Reviews

Premiering on television airwaves in 1966, Gene Roddenberry's "Star Trek" was an allegory towards contemporary society; within this utopian future, a group of men and women of all races, free from the clutches of racism and sexism, would unite together "to boldly go where no man has gone before." "Trek" was powerful in its storytelling and reaffirmed the bold, unique powers of science fiction. Though "Star Trek" ran a measly three seasons, this failed television series boosted an influential legacy. With ten feature films under its belt, six TV series, comic books, and even a short-lived animated series, there's no doubt of the massive, influential impact this mythic universe had on popular culture. Warping to 2009, in an age where reboots and remakes run Hollywood, newbie director J.J. Abrams (creator of "Lost") leads a hip, modern cast in a new, ultra stylized reimagining of a television classic. Though Abrams' reboot is low on plot, "Star Trek" never fails from being a high-octane, hair-raising, pyrotechnic displaying, laser-tag chasing, visual effect showcasing thrill ride. "Star Trek" is at the top of its game.

Twenty-two years after the heroic death of his father, James T. Kirk (Chris Pine), an intelligent and often reckless young man, fills his time slurping beer and looking for trouble. After failing to womanize Uhura (Zoë Saldana) in an Iowan bar, Kirk, yet again, lances himself into a brawl with a group of overly confident academy students. Noting the fierce determination Kirk possesses, and his father's inherited bravery, Captain Pike (Bruce Greenwood), commander of the U.S.S. Enterprise, encourages the young, misguided Kirk to join the Starfleet. Knowing what little he has, Kirk, slightly hesitant, joins the Academy where he meets Dr. Leonard McCoy (Karl Urban), a loud mouthed, paranoid physician who fears the coldness of space. Years later, Kirk, still up to his old, devious ways, is put on academic suspension after strangely passing Spock's (Zachary Quinto) exigent flight simulator. When a distress signal is beamed from the distant planet Vulcan, Kirk, dodging academic suspension, is smuggled onto the U.S.S Enterprise with the clever help of Dr. McCoy. Once on the sacred Enterprise, Kirk's journey towards captain of the Enterprise and the formation of his aggressive, platonic friendship with the half-human half-Vulcan Spock begins.

Let's be honest here, over the years, "Star Trek" has been reduced to ridicule by the vast majority who think the series' mythology is one big, fat joke. The term Trekie (or Treker depending who you ask) even carries a negative connotation, we assume some middle-aged, convention attending, pimply-faced virgin, is the show's only target demograph. Unfortunately for those bashers, they never truly understood the power of this show or the power of the science-fiction in general. However, luckily for this franchise, J.J. Abrams' reboot, which is being marketed as "not your father's 'Star Trek,'" is surly to induct a new set of followers into this long established cult.

One of the reasons why this film is works is because of its hip, modern cast. From Kirk, Spock to Scotty (ingeniously played by Simon Pegg), each member of the cast brings a newly-formed resonance to its character. "Trek's" modern cast are not the scripted-punching actors of the 60's, the revamped update features fierce, spontaneous characters who are driven by mesmerizing performances. It's genius in its casting. Even the villainous Nero (Eric Bana), who gets little screen time and quite frankly a microscopic amount of villain time, brings an enormous amount of energy to the picture. Zachary Quinto, of Heroes fame, too, is able to confidently recreate Leonard Nimoy's initial creation.

Not only is the cast a marvel, but the film's technicality is amazing in its execution. Drowned in vibrant colors, slick architecture, and astounding set pieces, the film's production design is the stuff that dreams are made off. Director J.J. Abrams, who clearly has respect and enthusiasm for the source material, adds an alluring cinematic quality to every frame of this picture; he reaffirms the daring, stunning magic of movie making. "Trek's" Composer Michael Giacchino even manages to create an iconic score, replicating the unforgettable orchestrated sound of John Williams, is bound to take audiences back to the classic days of science fiction.

