Remember Me is not a unique romantic drama. Nor is it a special romantic drama. In fact, it’s really not a romantic drama at all. It is the story of the lives of two 21-year old New Yorkers who are still dealing with their grief over deceased family members. One is Tyler Hawkins (Robert Pattinson), a lost and rebellious bookstore employee who blames his dad for his older brother’s suicide and is “undecided about everything”. The other is Ally Craig (Emilie de Ravin), a college student who witnessed her mother’s murder at a young age and now lives with her overprotective cop father (Chris Cooper), living her life to the fullest and eating dessert before her entree at every dinner in order to make sure that if she were ever to meet an untimely death during her meal, she would at least have made it to one final indulgence.

The film focuses primarily on Tyler, observing the many problems he must endure, ranging from coping with the inescapable memory of the loss of his brother; an 11-year old art-prodigy sister (Ruby Jerins) who is unfairly teased and tormented by her classmates; and a cold, distant father (Pierce Brosnan) who ignores him and his sister both… to the troublemaking antics of his roommate, Aidan (Tate Ellington), and a broken deadbolt.

After his inability to keep his mouth shut lands him and roommate Aidan in jail for a night- courtesy of none other than Ally’s father himself, Tyler makes a deal with Aidan to sleep with Ally and then subsequently leave her to get revenge on her father. Of course, this devious and mean-spirited ploy sets into motion a relationship that transcends all of Tyler’s childish intentions, but at the same time, brings even more troubles into his life.

As I mentioned before, despite misleading trailers and marketing campaigns, this film is not primarily a romantic drama. While it’s certainly difficult to convince one of this notion with words alone (and given what seems to be a very romantic drama-ish plot), it’s an important reminder to remember when seeing the film. Many- both common moviegoers and critics- have cited their disappointment with the movie’s ending because it supposedly strayed from the film’s romantic tendencies. However, the ending reveals the movie’s true essence and conveys its intended message. In an effort to keep the review spoiler-free, I will refrain from elaborating on the ending any more, because- while I won’t guarantee that your viewing experience will be undermined by knowing the nature of the ending ahead of time- it is certainly crucial to the intended impact of the film that you don’t know about it beforehand. I’ll get to more on my thoughts about the ending later, for those of you who have seen the movie already.

In other departments, the film hardly ever excels above and beyond a simply decent production, however, certain aspects absolutely exceeded my expectations. Robert Pattinson’s acting didn’t blow me away, but managed to reconcile him from my list of actors who don’t deserve to be in the industry at all (if you’re wondering who’s still stranded on that unforgivable list… Zac Efron, Gerard Butler, Jessica Alba, Megan Fox, and Keanu Reeves are just a few of the top candidates I would vote out of the Hollywood tribe). I’m not about to jump the bandwagon of spellbound tweenage girls and run out to buy an Edward Cullen poster to plaster on my wall, but I will say that I was impressed with his abilities here. It’s true that he’s one of the best at brooding and sulking and even if that’s all he’s great at, at least it’s something. Emilie de Ravin isn’t quite as exceptional, but still puts in a strong performance. In the grand scheme of things, Chris Cooper and young rising star Ruby Jerins (she’s a regular in Nurse Jackie, but I’m now convinced she deserves an even bigger role in the near future) were the standout performers in my opinion as the loving but conflicted father and the misunderstood, too-mature-for-her-age sister. Pierce Brosnan, too, is exceptional in a way that makes you incapable of resisting your inner urge to hate his character and then find yourself sympathizing with him just a little bit, even if you don’t want to.

Some interactions breed a tad too much melodrama, the writing is far from flawless, and the dialogue is not without the occasional line that borders the edge of too-cutesy-to-hold-back-the-laughter, but these are all things you have to expect (not necessarily forgive) in a film that deals heavily with the relationship of two 21-year olds. For first time writer Will Fetters (who finished most of the script several years ago when he was only 22) and small-time-experience director Allen Coulter, the execution and production value of the film are enough to engage you for its full 113 minute runtime and feel satisfied with the time you spent. But if there’s any one element that sets it a step ahead of most other films of a similar nature (other than, of course, the ending… which I still can not ruin for those who haven’t seen it), it’s probably the film’s ability to feel genuine on many of its several layers. More than anything, the relationship between Tyler and his sister is admirably real and the chemistry between the two actors is particularly apparent. And on a greater scale, almost the entire cast give performances that feel collectively authentic, which is perhaps what allows the movie to create the meaningful effect that it does and leave you stunned by the ending.

In the end, the product that Coulter, Fetters, and their noteworthy cast accomplish is a well-constructed and– dare I say– captivating story of the lives of seemingly real New York individuals and the ways they deal with their unfortunate hardships and interactions, without pretending to give us the answers to our own problems or ostentatiously displaying to the audience how relationships are supposed to work. It’s flawed, but its strong points outweigh the weak ones, giving it the weight it requires to make an impact.

P.S.  If you’re interested in my take on the ending and my VERY mercilessly critical response to the way in which critics and many viewers have reacted to it, stay tuned for a later update in a lengthy, unrestrained, editorial-like style. It will come with a sufficiently sized spoiler alert, as I do STRONGLY advise those who have yet to see the film to avoid spoiling the ending for yourselves and make an effort to see it.

Each week, feel free to use the comment section to share your favorite quotes, weigh in on my decisions, and point out particularly good ones I may have missed.

For week #1, I thought I’d take one of my favorite actors, Kevin Spacey, and showcase some of his better quotes. If I could frame that last one and put it up on my wall, I’d probably love it even more. What a brilliantly clever piece of writing.

