Breillat's films are just plain nauseating. [See the description of "A Real Young Girl" here for evidence]

But "The Last Mistress" appears to be different. From what I've read in reviews, it's Breillat's most accessible film. Also, it's a period piece, which I love. And it stars Asia Argento who fascinates me. The trailer looks fun and the film is receiving pretty favorable reviews, so I'll end up seeing upon its arrival to DVD. Lets just hope it overcomes my fear regarding Breillat's previous works!



Check out the trailer and exclusive clips here!

I'm fascinated by how various cultural and ethnic groups are represented in film throughout its history. So whenever a documentary on the subject is on TV, I always tune in. Here are a couple I found particularly interesting:

"The Celluloid Closet" (1995): written and directed by Rob Epstein and Jeffrey Friedman and based on the book (of the same name) by Vito Russo, the film traces the history of homosexuality represented in film. From Hollywood's beginning to the modern day, actual "out" stars to subtly coded gay characters, the film documents it all. Not only is it a fascinating study in screen representation - it's a genuinely entertaining film! Entertaining and interesting documentaries are practically unheard of, so definitely check this out if you're interested!



"The Slanted Screen" (2006): written and directed by Jeff Adachi, featuring tons of interviews with actors and historians regarding the stereotypical representations of Asian male characters in American film. The film addresses subjects like "yellow face", the absence of Asian male romantic leads in mainstream films and the stereotypical roles that developed in film. It's extremely thought-provoking and worth checking out given the chance. I believe it was/is on TCM this month!

I know these are pretty sparse recommendations and I've provided little valuable information, but definitely check these documentaries out if you're interested!

I was having a brainstorm (surprising, I know) and I was thinking that if anyone's interested, I could upload some of the essays I've written for various classes here (though I'd probably post them as private so that some random person couldn't plagarize my paper). Here are their topics:

+Scene analysis of "Atonement" [examining the scene in the film in which Robbie pens his letter to Cecilia, using various film theory terms to show how class is represented]
+Examining "Penelope" in terms of "the gaze" and genre
+Hitchcock's "the wrong man" plot device in "The 39 Steps"
+The role of the "gold digger" and its implications for women in "Gold Diggers of 1933"
+The distinction between "women" and "females" in "The Women" (1939)
+The various genres of "Rebecca"
+Mise-en-scene versus Rosebud in "Citizen Kane"

If anyone's interested in reading any of these papers, leave a comment!

Here are some films I am either a bit apprehensive about or downright scared of seeing (though I will probably see all of them, cringing all the while):

"The Women"
It's a "remake" of the 1939 film directed by George Cukor, which originally starred Norma Shearer, Rosalind Russell, Joan Crawford and Joan Fontaine. This updated version stars Meg Ryan, Jada Pinkett Smith, Annette Benning, Debra Messing and Eva Mendes and was written and directed by Diane English. I'm mostly wary because I watched the trailer and they've somehow turned what was an interesting and genuinely funny satire about circles of women into your typical romantic comedy (minus the romance, as I'm assuming this version does not have men in it, like the original). It just seems like any romantic comedy Meg Ryan has ever starred in mixed in with more of a "Sex and the City" type circle of friends, which the original wasn't. Whereas the original featured catfights with quips as sharp as manicured nails, this version looks like any attempts at comedy fall flat.


The original women: old rivals Crawford and Shearer face off

"Angus, Thongs and Perfect Snogging"
I don't know how many of you are familiar with Louise Rennison's series of teen novels which follow the exploits of Georgia Nicholson, but they're fun and fast reads. I've been a fan of the series for awhile (though I'm behind a few books!). Nicholson is a talented writer of young adult novels and her Georgia Nicholson series is genuinely laugh-out-loud funny, imaginative and relatable. Georgia is like a younger Bridget Jones and this film version (which combines the first two novels of the series) seems to be tackling the story from that angle. I'm nervous about this mostly because I'm not sure the series would make a good film in the first place. Most of the content of the novels is so silly and over-the-top that I'm not sure it would translate well to screen. But we'll see, I'll still give this one a try.

"Twilight"
I'm all about the film adaptations of teen novels today, aren't I? In any case, this film is based on the novel of the same name by Stephenie Meyer. It's about Bella, your typical disaffected teen who finds her soul mate in the form of a teenage vampire, Edward. Sure, that sounds cheesy and/or done to death, but the novel is actually quite good. I couldn't put it down! It was compelling, you identified with the characters and there was quite a bit of sexual tension (difficult to do in a teen novel, I'm sure!). The movie has a lot of buzz surrounding it as well as a lot of big names attached, most notably director Catherine Hardwicke ("Thirteen", "Lords of Dogtown"). It's got real money behind it, which is clear from the special effects and impressive stunt work (shown in the behind the scenes bits I've seen online). I'm excited about the film, but I'm nervous about some of the casting choices and how closely the film will follow the book.