It's an exciting movie that proves not all Hollywood movies have to be reduced to cheese. It's cold, hard hitting entertainment of the highest order; it's entertainment done right! In fact, this is the type of film that deserves to be seen two, three or even four times on the biggest screen you could find. Headed by a competent cast and crew, "Star Trek" is a rock solid production.

There's an urgency in human nature to understand. When it comes to the Holocaust, history's bleak, unsettling period, it doesn't matter what book you've read, film you've seen or account you've heard; in the end, your response it halted by its incomprehensible conclusion. How could humanity course its way towards such a violent, destructive path? How could people knowingly send men, women, and children to their impending doom? Most puzzling, how could the world allow it? Even though its been 63 years since the blood-drenched annals of World War II, its aftermath today is still bone chilling.

After a six year celluloid dry spell, Stephen Daldry returns to the director's chair in a brilliant, sexually charged, and oddly heartbreaking tale about the complexity of human morality and the lifelong repercussions that result from our actions. Adapted from Bernhard Schlink's best-selling German novel, "The Reader," Daldry's visual translation is a powerful, emotionally absorbing film that is one of the year's best. It's superbly crafted.

With World War II over, Germany, in 1958, is still recovering. Deep within Heidelberg, Germany, Michael (David Kross), a young pubescent teenager haven fallen ill, is comforted by Hanna (Kate Winslet), a hard working woman who is twice his age. Taken by her generosity, Michael revisits Hanna to offer his gratitude. What begins as an awkward reunion escalates into a seductive, forbidden affair that intensifies when Michael begins reading to the distant, empty Hanna, who is deeply awakened by Michael's spoken literature. Too young to understand love's complicated implications, Michael is emotionally devastated when Hanna suddenly disappears. Nearly a decade later, unable to forget his passionate summer while studying law, he attends a Nazi trail, and to his dismay, hears Hanna's distant voice.

"The Reader" is a complex film; maybe a little too complex for some. Though the film pertains to Nazism and the "sins of our fathers," in essence, "The Reader" is a film that reflects the emotions inside all of us. During a lecture, Michael's professor comments, "Societies like to think they operate on morality but they don't." In this cynical age, how far from reality is that statement? During Hanna's trial, she's questioned why she participated in the Nazi party's horrendous war crimes, broken she replies, "It was my job." Oddly enough, that seems to be the justification most people use. Surprisingly, though, "The Reader" isn't about her exposure as a war criminal, but an exposure on an individual who took the wrong path. She's not a bad person; she's simply made wrong choices. However, when it comes to having involvement in the Nazi's liquidation of the Jews, how "wrong" can you get? "You ask us to think like lawyers," cries on student, "what are we trying to do?" A distraught Michael replies, "We are trying to understand!" But, just who exactly is trying to grasp a deeper understanding: the court or Michael? How can Hanna's past be forgiven? Director Stephen Daldry brings the much needed emotional layer that a character such as Hanna Schmitz desperately needs. Although her actions are beyond unforgivable, strangely, we sympathize with her. Maybe it's her other shameful secret. Maybe it's superb character development.

"The Reader" is a film that is driven by it's raw performances. In one of her finest hours, Kate Winslet gives the performance of a lifetime. It's a haunting and heart-breaking. David Kross, who's only 18, is impressive as the teenager with raging hormones; it's such a daring performance. Winselt and Kross bring this picture together. Their performances are jaw-droppingly brilliant. Completing the role of Michael, as the tortured grown man, is Ralph Fiennes, who balances Michael's despair through his melancholic emotion when he encounters a grown Jewish woman, played by Lena Olin, who was also at Hanna's trail. Although her scenes clock in less than 10 minutes, Olin, too, is breathtaking.

When "The Reader's" credits rolled, I sat quietly shaken by what I had witnessed. It's a film that is impossible to forget. When a grown Michael asks Hanna, "Have you spent much time thinking about the past?" Heartbroken, she replies, "It doesn't matter what I think. It doesn't matter what I feel. The dead are still dead." She's right.