“Happiness. Happiness is a word for a feeling. Feelings are rarely understood; in a moment they are quickly forgotten and misremembered.” — Henry Carter, Shrink

“The only thing worse than a loser is someone who won’t admit he played badly.”
– Mickey Rosa, 21

“Living by your wants will never make you happy; what it means to be fully human is to strive to live by ideas and ideals and not to measure your life by what you ever attain in terms of your desires but those small moments of integrity, compassion, rationality, even self-sacrifice.”
– David Gale, The Life of David Gale

“Even your Buddha and your Christ had quite a different vision. But nobody’s paid much attention to them, not even your Buddhists and your Christians.”
– Prot, K-PAX

“I guess I could be pretty pissed off about what happened to me… but it’s hard to stay mad, when there’s so much beauty in the world. Sometimes I feel like I’m seeing it all at once, and it’s too much, my heart fills up like a balloon that’s about to burst… And then I remember to relax, and stop trying to hold on to it, and then it flows through me like rain and I can’t feel anything but gratitude for every single moment of my stupid little life.”
– Lester Burnham, American Beauty

“Wanting people to listen, you can’t just tap them on the shoulder anymore. You have to hit them with a sledgehammer, and then you’ll notice you’ve got their strict attention.”
– John Doe, Se7en

“The greatest trick the devil ever pulled was convincing the world he did not exist.”
– Verbal Kint, The Usual Suspects

Over half of the year has gone by now (more like flown by at high speeds) and although I have been severely disappointed with the lack of quality films that we’ve seen– particularly compared to last year’s great output, we’ve seen some good ones and even a few great ones already. It’s been a slow summer for Hollywood, but here’s to hoping that the best ones were saved for the end of the year.

I still have many of the more limited release films to catch up with and also some of the bigger ones too. In time, that will be fixed and I’ll post my Best of 2010 list for thus far. Until then, cast your vote and let your voice be heard about the which movies you think have been the best yet. There are 12 options, with 3 available choices per vote. Sadly, there wasn’t enough space to add ALL of the movies that should maybe be in contention for the title, but I tried to include the more popular ones.

Click “read more” just below and vote there or use the poll at the bottom of the right sidebar (on any page of the site). Add comments if you wish (by selecting “View Comments” at the bottom of the poll once you’ve voted)! Feedback is always greatly appreciated.

Jesse Eisenberg’s first ever major film, Roger Dodger, is a unique coming-of-age story with enough simplicity on the surface and enough complexity beneath it to take the form of an impressively entertaining study of the social interactions between men and women. As writer/director Dylan Kidd’s first project and winner of the Best Feature Film Award at the first ever Tribeca Film Festival in 2002, this surprisingly well-done little gem will leave you wondering why it wasn’t a bigger commercial success and why Jesse Eisenberg (Zombieland, The Social Network) is the only member of its production that you still see in the business on a regular basis. (No discredit to Jesse; if there’s anything Roger Dodger does reinforce, it’s the fact that he deserves every bit of success that he’s achieved).

“Sex is everywhere,” Roger Swanson, played by the show-stealing Campbell Scott (Dying Young, Big Night), tells his socially lost, 16-year old nephew, Nick (Eisenberg). Nick has traveled alone to New York City in the hopes of convincing his smooth-talking Uncle Roger into teaching him the ways of seduction so that he might end his romantic troubles by finally getting a girl and losing his virginity. While Roger is overwhelmingly cynical, incessantly arrogant, and often brutally forthright (blatantly exemplified by the motto he applies to the advertising business– “You can’t sell a product without first making people feel bad”), there is no one who knows the rules of the game better. He solidifies his tactics with an impeccable track record; he takes a woman home “every night”.

Originally reluctant to open up his one man band to the prospect of apprenticeship, Roger agrees to spread his wisdom to Nick. What follows is a night out in the city that never sleeps in a crash course in charming women. From hilariously ridiculous scenes of the two scouting out women on the streets to unexpectedly profound conversations at a bar, the night proves to be an open examination of these two previously mysterious characters.

However, the movie is far from simply a character study. While Scott’s and Eisenberg’s performances are near-perfect, the execution of the film ensures that its value is not dependent upon the quality of the acting. Behind a simple plot and seemingly simple characters is a noteworthy script that delivers witty, realistic dialogue and intriguing conversations. Free from hollywood-ized n0nsense and feel-good drivel, the scenes between the two guys and the two women they engage at a bar are perhaps the film’s best, showcasing not only Roger’s subtle tricks and Nick’s charming innocence, but also the natural chemistry between Scott and Eisenberg and the vulnerabilities they both carefully expose with their characters.

The chaotic events of the night lead to an ending that, while it strays slightly from the tone of the rest of the movie and perhaps comes a bit too suddenly, is perfectly raw and unexpected. I can’t remember being more satisfied with an ending in a good while.

All in all, Roger Dodger teaches the common moviegoer that not all good indie flicks have to be about vibrant colors, trendy folk music, and quirky families (Little Miss Sunshine, Juno). And more importantly, this smart man’s American Pie (even if that sounds like an oxymoron) proves that not every coming-of-age, cherry-popping comedy (or maybe more dramedy, in this case) has to be sullied with sloppy and overdone high school stereotypes, eye-rolling dialogue, and unlikable characters of both genders.

I’m hooked, Jesse. Keep making movies.

Long story short… I was kidnapped by a vicious band of gambling Asian gangsters, sold into a French underground slavery ring run by the Albanian Mafia, forced to play psychologically grotesque (yet somehow profound) mind games in a bathroom with a cancer-ridden serial killer named Puzzle, captured and held hostage by a masked company of rebelling Treadstone assassins, recovered by a glorious secret squad of vengeful and merciless Jewish Americans, tortured by Jack Bauer after some very unfortunate miscommunication, framed and wrongfully accused of murdering my insane, suicidal wife and thrown into a high-security prison from which I escaped by tunneling through a hole in my cell hidden by a poster of Rita Hayworth.

Now that everyone’s caught up, let me be the first one to officially come out and say that, as convincing as they sound, none of these rumors are actually true. That adventure-filled story was completely made up by some asshole trying to entertain people and get a promotion. It’s a shame really, because I can only imagine how brilliant of a movie that whole story could make. I can assure you that I’m completely unscathed. Well, that’s not entirely true either. My junior year of high school was actually a pretty extensive form of torture in itself, but that’s a different story. Long-story-which-actually-turned-out-to-be-a-short-story short, this recent 5-month period of inactivity was due to a combination of overwhelming amounts of school work, lazy summer tendencies, and lack of motivation.