Anyone else nervous about some films yet to be released?

1. "The Dark Knight" (July 18), directed by Christopher Nolan, starring Christian Bale, Heath Ledger, Aaron Eckhart and Maggie Gyllenhaal.

Okay, so not only am I looking forward to seeing this film to appease my inner fangirl, but I also think it looks like it'll be a genuinely good film. It's dark, it's exciting and it's going to be HUGE. I'm a bit of a Batman film purist, as I loved the original films directed by Tim Burton, but I think Nolan is blazing a new trail for the franchise. With "Batman Begins" he gave Bruce Wayne a contemporary look and grittier feel, reflecting the most recent comics on which the film was based as well as giving the comic book film the seriousness and gravity its capable of. Ledger's final performance as the Joker looks chilling, like a real psychopath, rather than the over-the-top silliness of Nicholson or Romero (yes, I'm kicking it superold school here). It promises to be the summer film to see. I just hope they'll find some way to work in Catwoman or perhaps Harley Quinn (though her inclusion seems especially unlikely now) into the next film(s).

2. "Tropic Thunder" (August 15), directed by Ben Stiller, starring Ben Stiller, Robert Downey Jr., Jack Black and Steve Coogan.

When I first saw the trailer for this film, I was left wondering whether this would be another "Frat Pack" style comedy like a la "Dodgeball" and "Anchorman" or a genuinely hilarious film. It would seem it's a bit of both. I enjoyed a few of the "Frat Pack" films, but I found that after awhile, it was just too much and the jokes/gags had gone stale. However, the inclusion of Robert Downey Jr. as a "serious actor" who dons dies his skin darker in order to immerse himself in the role of a black man is simply ridiculous...ridiculously funny! Lets be honest, the film will either be really funny and worth of all the hype it has already garnered or a total piece of shit, but either way it's going to get a lot of people in the theaters and I'll be one of them.

3. "The X-Files: I Want to Believe" (July 25), directed by Chris Carter, starring David Duchovny, Gillian Anderson, Amanda Peet and Xzibit.

Damn, my fangirliness is out in full force this summer! I've been an "X-Files" nerd from the beginning (I remember watching the first episode when it premiered and yes, I was like 7) and I can't wait to see this film. Not only is it the triumphant return of Mulder and Scully, together again investigating the paranormal and nefarious, but it's more of a stand-alone story. Don't get me wrong, I liked the whole narrative regarding aliens and Mulder's past with his sister's abduction, but I always liked the stand-alone episodes more. So I cannot wait to see this film and fall back into my nerdy ways!

4. "Hancock" (July 2), directed by Peter Berg, starring Will Smith, Jason Bateman and Charlize Theron.

I mostly want to see this film because I still think the whole throwing a whale into the ocean and capsizing a boat bit is hilarious. But I'm also interested in seeing a superhero story in which the protagonist isn't your typical good guy, fighting crime for the salvation of humanity and moral justice, etc. Lets face it, Hancock appears to be a real d-bag from the trailer, more concerned with drinking and catching a nap on a public bench than saving kittens from trees or telling kids to say no to drugs. I am a little nervous about the rumors I've heard that it's quite a serious film and from the looks of the extended trailers, these rumors appear to be founded in some truth. But as long as it delivers some fun action sequences and comedic bits (which one comes to expect from Smith) to temper the drama, I'll be fine.

5. "Wanted" (June 27), directed by Timur Bekmambetov, starring Angelina Jolie, James McAvoy and Morgan Freeman.

I'm slightly embarrassed to admit I want to see this film. Granted, it looks like total crap - a mindless action film with elaborate sequences and little real character development - but it has Angelina Jolie and James McAvoy! Seriously though, it looks like an amalgam of every action film Angelina Jolie's ever made and its mostly a forum for her to look hot and make out with someone equally as hot. But hey, I like mindless action (and I'm not just talking about car chases and violence, if you know what I mean) in my films just as much as anyone else!

Other films I'll probably end up seeing at some point:
"The Chronicles of Narnia: Prince Caspian"
"Sex and the City: The Movie" (probably ought to finish the final two seasons...)
"You Don't Mess with the Zohan" (I really like John Turturro!)
"The Happening" (I'm intrigued mostly because the latest trailer seems to imply they kill themselves?! AND A GUY RUNS HIMSELF OVER WITH A MOWER!)

Well, the consensus from what I've read appears to be an interest in my thoughts on the film "Sunset Blvd." directed by Billy Wilder, from 1950. I'm going to be writing these reviews more free-form from now on, which means I'll be dispensing with the super detailed synopsis (and spoilers!). So here it goes!