I swear by God this sacred oath: that I shall render unconditional obedience to Adolf Hitler, the Führer of the German Reich and people, supreme commander of the armed forces, and that I shall at all times be ready, as a brave soldier, to give my life for this oath. ––Wehrmacht Oath

"Valkyrie" poses a question: How can one surrender allegiance to a leader whose ideals are beyond comprehendible? During a time when expressing opposition would result in severe consequences, Col. Claus von Stauffenberg, wonderfully portrayed by Tom Cruise, and a group of courageous individuals, defied the status quo and dared to do the unthinkable when they attempted to assassinate Hitler. "Just remember," warns General Ludwig Beck (Terrance Stamp), "nothing ever goes according to plan." Though Stauffenberg is well aware of the impending outcome, he proceeds anyway. That's bravery.

Bryan Singer's suspensefully crafted "Valkyrie" revolves around the events of July 20, 1944, in which Col. Stauffenberg, following an intricate plan, carefully placed a briefcase containing a bomb during a meeting in Hitler's "Wolf Layer." With Hitler out of the picture, Operation Valkyrie, a contingency plan designed to protect the Nazi regime in the event of a threatening disruption, would come into effect. Ironically, through strategic deception, Operation Valkyrie was signed by Adolph Hitler, who was unaware that the plan would be used as a counter attack which would mislead Hitler's Reserve Army into thinking they were fighting for his government. Though we know Hitler's eventual fate, Valkyrie never becomes a bore. Through ingenious film-making, Bryan Singer (The Usual Suspects, X-Men) milks "Valkyrie's" nail-biting suspense and delivers a gripping, entertaining historical thriller.

The resemblance between Cruise and Stauffenberg is uncanny. Cruise, whose career went downhill after the release of "War of the Worlds," brings an interesting resonance to Stauffenberg. Though Cruise gives a stiff performance, it's properly justified. With Hitler's Germany unleashing catastrophic damage, how could Stauffenberg, who had dear love for his country, not be grim about its eventual outcome? Equipped with an elite cast including Kenneth Branagh, Bill Nighy, Tom Wilkinson, Eddie Izzard, and "Black Book's" Carice van Houten, as Stauffenberg's wife Nina von Stauffenberg, "Valkyrie" never falters. Even though the cast doesn't experiment with adopting German accents, due to Bryan Singer's film-making niche, it never becomes a distraction.

Re-teaming with screenwriter Christopher McQuarrie, who penned Singer's "The Usual Suspects," "Valkyrie" flows seamlessly on its suspense. Opening with a lackluster beginning, Valkyrie's emotional grasp kicks in during its second act. Though the film works primarily on its entertainment factor, the film's dramatic intensity places "Valkyrie" on a higher level. These individuals, knowing the consequences, went with their gut instincts and decided to act for the benefit of the nation, and the world. It's an inspiring story that needs to be told. Luckily, "Valkyrie" had an intelligent cast and crew worthy of telling it.

What begins as a ferocious, gritty film initiating the likes of a Martin Scorsese crime drama, quickly catapults itself into one of the most endearing films of the year. With the energy of a high octane thriller, to the subtle, tender romance of young love, director Danny Boyle's operatic "Slumdog Millionaire" is an impressive, visceral piece of film-making that captures the romance of a memorable movie going experience. From the violent opening, to the Bollywood-like dance number at the end, "Slumdog Millionaire" is without a doubt one the year's best.

Using his life's experiences to successfully answer questions on India's version of "Who Wants to be a Millionaire?," Jamal Malik (Dev Patel), is one question away from landing the game's top prize: 20 million rupees. As soon as the show's ticking clock runs out, Jamal is immediately taken into police custody where he is brutally interrogated when he is accused of cheating. Carefully taking the time to explain his situation to a police inspector (played by Irrfan Khan), Jamal reminisces about his nostalgic childhood with his brother Salim, and childhood sweetheart, Lakita, and explains his true intent on why he's on India's highly watched television show: to find his love, Latika, who is a fan of the show.