However, the purpose of this joyous post is to announce my return to the scene of movie news, reviews, and abuse. I can assure you that this time, I will be attempting to stick around for longer. But Ben, you might be trying to ask me, in your infinite wisdom and undying knowledge, doesn’t it seem even a tad stupid to be rebooting your blog right before a new school year is about to begin, given your history of dropping commitments because of school work? In response, I have just 4 things to say. 1) Thank you for the endearing compliment. 2) Stop trying to ask me questions while you’re reading. You’re in front of your computer. I’m in front of mine. Think about it. 3) It’s not a history, per se. It’s happened twice. A history is more like 4-5 times. Don’t condescend me. I’m very particular about semantics. And 4) Yes, it’s probably not my best idea. But I’m convinced that it should be an lighter year for me and even though I’m hoping to get a part-time job soon, I plan on somehow at least putting in regular and consistent updates every week. I can’t guarantee that there won’t be some days or even some weeks when posts don’t come quite as often, but I should be able to stay away from being gone for too long.

While my writing and reviewing days have been few and far between for a few months, my days of watching movies have certainly not been. Hopefully in the next week or two, I’ll be able to crank out several reviews of recent movies I’ve seen and also provide information about upcoming movies, etc.

Be sure to check back periodically for further updates.

This February will be a month with many decent DVD releases that everyone should check out and, although it seems to be a bit of a slow month for film releases, there are a couple movies hitting the theaters that appear to have some potential.

As we approach the Oscars, we’re really just starting to wrap up the 2009 film year and it’s almost to the point where it does actually feel like a new year. By the end of the month, you can expect to see my favorites list for 2009, my top 30 of the last decade, and the remaining sections of my 6-part preview of the upcoming year.

For now, click Read More to move on and read the February preview for both movies coming to theaters and movies coming to DVD.

Just a quick reminder before you read the previews… Remember that these are only my opinions on the films based upon everything I have gathered without actually seeing the films. So while I will take credit for being able to predict the quality of films fairly well, I don’t pretend to be a flawless expert in the field and I guarantee I won’t always be right. Therefore, if you disagree with anything that I say, then that is simply your opinion and I don’t intend to prove you wrong. I am simply providing judgment and recommendation on movies to help readers determine which films they feel they would most like to see and which films appear to be more likely to satisfy them. Likewise, I’m extremely sorry if I persuade anyone to go shell out your weekly paycheck (since that’s just about what it costs these days) to see a movie that ends up being utter crap. If anything, I’d hope you direct your anger to the filmmakers of said movie in such a situation. But if you feel that you really must come after me with a bloody pitchfork, I only ask that you give me fair warning and enough time to skip town. Thank you.

In Theaters

WHAT TO SEE

From Paris with Love (IMDB link)

• SUMMARY: In Paris, a young employee in the office of the US Ambassador hooks up with an American spy looking to stop a terrorist attack in the city.
• Directed by Pierre Morel. Screenplay by Adi Hasak. Story by Luc Besson. Starring John Travolta and Jonathan Rhys-Meyers.
• Release: Feb. 5 (Wide)
• WHY: Luc Besson is famous for writing movies like The Transporter, León the Professional, The Fifth Element, and Taken. They’re all action-packed thrillers with a certain atmosphere that just makes them cooler than most of the other action crap out there. The trailer for From Paris with Love makes it look entertaining enough and it’s sure to be one you’ll want to break out the popcorn for. Jonathan Rhys-Meyers could be a big reason it’s good. Hopefully John Travolta won’t be too laughably awkward. If you ask me, he could be the one reason it sinks. It’ll either be very average or maybe slightly better. Either way, it’s not gonna blow you away, but it should be good if you’re just looking for some fresh entertainment.

Dear John (IMDB link)

• SUMMARY: A romantic drama about a soldier who falls for a conservative college student while he’s home on leave.
• Directed by Lasse Hallström. Screenplay by Jamie Linden. Adapted from the novel by Nicholas Sparks. Starring Channing Tatum, Amanda Seyfried.
• Release: Feb. 5 (Wide)
• WHY: I have a hard time promoting this movie without losing so many man points that I fall over unconscious, so I’m gonna do it fast. Dear John will certainly be loved by the same people that loved The Notebook and it’s almost the same kind of film. The females will gush about it for a good while and will drag the guys to see it, who may or may not enjoy it but either way, when asked what they thought, will just shrug indifferently in order to preserve their masculinity. It’s getting far too many positive reviews from people at screeners for the majority not to like it. It’s far enough down my priority list that I’ll wait and see it a while after it comes out on DVD, but if romantic couple movies are your kind of thing, then go for it.

The Wolfman (IMDB link)

• SUMMARY: Upon his return to his ancestral homeland, an American man is bitten, and subsequently cursed by, a werewolf.
• Directed by Joe Johnston. Screenplay by Andrew Kevin Walker and David Self. Starring Benicio Del Toro, Anthony Hopkins, Hugo Weaving, and Emily Blunt.
• Release: Feb. 12 (Wide)
• WHY: Seems to be a different horror/thriller than most and for once, it looks like the cinematography might have been done pretty well. It’s got a good writing pair (Walker wrote Se7en, Self did Road to Perdition) a decent director, and a great cast list. Overall, I’m sure most will enjoy it. Several who saw screenings have said the action and everything in the horror department was there, but the story line was a bit lacking. I certainly wouldn’t be surprised by this. I get the feeling that I’ll be one of the ones disappointed by it, while the general public will rave about it. But I can imagine it’ll receive mostly positive reviews though and it certainly seems to at least be worth a viewing.