"Sunset Blvd." is regarded by many among the Hollywood circle to be the film about the industry and the town. Having never been to Hollywood (or had experience in the industry), I can't say, but I can certainly understand their sentiment. I first saw the film years ago and though I liked it, I never fully appreciated its implications or expert execution, that is until I saw it again this year.

The film follows Joe Gillis (William Holden), a screenwriter in Hollywood having a difficult time financially and creatively. By accident, he meets washed-up screen siren Norma Desmond (Gloria Swanson) and her faithful butler, Max (Erich von Stroheim). Desmond provides for Gillis financially, first by hiring him to read the massive script she's written for her planned comeback and ultimately, supporting him as her companion. Gillis attempts to rebuke Desmond's obvious affections and finds a confidante in the form of Betty (Nancy Olson), who genuinely believes in his writing abilities. The situation comes to its climax after Desmond's script is rejected and she tries to destroy Gillis's relationship with Betty. Desperate to keep Joe from abandoning her, Desmond threatens to kill herself, but shoots Joe as he walks away. The film closes as Desmond is taken away by the police, as cameras capture her dissent into madness and final bid for eternal fame and recognition.

Joe: You're Norma Desmond. You used to be in silent pictures. You used to be big...
Norma: I am big. It's the pictures that got small!



Gloria Swanson as the grand screen star Norma Desmond is astounding. Like her character, Swanson was a silent film star herself (who even worked with director von Stroheim who plays her butler). "Sunset Blvd." marked her return to the screen and she won much praise for her perfect performance. So in this way, the film works on many layers. Not only is it a story about the lure of fame and Hollywood, but it also uses actual stars and their histories to add to the authenticity and legend. Silent film comedian Buster Keaton, gossip columnist Hedda Hopper and infamous director Cecil B. DeMille make appearances in the film, adding to this concept of "Sunset Blvd." as metacinema.

The story and acting are ace to be sure, but Wilder's expert direction make it a classic. Many classify the picture as film noir and it certainly contains elements of the style. There's the chiaroscuro lighting, voiceover narration like something straight out of a Dashiell Hammett novel, femme fatale (though not your typical one) and cynical protagonist. But the film almost feels more like a Gothic tale spun during the 19th century than anything. Desmond's morbid obsession with the past - watching her old films, riding in an ancient Isotta-Fraschini automobile, pouring over fan letters - feels like something one would expect in a Bronte novel! Her sprawling mansion, filled with the detritus of her former glory, falling into ruin like her career and her life are especially memorable.

"The whole place seemed to have been stricken with a kind of creeping paralysis - out of beat with the rest of the world, crumbling apart in slow motion."

It's the mise-en-scene which really makes this film memorable. Under Wilder's direction, every frame is perfection, reflecting every element of the story from the gritty crime drama aspects to the deterioration of Norma's mind. The mise-en-scene combined with the writing and acting make the film classic and garnered it its place among the American Film Institute's Top 100 of All-Time.

It is definitely worth watching for those interested in filmmaking at its best, a complex and layered film which not only manages to reflect the Hollywood experience, but comment on its tragedies.


"No one ever leaves a star. That's what makes one a star."

A lot of great trivia surrounds the film, which can be found here.

shehaditcoming wrote:

"i'd love to see you do a post on your favourite film books. like which film guides you like, which bios are your favourite, specialist books, etc."

A question that comes at an excellent time! I contemplated writing an entry about the very topic. The truth of the matter is that I haven't had much time (or the will) to read books related to film outside of classes. I was always so busy with readings for courses and once I did find the time for leisure reading, I never wanted to read anything related to film!



Here are a few of my favorites that I've read from various classes (I'm leaving off actual textbooks!):
We're in the Money: Depression America and Its Films by Andrew Bergman
It's an interesting read and provides a lot of information on the films of the era as well as the historical context from which they emerged.
The Parade's Gone By... by Kevin Brownlow
Most of this book is devoted to the individual stars of the silent era, providing information on their backgrounds and films. Brownlow is a real film buff and it shows in his writing from the passion with which he speaks of the era to the thorough research he did in compiling this classic work.
From Reverence to Rape: The Treatment of Women in the Movies by Molly Haskell
I have only read bits of this book, but I've used it for a number of papers! It's a remarkable work in feminist film scholarship by one of my favorite film scholars, Molly Haskell. She gives interesting and thought-provoking takes on a number of films from the classic era which broke new ground for women in society or conversely showed the patriarchal and sexist influences of the industry.
Cinema Studies: The Key Concepts by Susan Hayward
It's quite dry and rather wordy, but a valuable resource for anyone really interested in film. It's basically a dictionary of film terms, from technical words to film movements. I use it all the time!
Anime from Akira to Howl's Moving Castle: Experiencing Contemporary Japanese Animation by Susan J. Napier
Susan J. Napier is a professor who specializes in anime studies, something which I wish I could do! This book is extremely detailed and informative, exposing anime as more than simple kid's fare or of the mere interest of Japanophiles. Napier's writing is really accessible and it's an infinitely fun read.