A story of this magnitude could have easily been told within the conventions of a mediocre romantic thriller that reeks anything Hollywood has attempted to produce in the last 10 years. Instead, director Danny Boyle, who gave drug addicts their will in "Trainspotting" and zombies their aggressive agility in 28 Days Later, has crafted a film of the highest caliber by injecting it with a heavy doses of heart-pounding excitement. Boyle's camera captures the dilapidated backdrops of "Slumdog Millionaire" in a new light by showcasing a devastatingly poverty stricken India, which is emotionally heartbreaking yet oddly engaging. Boyle, once again, proves that a film doesn't need expensive visual effects and overpaid movie stars to be a powerfully emotionally enthralling film. Boyle's technique is superb and it's evident in every inch of this film.

Set within the beat down slums of India, outside the comforting, pleasing film aesthetics most films opt for, "Slumdog Millionaire" creates a visually stimulating environment by igniting every frame with fantasy like elements. Though grim undertones prevail the film, "Slumdog Millionaire", in the end, leaves one with a euphoric feeling of enlightenment. With the illustrative cinematography of Anthony Dod Mantle, Boyle not only captures a striking narrative; but a voyeuristic, genuine way of life that is rarely captured on film. Unlike most films, "Slumdog Millionaire" doesn't allow it's audience to remain passive; instead, it's energetic power grabs a hold of you and doesn't let go. It's breathtaking.

With their first full length under their belt, Dev Patel and Freida Pinto bring soaring vitality to the roles of Jamal and Latika. Because the story is structured as a thriller with tiny hints of a Shakespeare love story, Patel and Pinto add a fiercely energetic boost to the picture through their charm. Established Bollywood actor Anil Kapoor fills the role of the conniving game show host Prem Kumar, who unleashes a threatening bag of tricks toward Jamal.

Because "Slumdog Millionaire" features pitch perfect direction and noteworthy performances, the film leaves audiences sucker punched by its astonishing amazement. It's a dazzling, pulse pounding film that'll have you cheering with joy. Boyle, throughout the years, has delivered a versatile amount of work; all of which pertains to people that are trying to survive. To date, Danny Boyle has crafted a film of epic proportions, "Slumdog Millionaire" is a masterpiece that is sure to be talked about in years to come.

"Doubt can be a bond as powerful as certainty," says Father Brendan Flynn (Phillip Seymour Hoffman) to his diligently observant congregation as they sit attentively during his sermon. Though little sense can be derived from those inescapable words, by the end of the film, Doubt will have made its case. Supported by a phenomenal, intelligent screenplay and headed by a prestigious cast, "Doubt" is a fascinating picture that explores complex emotions in astounding ways. Unable to provide clear-cut answers, "Doubt's" ambiguity brilliantly has audiences do what every great film does: think.

When the overly naïve Sister James (Amy Adams) believes Father Brendan Flynn (Hoffman) to be abusing Donald (Joseph Foster), the only African American student at St. Nicholas Catholic school, she immediately confides in stern-faced school principal Sister Aloysius Beauvier (Meryl Streep), who believes in the value of fear, intimidation and punishment. Pushing Sister James' accusation into the realm of sexual molestation, Sister Aloysius Beauvier sets out to unravel the truth behind Father Flynn's motives by meddling deep within his affairs. Fearing his image to be tainted, Father Flynn, radiating anger, fear and frustration, warns Sister Aloysius to steer clear from her suspicions when he firmly tells her to, "Let it go." Sister Aloysius does other wise.

Like some escalating boxing match, writer/director John Patrick Shanley, who also helmed the original Broadway Pulitzer Prize-winning play, injects this film with a dose of mystery and anticipation. With determined thoroughness, Shanley expands each character's harrowing conviction with such vigor and grace that the world created in "Doubt" is impossible to turn away from. With the rise in child molestation cases the Catholic church has been getting drowned in, one would naturally assume "Doubt" to be a finger pointing morality piece; however, though the issue is raised, "Doubt" instead becomes a palpable, thought provoking film about the fears and insecurities within all of us.