Shutter Island (IMDB link)

• SUMMARY: Drama is set in 1954, U.S. Marshal Teddy Daniels is investigating the disappearance of a murderess who escaped from a hospital for the criminally insane and is presumed to be hiding on the remote Shutter Island.
• Directed by Martin Scorsese. Screenplay by Laeta Kalogridis. Based on the novel by Dennis Lehane. Starring Matt Damon, Mark Ruffalo, Ben Kinglsey, Michelle Williams, Emily Mortimer.
• Release: Feb. 19 (Wide)
• WHY: Martin Scorsese and Leo DiCaprio. Done deal. It’s very difficult to believe that this could go wrong with the two of them at the helm. Actually, no, it’s almost impossible. I’ve been waiting for this film for a while and ever since I saw how phenomenal the trailer looks, it’s hard to wait much longer. This won’t be another Taxi Driver or Goodfellas masterpiece, but it’s great to see Scorsese trying something in a little bit different direction and everything seems to be indicating that it’ll be a hit. The only problem might be the immense expectations that have been placed upon it, but even then, it’s sure to be at least an entertaining ride. If you see one movie this February, I’d recommend you choose Shutter Island.

A Prophet (Un prophète) (IMDB link)

• SUMMARY: A young Arab man is sent to a French prison where he becomes a mafia kingpin.
• Directed by Jacques Audiard. Screenplay by Thomas Bidegain and Jacques Audiard. Starring Tahar Rahim, Niels Arestrup, and Adel Bencherif.
• Release: Feb. 12 (Limited)
• WHY: It debuted at Cannes back in May of last year and made quite an impact, winning the Grand Prize of the Jury, and then went on to win the Best Film Award at the London Film Festival and be nominated for 6 European Film Awards. It’s one of the biggest foreign hits of the year and I have yet to hear anything negative about it. If you enjoy seeing foreign films and you’ve got the opportunity, check this one out for sure.

The Ghost Writer (IMDB link)

• SUMMARY: A ghostwriter hired to complete the memoirs of a former British prime minister uncovers secrets that put his own life in jeopardy.
• Directed by Roman Polanski. Based on the novel by Robert Harris. Adapted by Robert Harris. Starring Ewan McGregor, Pierce Brosnan, Kim Cattrall, Olivia Williams.
• Release: Feb. 19 (Limited)
• WHY: For nearly 3 years now, Roman Polanski and Robert Harris have been trying to make a film together. And now, after abandoning one project and being arrested in Sweden on a 31 year-old warrant, Polanski has finally completed his next film. With a decent cast and a unique thriller storyline, The Ghost Writer will more than likely prove to be successful with Polanski running things. Hopefully, it will at least surpass the quality of his last real work, Oliver Twist. Again, most won’t have a chance to see this one anytime soon, but if you do, I’d say it’s worth seeing as long as you don’t absolutely hate the kind of artsy-er films that Polanski tends to make.

WHAT TO SKIP

The Crazies (IMDB link)

• SUMMARY: As a toxin begins to turn the residents of Ogden Marsh, Iowa into violent psychopaths, sheriff David Dutton tries to make sense of the situation while he, his wife, and two other unaffected townspeople band together in a fight for survival.
• Directed by Breck Eisner. Screenplay by Scott Kosar and Ray Wright. Based on original film The Crazies (1973) by George A. Romero. Starring Timothy Olyphant, Radha Mitchell, Joe Anderson, Danielle Panabaker, and Preston Bailey.
• Release: Feb. 26 (Wide)
• WHY: I’m on the fence about this one. Recent trends have shown that horror films like this one just aren’t worth it anymore. There is something about the trailer that makes me think that maybe this one might be a little different. But the factors against it are too overwhelming. The original itself is widely considered one of George A. Romero’s worst films in the first place. Breck Eisner’s only major work was for Sahara, a film that most deemed mediocre. Ray Wright has no major writing experience and Scott Kosar, while he did write spectacular thriller The Machinist, has a history of writing extremely weak horror remakes such as The Texas Chainsaw Massacre (2003) and The Amityville Horror (2005). If you’re not afraid to risk your cash for the possibility of a decent thriller, check this one out for sure. But there are several other films in theaters that would be much better choices at this point. Wait to hear the reviews and maybe rent this if you really want to see it.

Valentine’s Day (IMDB link)

• SUMMARY: Int ertwining couples and singles in Los Angeles break-up and make-up based on the pressures and expectations of Valentine’s Day.
• Directed by Garry Marshall. Screenplay by Katherine Fugate. Starring Jessica Alba, Kathy Bates, Jessica Biel, Bradley Cooper, Eric Dane, Patrick Dempsey, Hector Elizondo, Jamie Foxx, Jennifer Garner, Topher Grace, Anne Hathaway, Carol Jenkins, Joe Jonas, Ashton Kutcher, Queen Latifah, Taylor Lautner, George Lopez, Shirley MacLaine, Brooklynn Proulx, Emma Roberts, Julia Roberts, Bryce Robertson, and Taylor Swift.
• Release: Feb. 12 (Wide)
• WHY: Well, now that my hands are tired from typing out that cast list… You can rest assured that this movie will do well at the box office, for one thing. With enough eye-candy for anyone of any gender and the advantage of being the only romantic comedy out on Valentine’s Day, it’s sure to put a dent in the box office charts (although i’m willing to bet The Wolfman will top it). While it may be hard to resist if some of your favorite actors are on board (hopefully, if you’re reading this blog, none of the above actors are any of your favorites), the film itself just looks bad. Too many actors and too many clichés, I guarantee you. Everything about this film seems to scream bad filmmaking and obsessive mainstream marketing. Essentially, this is Love, Actually with a plethora of far too many second-rate actors. I hate to say it, but it’s just not a good sign when you have a list of nearly 25 well-known actors and the most stand-out quality comes from Jamie Foxx, Anne Hathaway, and Jennifer Garner. Skip it unless you’re absolutely dying to see a romantic comedy on Valentine’s Day. And in this case, I have a good feeling the ensuing boredom might kill you anyway.