Here are books I'm looking forward to reading at some point:
Fast-Talking Dames by Maria DiBattista
Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema; 1930-1934 by Thomas Doherty
Complicated Women: Sex and Power in Pre-Code Hollywood by Mick LaSalle
Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man by Mick LaSalle
Samurai from Outer Space: Understanding Japanese Animation by Antonia Levi

Well, those are the basics! I have a TON of film books, but I haven't read many of them (though I've used a number of them as references for papers). I hope this was a vaguely interesting and helpful guide!

While establishing this journal in the wee hours of the morning today, I failed to mention that I will take requests as to which film I review next. I have quite the list ahead of me, so if anyone is interested in reading about one film (or several) in particular, I'll work on the review immediately (honest!). Leave a comment with your review request and I'll get on it!

I've got a few entries in the works, so here's what you can look forward to:
-Top 5 films I'm looking forward to this year (well, what's left of the year...)
-What film school is really like...

If there's any other film-related topics or questions anyone has, again, leave a comment! I'm good about replying.

Well, ladies and gentlemen, here is my shiny new journal. I christen thee, electrictheater. I've posted the previous entries featured in my now defunct Xanga with an updated "upcoming reviews" list. I'll be posting reviews as well as any other film-related happenings/thoughts here, so stay tuned.



Above: a lovely still from the film "Honey & Clover"

Well, I'm certainly going to be busy for awhile! Here is the list which was originally on my film review blog on Xanga. It's been updated and edited a bit - I've removed some films which I simply can't remember anything about (a good indication they were crap in the first place...) and I've added a number of films I've seen recently. Reviews are forthcoming, please be patient!