In essence, Doubt is a showcase of vicious talent that is driven by its superior cast. Screen legend Meryl Streep comfortably eases her way into the role Sister Aloysius Beauvier with a mesmerizing balance of poise and perplexity. Without a doubt, Streep has created one of the most compelling characters of the year. Foil to Sister Aloysius is Father Flynn, fleshed out by the incomparable Phillip Seymour Hoffman who exhibits emotion so perfectly that his collision with Sister Aloysius is utterly fascinating. Torn between Sister Aloysius and Father Flynn is Sister James played by the lovely and talented Amy Adams, who has shown an incredible, exuberant growth since her debut as the sultry vixen in "Drop Dead Gorgeous." Limited to a minuscule performance as the boy's mother is Viola Davis, who in less the 15 minutes of screen time, brings the show to a complete halt by providing a genuine, raw performance. "Doubt's" ensemble is breathtaking.

At the core of "Doubt" is lies a poignant and somewhat cryptic message about our morality and driving convictions. The clash between the film's protagonists is a bitter, multilayered battle that is exemplified by its extraordinary characters. Apart from Flynn's accusation, Sister Aloysius, who devoutly honors the traditions of the church, is threatened by Father Flynn, the progressive Father who wants to bring change. Though Sister Aloysius's actions may be filled with authoritative strictness, overall, she means well. As for Father Flynn, who faces serious allegations, goes to lengths to protect his secret, though whatever that secret may be, will have to be resolved by the viewer.

With show stopping performances, and a tightly written screenplay, "Doubt" is single-handedly an extraordinary tour-de-force of skill and talent. It's extraordinary and powerfully moving; at the end of the film, Sister Aloysius and Sister James have a thoughtful discussion, Sister Aloysius, sitting quietly, conceals her crucifix and breakdowns. What she says afterwards left me emotionally shaken.

Fans of the original will be disappointed with Scott Derrickson's retelling of Robert Wise's 1951 science-fiction classic The Day the Earth Stood Still. What begins as a masterfully constructed ominous opening soon descends into a world of eye-popping computer wizardry and regurgitated clichés. Though the original may be far from perfect, it did manage to craft a powerful, poignant message about humanity's desperate need to reshape society. It's a shame that message can't be found in this commercially endorsed remake.

When a mysterious unidentified object begins to make its way towards earth, a team of scientists, including Dr. Helen Benson (Jennifer Connelly), are called to investigate the finding. Thought to be an object of catastrophic proportions, a mysterious, glowing orb slowly descends onto New York's Central Park. Once landed and surrounded by a team of cautious scientists and military personal, Klaatu (Keanu Reeves), an alien with an urgent message to world leaders, is shot on sight. Lacking mobility, the vulnerable alien is taken and treated for injuries at a secret lab where government officials, including Secretary of State Regina Jackson (Kathy Bates), seize the opportunity to interrogate the meaning behind his visitation. Fearing hostile government intervention towards Klaatu, Dr. Helen Benson, along with her stepson Jacob Benson (Jayden Smith), help Klaatu escape the clutches of government officials and assist the alien with a grim message make his way to world leaders.

The problem with The Day the Earth Stood Still isn't that it's a bad movie; it's just not a very good one. Due to its lack of awe-inspiring science-fiction story telling, what's supposed to be a mesmerizing movie going experience turns into something that's just another day at the multiplex. It's hard to discus the remake without comparing it to its superior predecessor because during a time when the nation was drowned in paranoia about the possibility of a nuclear war, Robert Wise's 1951 original contained a reflective, thought provoking message about humans' desperate need to be at peace with one another. Though the ideas in Derrickson's remake are important, due to the film's turbo charged pacing and uneven ending, the film's message gets lost in its world of computer animated effects and Keanu Reeves' stone cold persona.

Like M. Night Shyamalan's ridiculous 2008 feature, The Happening, director Scott Derrickson's retelling is also a cautionary tale of humans' lack of environmentalism awareness. Klaatu must have been extremely bothered by Al Gore's documentary An Inconvenient Truth to have to travel light years in space to warn humans of their impending doom. Though the film means well; the film's overall effect is lost in its mediocre execution. As in Steven Spielberg's impressive 2005 apocalyptic feature, War of the Worlds, screenwriter David Scarpa places the film's characters in "been there, done that" territory. Instead of focusing on the film's message, Still gets quickly sidetracked by its strained family relationship storyline.