Cop Out (IMDB link)

• SUMMARY: A comedy about two cops whose adventures include locating a stolen baseball card, rescuing a woman, and dealing with gangsters and their laundered money.
• Directed by Kevin Smith. Screenplay by Robb and Mark Cullen. Starring Bruce Willis, Tracy Morgan, Sean William Scott, Michelle Trachtenberg, Rashida Jones, and Jason Lee.
• Release: Feb. 26 (Wide)
• WHY: I may have listed this in my Movies to Watch For article, but given the other films that are being released this month, this seems to be one of the less promising ones and so I would suggest skipping it and waiting to rent it. Again, Bruce Willis in a cop comedy is just not very appealing and while Tracy Morgan is hilarious in 30 Rock, his addition to the cast just makes it seem more and more like a bad Lethal Weapon or Rush Hour remake. Kevin Smith and Sean William Scott are probably the only two redeeming qualities, and even then, Kevin Smith isn’t doing his normal directing/writing combo. So unless you just laughed uncontrollably like an idiot for several minutes after the trailer ended, I’d suggest waiting for the DVD or just forgetting about it altogether.

On DVD

Top 5 to Rent

• The Informant! (Feb. 23)
• Zombieland (Feb. 2)
• The Damned United (Feb. 23)
• A Serious Man (Feb. 9)
• More Than a Game (Feb. 2)

Honorable Mentions: Law Abiding Citizen (Feb. 16), Everybody‘s Fine (Feb. 23), The Time Traveler‘s Wife (Feb. 23)

Top 5 to Skip

• Amelia (Feb. 2)
• Love Happens (Feb. 2)
• The Stepfather (Feb. 9)
• Couples Retreat (Feb. 9)
• The Box (Feb. 23)

It’s an irrefutable fact.. Brad Pitt is one of the most infamous actors of the generation. With virtually no major weak spots in his filmography, Pitt has had the kind of career that most actors only ever dream of. Having lived a life that has so far included working as a chicken mascot for a restaurant in his young years, enduring a love life worthy of its own film adaptation, and displaying his own compassion for the human race through numerous acts of humanitarianism and charity, Pitt has made his mark in Hollywood and will undoubtedly remain a star for years to come.

As one of my own personal favorite actors, Pitt has wowed me on several occasions and I felt his acting career was worthy of its own top 10 list.

So… To all of my female readers, I have included a picture of Brad Pitt above and also one from each of the below films just for you all. To all of my readers who happen to be fans of Brad Pitt’s actual work, click Read More and enjoy the list.

It was really difficult to decide on which performances should be higher than others and really, all of them should are worth checking out if you haven’t already. I can honestly say that I have never disliked any of Pitt’s performances. Sure, he’s been in some disappointing films (Ocean’s Twelve, Meet Joe Black, Legends of the Fall) and some downright bad ones (Troy, Mr. and Mrs. Smith). But every one of his performances has impressed me and that’s something I can say about few other actors.

#10 … Benjamin Button – The Curious Case of Benjamin Button

Brad Pitt teamed up with director David Fincher for the 3rd time in his career to play the backward-aging Benjamin Button in this film. As always, he does a phenomenal job of making his character likable and still manages to pull off a constant air of innocent curiosity.

#9 … Mickey O’Neill – Snatch

In 2000, Pitt teamed up with Guy Ritchie for his kind-of-sequel to Lock, Stock, and Two Smoking Barrels– Snatch. In it, he combined boxing, a rapid-fire Pikey accent, and his charming persona to steal the show and add an always humorous kick to the film. He’s full of surprises and he really pulls the whole movie together. I’d say this role displays his range better than almost any other performance on this list.

#8… Floyd – True Romance

He may have been on screen for a total of 3 or 4 minutes of the entire film and many may not have even been aware of his role, but every second he spent on screen was a moment of brilliance. Apparently it was Pitt’s idea to portray his character as a pothead who sat around on his couch all day. True Romance was a good film, but I can’t imagine myself laughing even half as much during it if not for Brad Pitt’s hilarious interactions with Christian Slater and the Mob. And what do you know? Eighteen years later, it turns out that Brad Pitt’s performance was so good that it inspired Judd Apatow to develop the movie Pineapple Express. Thank you, Brad.

#7 … Rusty Ryan – Ocean’s Trilogy

What’s better than George Clooney and Matt Damon in a Vegas heist movie? Any mathematician will tell you that adding Brad Pitt is always equal to more success and more awesome. Go back and look at your Algebra notes if you don’t believe me. That formula will be in there somewhere. George Clooney was great in the series, but without Brad Pitt it really just wouldn’t have been the same. The two have great chemistry and work well together in a partners-in-crime, Swingers kind of way. And interestingly, Rusty Ryan seems to be the smoothest and coolest one of the bunch in this one– a title that that George Clooney is notorious for nabbing.

#6 … Lt. Aldo Raine – Inglourious Basterds

Even though it was Cristoph Waltz who really stole the show, Brad Pitt was still as awesome as ever as the Southern, Nazi-hunting Lt. Aldo Raine. Many argue that his accent is annoying and unrealistic, but personally, I find that it adds a whole ‘nother level to the comedy. This role was certainly another experiment for Pitt, perhaps most similar to his role in Burn After Reading, and I think he was truly fantastic– definitely a major element in the success that Inglourious Basterds achieved. If you don’t believe me, ask yourself who could have done a better job in the role and get back to me.

#5 … Chad Feldheimer – Burn After Reading

If there’s one thing that stands out when I recall Burn After Reading, it’s the goofy and feeble-minded character that Brad Pitt played so brilliantly. Not only was the delivery of his lines impeccable, but his physical act was part of what made the film so much fun to watch. The oddball persona and ignorant arrogance of his character provided a bit of a new challenge for him and he pulled it all of with what seemed to be natural ease. Additionally, his chemistry with Frances McDormand was also exceptional. I just wish the Coen brothers would include him in more of their work of this nature.