"Alexander Nevsky" (1938) dir. Eistenstein
"Pan's Labyrinth" (2006) dir. del Toro
"In the Mood for Love" (2000) dir. Kar Wai
"Pepe le Moko" (1937) dir. Duvivier
"La Belle et la Bete" (1946) dir. Cocteau
"Half Nelson" (2006) dir. Fleck
"Blonde Venus" (1932) dir. von Sternberg
"Oldboy" (2003) dir. Park
"Gold Diggers of 1933" (1933) dir. LeRoy
"A Night at the Opera" (1935) dir. Woods
"300" (2007) dir. Snyder
"High Noon" (1952) dir. Kramer
"Stage Beauty" (2004) dir. Eyre
"Our Daily Bread" (1934) dir. Vidor
"Fury" (1936) dir. Lang
"Stray Dog" (1949) dir. Kurosawa
"Modern Times" (1936) dir. Chaplin
"It Happened One Night" (1934) dir. Capra
"The Man Who Knew Too Much" (1934) dir. Hitchcock
"King Kong" (1933) dirs. Cooper and Schoedsack
"The Third Man" (1949) dir. Reed
"Throne of Blood" (1957) dir. Kurosawa
"The Night of the Hunter" (1955) dir. Laughton
"The Hidden Fortress" (1958) dir. Kurosawa
"Dead End" (1937) dir. Wyler
"Stagecoach" (1939) dir. Ford
"Bright Young Things" (2004) dir. Fry
"Ossessione" (1943) dir. Visconti
"Spider-man 3" (2007) dir. Raimi
"The Bicycle Thief" (1948) dir. De Sica
"The Private Lives of Elizabeth and Essex" (1939) dir. Curtiz
"Children of Men" (2006) dir. Cuaron
"Bell, Book and Candle" (1958) dir. Quine
"Psycho" (1960) dir. Hitchcock
"Elmer Gantry" (1960) dir. Brooks
"Bullitt" (1968) dir. Yates
"Chaplin" (1992) dir. Attenborough
"THX 1138" (1970) dir. Lucas
"The Manchurian Candidate" (1962) dir. Frankenheimer
"In Cold Blood" (1967) dir. Brooks
"Ghost in the Shell: Solid State Society" (2006) dir. Kamiyama
"Highlander: The Search for Vengeance" (2007) dir. Kawajiri
"Devotion" (1946) dir. Bernhardt
"Splendor in the Grass" (1961) dir. Kazan
"Airplane!" (1980) dirs. Abrahams, Zucker and Zucker
"Wings of Honneamise" (1987) dir. Yamaga
"Medium Cool" (1969) dir. Wexler
"The Last Supper" (2005) dir. Fukutani
"Airplane II" (1982) dir. Finkleman
"Midnight Cowboy" (1969) dir. Schlesinger
"The African Queen" (1951) dir. Huston
"Howl's Moving Castle" (2006) dir. Miyazaki
"My Young Auntie" (1981) dir. Liu
"Volver" (2006) dir. Almodovar
"Die Hard" (1988) dir. McTiernan
"The Blind Swordsman: Zatoichi" (2003) dir. Kitano
"The V. I. P.s" (1963) dir. Asquith
"Die Hard with a Vengeance" (1995) dir. McTiernan
"David and Lisa" (1962) dir. Perry
"The Sign of the Cross" (1932) dir. deMille
"Shallow Grave" (1995) dir. Boyle
"Too Tired to Die" (1998) dir. Chin
"The Simpsons Movie" (2007) dir. Silverman
"Trog" (1970) dir. Francis
"The Bride Came COD" (1941) dir. Keighley
"Who's Afraid of Virginia Woolf?" (1966) dir. Nichols
"Rush Hour 3" (2007) dir. Ratner
"Theatre of Blood" (1973) dir. Hickox
"Fantastic Four: Rise of the Silver Surfer" (2007) dir. Story
"Lady Chatterley's Lover" (1981) dir. Jaeckin
"Pirates of the Caribbean: At World's End" (2007) dir. Verbinski
"Jaws" (1975) dir. Spielberg
"Sense and Sensibility" (1995) dir. Lee
"The Man with the Movie Camera" (1929) dir. Vertov
"Yojimbo" (1961) dir. Kurosawa
"Sanjuro" (1962) dir. Kurosawa
"La Vie en Rose" (2007) dir. Dahan
"Aqua Teen Hunger Force Colon Movie Film for Theaters" (2007) dirs. Maiellaro, Willis
"Young Adam" (2003) dir. Mackenzie
"A Fistful of Dollars" (1964) dir. Leone
"A Funny Thing Happened On the Way to the Forum" (1966) dir. Lester
"Crank" (2006) dirs. Neveldine and Taylor
"Eastern Promises" (2007) dir. Cronenberg
"High School Musical" (2006) dir. Ortega
"High School Musical 2" (2007) dir. Ortega
"The Jane Austen Book Club" (2007) dir. Swicord
"The Devil Wears Prada" (2006) dir. Frankel
"Cat People" (1942) dir. Tourneur
"I Walked with a Zombie" (1943) dir. Tourneur
"The Long Kiss Goodnight" (1996) dir. Harlin
"Kiss Kiss Bang Bang" (2005) dir. Black
"Forest of Bliss" (1985) dir. Gardner
"In the Land of Women" (2007) dir. Kasdan
"Chinatown" (1974) dir. Polanski
"Gojira" (1954) dir. Honda
"The King of Kong: A Fistful of Quarters" (2007) dir. Gordon
"Baby Face" (1933) dir. Green
"Honey & Clover" (2006) dir. Takada
"Saving Face" (2005) dir. Wu