With a second feature already under his belt, Jayden Smith, once again, showcases immense capability for acting. Too bad his screen character is annoying. Keanu Reeves, who seems slightly emotionless in all his performances, hits a home run with Klaatu. He was born to play that role. Screen giants Jennifer Connelly and Kathy Bates make the film interesting and watchable. Without them, the film has nothing.

If Fox would have respected sacred ground, The Day the Earth Stood Still would have been a winner. Not to completely discredit the film, it is something nice to look at; however, look too long and you'll eventually get bored.

After a 19 year leave of absence, Harrison Ford returns once again as the swashbuckling, iconic hero, Indiana Jones, in Director Steven Spielberg's highly anticipated summer blockbuster "Indiana Jones and the Kingdom of the Crystal Skull." With new added faces to the already familiar cast, "Kingdom of the Crystal Skull" isn't in par with its cinematically rich predecessors, but it doesn't stop the high-octane roller-coaster from being a fun filled ride.

When a group of Russian extremists led by Irina Spalko (Cate Blanchett) want to uncover the power of the crystal skull, they forcefully recruit the highly knowledgeable Dr. Jones to help assist the puzzling case. Because its 1957 and the fear of communism is on the rise, Indiana's reputation is severely tainted after escaping the clutches of his captors. Now being trailed by Russians, Indiana meets with Mutt Williams (Shia LaBeouf) a greaser punk rebel who looks like a replica of Marlon Brando in "The Wild One." Needing Indiana's help to save his mother, Marion Ravenwood (Karen Allen), the two jet off into an adventure that'll have you cheering with joy by the time the credits role.

With the dark annals of World War II being written into history books, Jones is no longer fighting treacherous, power-hungry Nazis; this time he's combating Russians. With the fear of communism and atomic warfare escalating, the paranoid induced era produced a wealthy amount of science fiction films commentating on current affairs. Although "Kingdom of the Crystal Skull" doesn't necessarily make a political statement, it incorporates this ideology maintaining the 1950s tradition. With this in mind, it'll be easier to digest the film's climactic finally.

This latest installment is by far the most different Indiana Jones film to grace the silver screen. The previous films seemed excessive, yet plausible. "Kingdom of the Crystal Skull" goes overboard with its plot which may turn some viewers off. It's like an overblown pulp fiction novel equipped with maniacal villains, undead Aztec guardian soldiers, and death defying scenarios that will have you scratching your head. It's a lot to soak in, but there's no denying that it's a lot of fun.

Even with all the elaborate sets, stunning computer graphics, and eye-popping action sequences, the film works wonders with its characters. This is something that the franchise has done so well over the years. They're extremely well likable charismatic characters. Who wouldn't want to be Mutt Williams, the punk, leather jacket wearing, switchblade talented rebeler? Indiana, who's all about education and responsibility, has endearing arguments with Marion, and it plays affectionately well.

"Indiana Jones and the Kingdom of the Crystal Skull" isn't a perfect movie, but if you're willing to go along with its zany plot, you may find the payoff well worth it. There are many of changes in this latest installment, die-hard fans may be disappointed, but there's no denying it; it is a fun time at the movies.

With an overpopulated influx of Japanese remakes and teen-targeted horror films, Bryan Bettino's "The Strangers" is a satisfying, mature addition into the horror genre. Although I can't say I truly enjoyed this nihilistic, torture-porn fest, those looking for a terror-filled time at the movies will enjoy what "The Strangers" has to offer. It's a sleazy, gut wrenching experience that effectively accomplishes what it sets out to do.

After a rejected proposal, James (Scott Speedman) and Kristen (Liv Tyler) must uncomfortably share an isolated cabin in the woods. Attempting to console one another, a stranger ominously knocks at 4 o'clock in the morning. Bewildered by the encounter, the simple knocks on the door escalate to a night of sheer terror. Now, victims to their game, James and Kristen must fight for their survival from the trio of sadistic strangers.