#4 … Detective David Mills – Se7en

The movie was brilliant and Kevin Spacey gave a performance that I’d classify as potentially one of the best of all time. But it really disappoints me that Spacey and Morgan Freeman get all of the brownie points for this one. It was one of Brad Pitt’s earlier works and while it may not be his best, it was still great. He plays the young and cocky and slightly naive persona exceptionally well and his performance at the end was perfection. While I had definitely heard of him before I watched Se7en and I had seen him in a few other things, this film was certainly the one that made me realize that he was a top-notch actor.

#3 … Jesse James – The Assassination of Jesse James by the Coward Robert Ford

The film itself was a cinematic work of absolute genius and such a result is due in no small part to Pitt’s magnificent performance in the title role of Jesse James himself. Again, it’s a bit of a different role for Pitt but he gives a riveting portrayal of Jesse James through an astounding range of emotions that span across almost all of the film’s 160 minute run-time.I was astonished to see that Johnny Depp got an Oscar nom for Sweeney Todd and Pitt got nothing. Unbelievable.

#2 … Jeffrey Goines – 12 Monkeys

Not too long after Se7en came out, Brad Pitt appeared in Terry Gilliam’s 12 Monkeys starring Bruce Willis. He may not have been a major character, but it proved to be Pitt’s first real experimental role. Jeffrey Goines, a patient in a mental hospital who obsessed over anti-consumerism and consistently made long monologues about his odd and somehow-philosophical theories on life, is definitely the most interesting character Pitt has ever portrayed. 12 Monkeys was a great movie, but I will never be able to think about it without thinking of Brad Pitt’s epic acting. A lot of people seem to underrate this performance too– maybe partly because of his minimal screen time. All I can say is: watch this movie and count how many times that you forget that Pitt really isn’t mentally unstable. In my opinion, his acting is so convincing that you’ll need both hands for sure.

#1 … Tyler Durden – Fight Club

Sure, perhaps this might be a tad biased since Fight Club happens to be my favorite movie of all time anyway. But at the same time, it makes sense, because a good portion of the reason the film is so amazing is because Brad Pitt does such a superb job of acting– as do Edward Norton and Helena Boneham Carter. Tyler Durden is a character you can’t easily forget and I can guarantee you that there isn’t a single actor out there who can play him as well as Brad Pitt did. Brad Pitt IS Tyler Durden. From his maniacal laugh to his incredible smoothness to his comedic quirks, everything about Tyler Durden is a puzzle piece to a masterpiece. And Pitt brings those pieces together to create an unforgettable persona. He is the epitome of “cool” and every little detail is perfect proof.

How would YOU order Pitt’s peformances?

If there’s anything I learned from my original 2009 predictions, it’s that, 75% of the time, the movies you anticipate the most end up disappointing you the most and the movies you never expected to stand out much end up surprising you completely. So while the next six articles on the subject are devoted to previewing the upcoming year in film and predicting the good and the bad, things will most likely not go as planned. And when do they? Well, yeah, when a project comes up with Martin Scorsese directing a modern Boston mob drama starring Leo DiCaprio, Matt Damon, Robert De Niro, and Mark Wahlberg, it’s kinda destined to be a brilliant piece of awesomeness. But generally, movies sound a lot better during production than they end up playing out on the big screen on release night.

THE VIRTUOSO’S LAW OF PREDICTING THE QUALITY OF FILMS:

• Section A — If a movie sounds too good to be true, then it will be nowhere near as good as you expect. (True exactly 91.4% of the time. Negated if the film is directed by either Christopher Nolan or David Fincher, at which point you can rest assured it will be amazing.)
• Section B — If the plot of a movie seems to make absolutely no sense and sounds as if it would be the most boring concept ever, it’ll win an Oscar. Probably more than one. (True exactly 87.5% of the time. Unless, of course, it sounds like a film you might even possibly enjoy. Then, all bets are off on the whole winning an Oscar thing. In fact, the Academy will probably ignore it completely at that point.)
• Section C — If a movie sounds like complete crap, give it a chance. If you expect nothing, you have the best odds of being surprised. And it’s these films that tend to surprise the most.

This preview is more of an attempt to make readers more aware of upcoming projects than it is a valid source of predictions. In fact, I hope that not all 42 movies that I’ll be anticpitating my anticipation for in this article are half as deserving of my anticipation as I’m anticipating. Because if all 42 were great, how much harder would it be for me to decide on a top 10 list in 12 months? Yeah, that’s right. I’m the guy who hopes to be disappointed by at least 32 films this year just so it’s that much easier to populate my top ten list at the end of the year. That’s a lazy “critic” thinking ahead for ya. I know, I know… I’m brilliant. Please. Save your praise for the comments.

But I digress. Bottom line… Don’t let my predictions sway your opinions about the quality of these films before you see them. Or at least until you see the trailer. UNLESS, of course, I really sound like I know what I’m talking about. At which point, I probably actually know the least about what I’m saying, but in some ironic twist of fate, I’ll end up being completely right. Trust me. I’ve seen it happen far too many times to give up on the theory now.

Anyway, let’s get on with it all… before you realize how much I’m actually discouraging you to read the rest of this potentially useless article. Read on for part 1 of 6 in this preview. Expect subsequent parts in the near future.

42. The Edge of Darkness – Directed by Martin Campbell (Casino Royale). Written by William Monahan (Body of Lies, The Departed). Starring Mel Gibson, Ray Winstone.

As homicide detective Thomas Craven investigates the death of his activist daughter, he uncovers not only her secret life, but a corporate cover-up and government collusion that attracts an agent tasked with cleaning up the evidence. (Release: Jan. 29, 2010)

• VERDICT: Had I not noticed that the director of Casino Royale and the writer of The Departed were at the head of this crew, I would have scoffed and never have even considered this thriller. Mel Gibson seems to be well past his prime (not that there was really ever much there, anyway) and this seemed far too much like Taken and other recent revenge thrillers to really be taken seriously. But hey, mention the guys who were integral parts of modern masterpieces like Casino Royale and The Departed and I’ll watch a video of paint drying as long as their names are attached. This is how far reputation and name recognition will get you in Hollywood, folks. And so the past experience of 2 crew members is the sole reason I will see this one. Who knows, maybe Mel Gibson and the storyline will surprise me?