"Lifeboat" (1944) dir. Hitchcock
"Rebuild of Evangelion: You are (not) alone" (2007) dirs. Anno, Tsurumaki
"Blade Runner" (1982) dir. Scott
"Indiana Jones and the Kingdom of the Crystal Skull" (2008) dir. Spielberg
"Mr. Bean's Holiday" (2007) dir. Bendelack
"Branded to Kill" (1967) dir. Suzuki
"Iron Man" (2008) dir. Favreau
"Soylent Green" (1973) dir. Fleischer
"Fire" (1997) dir. Mehta
"La Jetee" (1962) dir. Marker
"Chocolat" (1989) dir. Denis
"Ratatouille" (2007) dir. Bird
"Run, Fat Boy, Run" (2007) dir. Schwimmer
"Habitual Sadness" (199?) dir. Young-joo
"In Bruges" (2008) dir. McDonagh
"Shoot 'Em Up" (2007) dir. Davis
"Ghost Rider" (2007) dir. Johnson
"Thelma & Louise" (1991) dir. Scott
"Rear Window" (1954) dir. Hitchcock
"The Lodger" (1927) dir. Hitchcock
"Persepolis" (2007) dirs. Paronnaud, Satrapi
"Be Kind Rewind" (2008) dir. Gondry
"Marianne and Juliane" (1981) dir. von Trotta
"Monster" (2003) dir. Jenkins
"Futurama: Bender's Big Score" (2007) dir. Carey-Hill
"Vagabond" (1985) dir. Varda
"Ninja Scroll" (1996) dir. Kawajiri
"L. A. Confidential" (1997) dir. Hanson
"Atonement" (2007) dir. Wright
"Control" (2007) dir. Corbijn
"War" (2007) dir. Atwell
"Funny Games" (1997) dir. Haneke
"Sweeney Todd: The Demon Barber of Fleet Street" (2007) dir. Burton
"Grey Gardens" (1975) dirs. Maysles Brothers
"No Country for Old Men" (2007) dirs. Coen Bros.
"My Little Bride" (2004) dir. Ho-jun
"Shall We Dance?" (2004) dir. Chelsom
"The Sleeping Dictionary" (2002) dir. Jenkin
"Paprika" (2007) dir. Kon
"Dead Leaves" (2004) dir. Imaishi
"Lust, Caution" (2007) dir. Lee
"Goodbye, Mr. Chips" (1939) dir. Wood
"That Hamilton Woman" (1941) dir. Korda
"Bewitched" (2005) dir. Ephron
"Juno" (2007) dir. Reitman
"Black Book" (2007) dir. Verhoeven
"Lars and the Real Girl" (2007) dir. Gillespie
"Accepted" (2006) dir. Pink
"Topper" (1937) dir. McLeod
"Enchanted" (2007) dir. Lima
"Tristram Shandy: A Cock and Bull Story" (2005) dir. Winterbottom
"Ping Pong" (2002) dir. Sori
"Eternal Sunshine of the Spotless Mind" (2004) dir. Gondry
"The Aviator" (2004) dir. Scorsese
"Pride & Prejudice" (2005) dir. Wright
"The Awful Truth" (1937) dir. McCarey
"3-Iron" (2005) dir. Ki-Duk
"Bunker Hill" (2008) dir. Wilmott
"The Giant Claw" (1957) dir. Sears
"Appleseed Ex Machina" (2007) dir. Aramaki
"The Machine Girl" (2008) dir. Iguchi
"Nana" (2005) dir. Otani
"Them" (2006) dirs. Moreau & Palud
"Walk Hard: The Dewey Cox Story" (2007) dir. Kasdan
"Teeth" (2007) dir. Lichtenstein
"Transformers" (2007) dir. Bay
"Marnie" (1964) dir. Hitchcock
"Caesar & Cleopatra" (1945) dir. Pascal
"After the Thin Man" (1936) dir. Van Dyke
"Hard Boiled" (1992) dir. Woo
"Linda Linda Linda" (2005) dir. Yamashita
"Suspiria" (1977) dir. Argento
"Futurama: The Beast with a Billion Backs" (2008) dir. Avanzino
"My Big Fat Greek Wedding" (2002) dir. Zwick
"Longford" (2006) dir. Hooper
"Hancock" (2008) dir. Berg
"5cm per Second" (2007) dir. Shinkai
"Batman: Gotham Knight" (2008) dirs. Aoki, Higashide, Kubooka, Morioka, Nishimi
"The Phantom of the Opera" (2004) dir. Schumacher
"The Dark Knight" (2008) dir. Nolan
"I'm Not There" (2007) dir. Haynes
"The Others" (2001) dir. Amenabar
"Tekkonkinkreet" (2006) dir. Arias
"The Mummy: Tomb of the Dragon Emperor" (2008) dir. Cohen
"Step Brothers" (2008) dir. McKay
"Tropic Thunder" (2008) dir. Stiller
"Nim's Island" (2008) dirs. Flackett, Levin
"There Will Be Blood" (2007) dir. Anderson
"Superbad" (2007) dir. Mottola
"Star Wars Clone Wars" (2008) dir. Filoni
"Wanted" (2008) dir. Bekmambetov
"Match Point" (2005) dir. Allen
"Jumper" (2008) dir. Liman
"CJ7" (2008) dir. Chow
"The Fall" (2006) dir. Tarsem
"Death Note" (2006) dir. Kaneko
"Nick and Norah's Infinite Playlist" (2008) dir. Sollett
"The Holiday" (2006) dir. Meyers
"In Her Shoes" (2005) dir. Hanson
"The Host" (2006) dir. Bong
"Session 9" (2006) dir. Anderson
"High Tension" (2003) dir. Aja
"The Strangers" (2008) dir. Bertino
"The Wicker Man" (1973) dir. Hardy
"The Orphanage" (2007) dir. Bayona