I love horror films; there's a comfortable feeling of being able to sit safely while watching people run for their lives from psychotic killers with a lust for blood. They're fake, terrifying, and entertaining. "The Strangers," however, is part of movement in horror films today: realism. Once the film enters its second act, it stops being fun and starts to feel a little too real. I wanted to ask the projectionist to play the fun, slapstick version, not the one that makes me want to stick my head in the oven. I guess what I'm trying to say is that––it really is terrifying.

If there is anything to be learned from "The Strangers" it's that Director Bryan Bertino showcases immense craftsmanship for film-making. Though the plot isn't original, it's a film that operates strictly on suspense. Forget about blood splattering murders, high body counts, and ineffective scares, Bertino's magic is all in the suspense. The film's timing is impeccable; it slowly creeps up on you until the climactic finale. The film's cinematography helps establish a claustrophobic, paranoid-induced environment, leaving viewers feeling like they're there.

With a script that doesn't demand much dialogue, actors Liv Tyler and Scott Speedman effectively perform what the film demands, acting scared. Hidden behind their mask are actors Laura Margolis, Kip Weeks, and Gemma Ward, who undertake a pure physical performance mimicking the likings of Michael Meyers and Jason Voorhees. Their threatening presence is entirely felt.

According to the film, "The Strangers" is based on actual accounts. Whatever the case may be, it's a film that effectively accomplishes its main objective flawlessly. After the film, I thought to myself: I don't even want to imagine myself in that situation.

We've all heard that phrase--some of us are guilty of constantly saying it, at the end of an awe-inspiring, emotionally absorbing classic film, in amazement, we silently breathe those sacred, golden words: They don't make them like they used to. While that may be true to some, and ridiculously absurd to others, those who've been magnetically drawn to film's illuminating power, will walk away dazed from Baz Luhrmann's swash-buckling adventure. With the grandeur of "Gone With the Wind" and the sweeping sensation of "The Wizard of Oz," Baz Luhrmann's vibrant epic, "Australia," is a ferocious, breathtaking ode to the age of golden cinema. It's a breathtaking spectacle!

It's 1939 and World War II is slowly escalating, with troops being deployed, the British army will need a substantial supply of beef. When high maintenance, aristocratic brat Lady Sarah Ashley (Nicole Kidman) gets news that her Casanovian husband is having a little too much fun deep within the sweltering lands of "Australia", without hesitation, she leaves the luxurious comforts of Britain and journeys towards her husband's dilapidated ranch. Upon arrival, she meets dashing cattle driver, Dover (Hugh Jackman), the tough guy with a sensitive spot who is subjected to Lady Ashley's peculiar customs during their lengthy drive to the ranch. Expecting to find her husband in the erotic clutches of a beautiful woman, she is horrified to find him murdered. Suspecting foul play, Nullah (Brandon Walters), the aboriginal child part of the "stolen generations" (a government program that relocated individuals of white/aboriginal descent), warns Lady Ashley of the treacherous and villainous Neil Fletcher (David Wenham), a business tycoon trying to steal her cattle. Forced to inherit her husband's labor, Lady Ashley, along with the help of Dover, Nullah, and the rest of the loyal farm hands, travel cross-country to deliver a heavy load of livestock to the British Army. Traveling along the unforgiving landscape, the group, through a constant series of events, including a kindled romance between Lady Ashley and Dover, discover that they're journey will be full of adventurous challenges.

Clocking in at nearly three hours, "Australia" may seem like a self-indulgent showcase of talent, though the same can be said about David Lean's cinematic marvel "Lawrence of Arabia," Lurhman uses luscious, illustrative techniques, that capture a gorgeous, nostalgic movie which embodies the ecstatic romance of going to the movies. Lurhman, who creates exciting, heroin induced films bursting with color and life, remains subtle in his newest melodramatic feature. Like the romantic melody of "Titanic" to the uninspiring romance of "Pearl Harbor," Luhrmann places his character in dense, apocalyptic like situations and constructs exciting--yet formulaic, scenes. While "Australia" features a passionate romance between its characters, the true romance can be found between Luhrmann and "Australia", who creates the ultimate love song that celebrates its rich, complex history.