41. The Other Guys – Directed, Written, and Produced by Adam McKay (Talladega Nights, Step Brothers, Anchorman). Starring Dwayne Johnson, Mark Wahlberg, Will Ferrell, Samuel L. Jackson, Eva Mendes, Michael Keaton.

38. Jonah Hex – Directed by Jimmy Hayward. Written by Mark Neveldine and Brian Taylor. Starring Josh Brolin, John Malkovich, Megan Fox, Michael Shannon.

In the Wild West, a scarred bounty hunter tracks a voodoo practitioner bent on liberating the South by raising an army of the undead. (Release: June 18, 2010)

• VERDICT: Another DC comics film adaptation, but this time with a little bit of a different story line than the usual. The Civil War. The Wild West. Bounty hunters and an army of the undead. Not exactly typical subplots of Batman Begins or anything. Unfortunately, it also doesn’t have the filmmaking crew of Batman Begins either. Director Jimmy Hayward has next to no credits, having only directed one other film (Horton Hears a Who!) and worked on animation for several Pixar movies. And even more unfortunately, writing pair Mark Neveldine and Brian Taylor are the two who so graciously gave the world the two horrendous Crank films and the recent summer action flick Gamer. Not exactly a dream resumé for anyone who was hoping to enjoy this. Unless, of course, you were one of the two or three people who liked Crank or Gamer– and if you did, then let’s face it, you were probably related to someone who worked on the films anyway. But if you’re not like me and you hate to judge a film based on it’s crew’s past work, then you could still hold high hopes for Jonah Hex as it does seem to have an intriguing storyline that could be good if done correctly. I’ll see it, but I’m not expecting much.

37. Despicable Me - Directed by Pierre Coffin and Chris Renaud. Written by Ken Daurio and Cinco Paul. Starring Steve Carell, Jason Segel, Miranda Cosgrove, Russell Brand, Will Arnett, Julie Andrews, Kristen Wiig, Ken Jeong, Danny McBride, Mindy Kaling, Jack McBrayer.

A trio of orphan girls cause the normally deplorable Gru to rethink his plan to steal the moon. (Release: July 9, 2010)

• VERDICT: Based on the trailers, this looks like it could be a big summer hit. It has all of the factors of a successful animation: a mid-summer release, a crew who has experience with successful animation, a unique storyline, fantastic animation, and an incredible cast. Seriously, if you want to make me see a comedy or, in this case, even an animation, throw Steve Carell, Jason Segel, Ken Jeong, Danny McBride, and Jack McBrayer together. Essentially, they found a way to somehow grab 5 of the biggest names in modern comedy into one project. While it may not be the same kind of moving subject matter as Up or Wall-E, it certainly sounds entertaining. As long as it doesn’t end up trying too hard to please only the younger crowd, the list of voice actors indicates that it should be a funny film for those of many different ages. If not, then Universal definitely deserves a round of applause for at least duping me into seeing it purely based on such a great cast list. But we can all rest assured, because crappy films never exploit their big-name actors to help market what they already know is crap. Oh, but wait…

36. MacGruber – Directed by Jorma Taccone. Written by Jorma Taccone and John Solomon. Starring Will Forte, Kristen Wiig, Val Kilmer, Ryan Phillippe, Bill Hader, Maya Rudolph, Jason Bateman.

Ex-special operative MacGruber is called back into action to take down his archenemy, Dieter Von Cunth, who’s in possession of a nuclear warhead and bent on destroying Washington, D.C. (Release: April 23, 2010)

• VERDICT: A movie based on the Saturday Night Live “Macgruber” sketch? Best. Idea. Ever. Even though I know the movie itself will probably be a pretty pathetic piece of filmmaking and will definitely be completely pointless, I get excited just thinking about seeing this one. If the trailer was any kind of indication of how the whole movie will hold up, I’ll be laughing a lot. Most of the cast already has experience acting together on SNL and both writers have been writing for the show for a good while as well, so if you’ve been a fan of the recent seasons, and obviously, of the MacGruber skit itself, you can almost rest assured that the big-screen adaptation will at least keep you entertained. And perhaps the best thing to keep in mind is that the entire sketch plays on the comedy of being as over-the-top as possible, so there’s virtually almost no way for the film to be too over-the-top. There’s no doubt that this will receive its fair share of bad reviews, but to be fair, I think you have to know what you’re getting yourself into when you go to see this one.

*Images and summaries courtesy of IMDB.com

The story is a unique tale of a young girl’s murder and the aftermath, including her family’s subsequent emotional breakdown, her father’s relentless search for the murderer, and her journeys through the odd, colorful limbo she’s trapped inside of until both she and her family willingly move on. The story is accompanied by quite an impressive cast and crew list. As mentioned before, Peter Jackson directs with his usual writing crew- Fran Walsh and Philippa Boyens (Lord of the Rings trilogy, King Kong)- who took on the responsibility of adapting Alice Sebold’s 2002 novel of the same name. British breakout star Saoirse Ronan plays the protagonist, 14 year-old murder victim Susie Salmon. Mark Wahlberg plays her obsessive father, Stanley Tucci is the creepy and deceptive killer, Rachel Weisz plays Susie’s mother, and Susan Sarandon takes on the role of the eccentric grandmother who provides comic relief in the way she manages to down at least one sip of alcohol in almost every scene she’s in.