"Love Com" (2006) dir. Ishikawa
"Zodiac" (2007) dir. Fincher
"The Descent" (2005) dir. Marshall
"Basic Instinct" (1992) dir. Verhoeven
"Quantum of Solace" (2008) dir. Forster
"Nana 2" (2006) dir. Otani
"In the Company of Men" (1997) dir. LaBute
"Twilight" (2008) dir. Hardwicke
"Transporter 3" (2008) dir. Megaton
"Infamous" (2006) dir. McGrath
"American Gangster" (2007) dir. Scott
"Harsh Times" (2005) dir. Ayer
"All That Heaven Allows" (1955) dir. Sirk
"Hot Rod" (2007) dir. Schaffer
"Semi-Pro" (2008) dir. Alterman
"Kung Fu Panda" (2008) dirs. Stevenson, Osborne
"Rescue Dawn" (2006) dir. Herzog
"Black Christmas" (2006) dir. Morgan
"Yo-Yo Girl Cop" (2006) dir. Fukasaku
"Towelhead" (2007) dir. Ball
"What Happens in Vegas" (2008) dir. Vaughan
"The Fountain" (2006) dir. Aronofsky
"Valkyrie" (2008) dir. Singer
"Eyes Without a Face" (1960) dir. Franju
"Redbelt" (2008) dir. Mamet
"Attack of the 50 Foot Woman" (1958) dir. Juran
"Me and You and Everyone We Know" (2005) dir. July
"Factory Girl" (2006) dir. Hickenlooper
"The Chronicles of Narnia: Prince Caspian" (2008) dir. Adamson
"Slumdog Millionaire" (2008) dir. Boyle
"Wall-E" (2008) dir. Stanton
"Hulk vs." (2009) dir. Paur
"Watchmen" (2009) dir. Snyder
"The Duchess" (2008) dir. Dibb
"Happy-Go-Lucky" (2008) dir. Leigh
"Role Models" (2008) dir. Wain
"28 Weeks Later" (2007) dir. Fresnadillo
"Disturbia" (2007) dir. Caruso
"Death Race" (2008) dir. Anderson
"The Onion Movie" (2008) dirs. Kuntz and Maguire
"Righteous Kill" (2008) dir. Avnet
"Sukiyaki Western Django" (2007) dir. Miike
"Doubt" (2008) dir. Shanley
"Eagle vs. Shark" (2007) dir. Cohen
"Crank: High Voltage" (2009) dirs. Neveldine and Taylor
"Grey Gardens" (2009) dir. Sucsy
"Savage Grace" (2007) dir. Kalin
"Sunshine Cleaning" (2008) dir. Jeffs
"Gran Torino" (2008) dir. Eastwood
"X-Men Origins: Wolverine" (2009) dir. Hood
"The Soloist" (2008) dir. Wright
"Kung Pow: Enter the Fist" (2002) dir. Oedekerk
"The Apartment" (1959) dir. Wilder
"Futurama: Into the Wild Green Yonder" (2009) dir. Avanzino
"American Psycho" (2000) dir. Harron
"Soldier's Girl" (2003) dir. Pierson
"Magnificent Obsession" (1954) dir. Sirk
"Hollywoodland" (2006) dir. Coulter
"Fanboys" (2008) dir. Newman
"Mujhse Dosti Karoge!" (2002) dir. Kohli
"Equilibrium" (2002) dir. Wimmer
"My Bloody Valentine 3-D" (2009) dir. Lussier
"Bruno" (2009) dir. Charles
"Death Note: The Last Name" (2006) dir. Kaneko
"Son of Rambow" (2007) dir. Jennings
"Brideshead Revisited" (2008) dir. Jarrold
"Trouble in Paradise" (1932) dir. Lubitsch
"Ashes of Time Redux" (1994) dir. Kar Wai
"The Hurt Locker" (2008) dir. Bigelow
"I Love You, Man" (2009) dir. Hamburg
"Star Trek" (2009) dir. Abrams
"Inglorious Basterds" (2009) dir. Tarantino
"Bleach: Memories of Nobody" (2006) dir. Abe
"How to Lose Friends & Alienate People" (2008) dir. Weide
"Detroit Metal City" (2008) dir. Lee
"Jennifer's Body" (2009) dir. Kusama
"The Spirit" (2008) dir. Miller
"The Unborn" (2009) dir. Goyer
"Plan 9 from Outer Space" (1959) dir. Wood
"JCVD" (2008) dir. El Mechri
"Paranormal Activity" (2007) dir. Peli
"Coraline" (2009) dir. Selick
"[Rec]" (2007) dirs. Balaguero, Plaza
"Shutter" (2004) dirs. Pisanthanakun, Wongpoom
"Silent Night, Deadly Night" (1984) dir. Sellier, Jr.
"Dead Alive" (1992) dir. Jackson
"The Evil Dead" (1982) dir. Raimi
"Nosferatu" (1922) dir. Murnau
"Taken" (2008) dir. Morel
"Three...Extremes" (2004) dirs. Chan, Park, Miike
"Whip It!" (2009) dir. Barrymore
"The Poughkeepsie Tapes" (2006) dir. Dowdle
"An Education" (2009) dir. Scherfig
"Audition" (1999) dir. Miike
"Silent Hill" (2006) dir. Gans
"The Exorcism of Emily Rose" (2005) dir. Derrickson
"Videodrome" (1983) dir. Cronenberg
"New Moon" (2009) dir. Weitz
"The Young Victoria" (2009) dir. Vallee
"The Lovely Bones" (2009) dir. Jackson
"Spaceballs" (1987) dir. Brooks
"Blood Creek" (2009) dir. Schumacher
"The Midnight Meat Train" (2008) dir. Kitamura
"Zombieland" (2009) dir. Fleischer
"Gamer" (2009) dirs. Neveldine/Taylor