Part western, romance, and adventure, Luhrmann's camera captures everything with detailed precision. Part of "Australia's" backdrop is it's stunning, enchanting landscape. In a scene from "Australia", Lady Ashley stands on her porch as a flock of horses rapidly swarm by; it's filmed beautifully. In some strange way, the film captures the romantic vastness of its land. This romance radiates throughout the picture, "Australia" is destined to become a classic.

Whenever you see a classic film, you get the package--the stars, the mystic lighting, the beautiful black and white--the works. This is what "Australia" creates, an epic film drowned in beautiful photography, old-fashioned costumes, and big stars. Nicole Kidman and Hugh Jackman, both accomplished, bring a filmic presence to the screen that hasn't been seen in years. They're extraordinary. Able to hold a scene with Kidman and Jackman is newcomer Brandon Walters, who at such a young age, exhibits astonishing talent.

"Australia" is a beautiful, restless, bold feature. Those who have a tendency of consulting their cellular telephones for clock updates, will probably be frustrated by "Australia's" lengthy running time. Those who are able to get lost in its charm will be taken "Some Where Over the Rainbow," you know, that place where troubles melt like lemon drops, away above the chimney tops. Ah, the power of movies!

Watching Frank Miller's "The Spirit" is like watching a rancid, made for TV remake of Robert Rodriguez's superior feature "Sin City". Employing the inventive art direction from Rodriguez's 2005 feature, "The Spirit"is a neatly packaged gift; but, once opened, you'll find the contents to be dull and lifeless. Frank Miller, who co-directed "Sin City," pony backs on Rodriguez's success and delivers a frivolous, uninspiring cinematic feature.

Unable to makes sense from his mysterious resurrection, Denny Colt (Gabriel Macht), who goes by The Spirit, is determined to fight the malignant hands of crime deep within snow covered streets of Central City. Like every hero, he's got a weakness, and its not his deviously scheming, Nazi wearing, toilet trashing nemesis, The Octopus (Samuel L. Jackson), it's much worse: women. Torn between his childhood sweat heart, Sand Saref (Eva Mendes), who left Central City to find wealth and diamonds, and his current fling with Ellen Dolan (Sarah Paulson), the boring doctor who treats The Sprits' wounds, the daring hero just can't say no, even to the charms of The Octopus' college educated sidekick Silken Floss (Scarlett Johansson), whose name seems to have been inspired by Miller's visit to the dentist.

Frank Miller, whose broken conventions in the air-balloon filled world of graphic novels, doesn't have the confidence to sit comfortably in the director's chair. With a ridiculous screenplay that's drowned in buzz-killing one liners like, "Shut up and bleed" or "I'm gonna kill you all kinds of dead," the cast has little to work with. It's completely cringe-worthy dialogue, and to top it all off, its delivery is even worse. Scarlett Johansson, who's shown talent in stronger, noteworthy films (Match Point), is so off-beat that she is deliciously bad. Lately, it seems that Samuel L. Jackson is the go to guy screenwriters lust for when they need their cheesy, overly theatrical dialogue delivered. Jackson's portrayal of the power hungry villain is terribly overcooked that it completely flutters the picture. Gabriel Macht, along with the entire cast, can't seem to find the tone of their performances. They needed better direction.

Though "The Spirit"aims for an over-the-top atmosphere, it's an overblown misfire. Rodriguez's "Sin City," which was also cheesy, worked because the film believed in itself. It took its own narrative seriously and firmly balanced its stylistic flair with its grim substance. In the case of "The Spirit," how serious does a movie with characters like Plaster of Paris want to be taken? Not much. It's a visually stunning film, sadly that's all it has going for. Will Eisner, creator of the 1940's comic strip, "The Spirit," is surely rolling in his grave.