And while the story is certainly unique and the cast list makes one hopeful, something just doesn’t go right in the execution of it all. The pace jumps around far too often for the viewer to keep up, the tone never seems to officially establish itself and stay consistent in any way, and the dialogue is simply dreadful at times. The acting potential was certainly present and Saoirse Ronan, Wahlberg, and Tucci all seemed to provide strong efforts, but they received no assistance from the script whatsoever. In fact, the consistently bad dialogue and frequently changing atmosphere seem to bring down the performances and make everything seem too over-dramatic– an unfortunate result of such potential. As a whole, the film just seemed to try too hard to be too much.

The film’s focus is all over the place and at certain times, within a span of just five minutes, it might switch between the perspectives of three or four different characters. And while the film is certainly long enough to take on such a feat of presenting multiple important characters to the audience, it never quite manages to do so in a substantial way. Instead, the movie ends with none of the several major characters completely developing and the audience walks away with no true care for any of them. And this is perhaps the film’s biggest problem– it never does appear to know just what it is trying to accomplish. Even if it does prove to be even slightly emotionally engaging, it’s not without odd and out-of-place scenes every other couple of minutes. Focus frequently switches from Susie Salmon’s fantasy-like encounters in limbo to her father’s desperate attempts to find his daughter’s killer to the comedic acts of the grandmother to the sudden dramatic breakdown and exodus of the mother. Perhaps the editing is partly to blame as well, but it’s hard to believe that a film crew can’t find a way to use 2 hours and 16 minutes to evolve and develop a couple of characters without throwing too much at the viewer in each couple of minutes. It seems half-hearted and incomplete.

Adding to the jumble and confusion, each character’s short-term and long-term conflicts seemed, at times, unclear. In fact, much of the time our supposed “main character” spent her time standing around in the beautiful limbo that’s been so carefully crafted (perhaps too carefully), not doing anything apart from giving narration that sounds like poorly written spiritual poetry from the Victorian era that eventually amounts to nothing and seems like filler. In a similar fashion, I think it’s fair to say that the entire movie came off as a pretentious “artistic” film that no one understands and that the filmmakers are apparently too brilliant to have to clearly explain. One may argue that the audience isn’t supposed “to understand” it all. “But the audience is supposed to experience Susie’s confusion and share her feeling of being lost” is not a valid counterargument. There’s a fine line between captivating the audience with a world of wonder and majestic daze and leaving so much unexplained that causes them to lose interest out of boredom and confusion.

In the end, The Lovely Bones is just a mess of plenty of things that could have amounted to something but never really do due to lack of focus and development. Peter Jackson and his team should stick to epic war battles and dramatic tales of world danger.

Sorry, Peter. I really did try hard to like it.

The first decade of the 2000s has come and gone and it was certainly a game-changer for film. Epic battle action scenes and special effects saw a major rise and CGI animation became a huge part of film. Foreign films and documentaries became more successful with the general public in the U.S. and the musical and comic-book supehero genres evolved considerably. In box office charts, films from the past decade dominate the list, with only 10 of the top 50 were released in other decades. With the introduction of DVDs and Blu-Ray and the ability to pirate movies online, the 2000s have also revolutionized the film industry and the way that people obtain and watch movies. And even though the decade is over, the ongoing cinematic revolution is nowhere near it’s end.

But now the decade has passed, here’s a look at my year-by-year top movie recommendations. If there is any movie on this list you have yet to see, I strongly recommend you check it/them out. Look for a later post with a deeper look at my top 30 in an ordered list.

Read more for the lists.

2000

• Almost Famous
• Cast Away
• Gladiator
• Memento
• Remember the Titans
• Requiem for a Dream
• Snatch

2001

• Black Hawk Down
• Donnie Darko
• Lord of the Rings: Fellowship of the Ring
• Ocean’s Eleven
• Shrek
• The Others
• The Royal Tenenbaums
• Training Day

2002

• 25th Hour
• 28 Days Later
• About A Boy
• Adaptation
• Bowling for Columbine
• Igby Goes Down
• Insomnia
• Lord of the Rings: The Two Towers
• Road to Perdition
• The Bourne Identity
• The Pianist

2003

• Cidade de Deus
• Finding Nemo
• Lord of the Rings: Return of the King
• Matchstick Men
• Matrix Reloaded
• Mystic River
• Old School
• Pirates of the Caribbean: Curse of the Black Pearl
• Seabiscuit
• School of Rock

2004

• Crash
• Dead Man’s Shoes
• Eternal Sunshine of the Spotless Mind
• Garden State
• The Incredibles
• Million Dollar Baby
• Saw
• Shaun of the Dead
• Sideways
• Spider-Man 2
• The Machinist

2005

• 40 Year Old Virgin
• Batman Begins
• Brick
• Cinderella Man
• Harsh Times
• Jarhead
• Munich
• Serenity
• Stay
• Thank You for Smoking
• V for Vendetta

2006

• Alpha Dog
• Blood Diamond
• Casino Royale
• Children of Men
• Little Miss Sunshine
• Lucky Number Slevin
• Rescue Dawn
• Running Scared
• Stranger Than Fiction
• The Departed
• The Prestige
• The Pursuit of Happyness
• United 93

2007

• 3:10 to Yuma
• Gone Baby Gone
• I Am Legend
• Juno
• Knocked Up
• Lars and the Real Girl
• No Country for Old Men
• Sunshine
• The Assassination of Jesse James by the Coward Robert Ford
• The Bourne Ultimatum
• The Lookout
• Zodiac

2008

• Burn After Reading
• Changeling
• Cloverfield
• Doubt
• Forgetting Sarah Marshall
• Frost/Nixon
• Gran Torino
• In Bruges
• Iron Man
• Pineapple Express
• Role Models
• Slumdog Millionaire
• The Curious Case of Benjamin Button
• The Dark Knight

2009

• (500) Days of Summer
• An Education
• Brothers
• District 9
• Fantastic Mr. Fox
• Inglourious Basterds
• Invictus
• Moon
• Sin Nombre
• Star Trek
• The Hangover
• The Hurt Locker
• The Messenger
• The Road
• Up in the Air