If you know I've seen a film in the past year and a half that is not included on this list, please leave a comment and I'll add it!

Regency era author Jane Austen is a hot property right now as her books are turned into films and television mini-series and authors find interesting and imaginative ways to re-interpret and re-appropriate her work. The latest in a series of Austen-inspired cultural products is director Julian Jarrold’s biopic “Becoming Jane” starring Anne Hathaway as the author in her youth. The film is a portrait of Austen before she gained fame as the author of such classics as Pride and Prejudice and Sense and Sensibility. It details her amorous encounter and near-elopement with a charming young Irishman named Tom Lefroy, portrayed by James McAvoy.

The film plays on the romanticism of Austen’s novels, particularly that of Pride and Prejudice. Using the book as guide, the writers saw fit to portray the young Miss Austen as a sprightly Elizabeth Bennett, complete with beautiful older sister (Austen’s sister Cassandra), irritating and interfering mother and dashing, but proud love interest (Lefroy). However, this device does not work, nor does it do justice to Austen’s life, which by all accounts did not include a surprise engagement to Lefroy. In fact, the film embellishes the details of Austen’s life so as to make her unrecognizable. Avid readers and rabid fans of the author will be upset to see aspects of her life so wholly exaggerated for the sake of drama and entertainment and there is far too much drama and too little of that entertainment.



“Becoming Jane” attempts to play on the notions of romance and the emotions of the audience by portraying the love between Austen and Lefroy as tragic. Their elopement thwarted by Jane’s guilt and feelings of responsibility toward her family and Lefroy’s, the film ends with an older Austen encountering Lefroy one last time and learning that his love for her has endured, as she is introduced to his daughter, named – gasp! – Jane! This last ditch effort on the part of the writers, Kevin Hood and Sarah Williams, of showing their enduring love not only falls flat, but also irritates. The idea that Jane Austen was somehow an unfortunate, heartbreaking figure because she did not end up married to her “true love” is preposterous. Had she ended up with Lefroy in this poor semblance of her reality, she would not have gone on to write such classics as “Persuasion” and “Northanger Abbey.”

“Becoming Jane” is a disappointment not only to Austen fans, but also to filmgoers in general. It tries to hard to be some sort of period-piece romance and falls short of being a realistic portrait of an important English author and wit.

The latest effort from director Frank Oz, “Death at a Funeral” is part British black comedy and part American gross-out comedy. The film follows the ridiculous series of events that occur at the funeral of a family patriarch. Daniel (Matthew Macfayden) and his wife Jane (Keeley Hawes) welcome family members to their home for the service where illegal drugs are mistakenly passed around, a nude man cavorts around the estate and a dwarf (the dead man’s former lover) attempts to blackmail the beleaguered sons.



“Death at a Funeral” constantly has the audience roaring with laughter as one hilarious moment follows the next. The cast is what really makes this film shine. Matthew Macfayden is perfect as Daniel, capable of depicting stone-faced severity in the beginning of the film, complete and utter horrified humiliation for through the following seventy minutes and genuine feeling by the end. Another pitch-perfect performance in the film was Andy Nyman as Howard, a nephew of the deceased. Bumbling from scene to scene, attempting to ingratiate himself within the family, his expression of disgust and horror at being covered in feces left everyone in the theater wiping tears of laughter from their eyes. American actor Alan Tudyk speaks with a near perfect British affectation as the accidentally drugged Simon Smith, attending the funeral as the boyfriend of Martha, a niece of the deceased. Though his character’s actions were meant as the most obvious catalyst for laughter, he managed to transcend this and deliver a hilarious and by the end, heartfelt performance. Actor Peter Dinklage plays the homosexual blackmailer, Peter, who ends up accosted and tied up by Daniel and his brother Robert (Rupert Graves). Dinklage goes all out in his performance, beginning with an understated and endearing attempt at bargaining with the brothers to all out insane fury after he is drugged, jumping on furniture and howling against his gag. The cast is strong with an assortment of skilled and wonderful actors who bring the ridiculous premise to life and by the end, give the film a sort of feel-good conclusion.

Weary at first of the hybrid of British and American comedic deliveries, the film still works. It manages to combine the aspects of an English comedy of manners and American lowbrow comedy to appeal to all types of filmgoers.