Movie Review Juno

Juno (2007) 

Directed by Jason Reitman

Written by Diablo Cody

Starring Elliott Page, Jason Bateman, J.K Simmons, Allison Janney, Jennifer Garner, Michael Cera

Release Date December 5th, 2007

Published December 4th 2007

We've seen movies with smart ass motormouths and quick to quip teens. What separates Juno from characters of our recent, acerbic past is a performance by Ellen Page that simply rings truer than other similar performances. Page's Juno plays like a real teenage who happens to be savvier than most of the people she meets.  

Juno (Elliot Page) is just 16 but she has that typically movie worldliness that seems so rare in real life. Quick with a quip, Juno's wit belies a vulnerability that comes out when forced to confront her real feelings for her good friend Paulie Bleeker (Michael Cera). Juno and Paulie had danced around their feelings for each other in typical teenage gamesmanship until one night when each took things further than expected.

The sex was the kind that teenagers often experience, fumbling yet transformative on an emotional level. There is no real sex scene in Juno but visual and verbal allusions tell us all we need to know about the encounter. More important to the movie is the result of the brief encounter, Juno is pregnant.

Now she must tell her parents, Dad Mac (J.K Simmons) and stepmother Bren (Allison Janney) are both relieved and disappointed. The relief is that Juno hasn't been arrested or expelled from school, their initial suspicions when Juno when Juno sat them down for a talk. Their disappointment, typically parental, are concerns about her future and that of the unexpected grandchild.

After a brief flirtation with the big A, Juno is put off by a lone protester who tells her her baby already has fingernails, leads Juno to a more unique solution. The local Nickel Saver flyer has real advertisements for couples seeking babies. There Juno finds Mark (Jason Bateman) and Vanessa (Jennifer Garner) a well to do yuppie suburban couple who seem like the perfect fit.

Looks are deceiving however as Juno bonds with Mark, a frustrated musician turned jingle writer, who longs for the days when it was just him and his band and his music. Meanwhile baby fevered Vanessa puts off all around her with her baby preparations and constant nervousness over whether Juno will actually give up the child.

Writer Diablo Cody and director Jason Reitman wring some real surprises out of these characters whose lives unfold in a most unique and engaging manner. Holding it all together is Page's Juno whose vulnerability behind the quick witted bravado is the heart of the picture.

Page more than deserves the Oscar nomination she was recently rewarded with. The layers she brings to what could have been an overly familiar, too smart for her own good, teenage adult are quite surprising. The acerbic teen in movies more often than not sounds like a mini-adult with the writers of Seinfeld whispering in their ears. Juno too is quick with the quip but somehow Elliott Page makes it feel real.

She is aided greatly by a skilled supporting cast; that seem just the type of people who could bring about a personality like Juno. J.K Simmons as Juno's dad may not be hip and his wit is not as cutting as his daughters but his befuddled skepticism and earnest curiosity give a definite idea of where Juno came from. Especially when it's combined with the no nonsense toughness and good heartedness of Juno's stepmom played brilliantly by Allison Janney.

And then there is the exceptional Michael Cera who captures the awkwardness of youth like few actors we've ever seen. His Paulie is quirky and weird and clumsy but true hearted and in love with Juno whether she is willing to see it or not. The relationship is a near perfect depiction of teenage love, unlike anything we've seen before.

Juno and Paulie are not Dawson's Creek characters who say all the right things all the time or seem understanding beyond their years. This is how real teenagers express their love with metaphoric hair pulling and subtext filled bickering because they can't express or understand their true feelings. The love is clumsy and faltering and so very true.

It is at once astonishing and not all that surprising that all involved are so very young. For director Jason Reitman Juno is only a second feature. This is writer Diablo Cody's screen debut and for star Elliot Page, they are  almost a veteran appearing in their third feature outing following the well reviewed indie Hard Candy and the big budget actioner X-Men: The Last Stand.

It is their youth that invigorates Juno and gives the film its truth. They know these characters and this situation because they are so very close to them in terms of experience and age. Youthful exuberance is what enlivens the whole of Juno and makes it such a pleasure to behold.

I would be remiss if I did not also praise the soundtrack of Juno, so sadly overlooked by Oscar. The music of Juno is integral to the drama without ever overshadowing it. Nor does the music act as Greek chorus, Reitman and music supervisor Peter Afterman make near perfect use of both classic pop/alternative and newer music from bands like Belle and Sebastian and The Moldy Peaches.

The Peaches song "Anyone Else But You" provides one of the years great music moments, a coda to the film perfect in it's subtlety.

Movie Review Jennifer's Body

Jennifer's Body (2009) 

Directed by Karyn Kusama 

Written by Diablo Cody

Starring Megan Fox, Amanda Seyfried, Johnny Simmons, J.K Simmons, Amy Sedaris, Adam Brody

Release Date September 18th, 2009 

Published September 17th, 2009

Megan Fox is a beautiful woman who could coast through a very successful, if somewhat short, career if she chose. In fact, that is exactly what she did in her two biggest roles in the two Transformers movies. Her latest effort however, the horror film Jennifer's Body, requires a little more work than giant morphing robots.

Written by Oscar winner Diablo Cody this teen horror flick combines gore and humor in ways so complex some audiences won't know whether to laugh or recoil.

Megan Fox plays the Jennifer of the title. The head cheerleader and front runner for Prom Queen, Jennifer's one indulgence is her best friend Needy (Amanda Seyfried). Needy is on a completely different stratosphere from Jennifer but since they were friends as very young girls, they've stayed close.

When Jennifer takes Needy to a local, small town bar the plot kicks in. A rock band on the rise, lead by the O.C's Adam Brody, see Jennifer as their ticket to stardom. After an accident nearly kills everyone in the bar, the band offers Jennifer a ride home and she nearly doesn't survive it.

After a bizarre night in which Needy is haunted by something looking like her best friend, Jennifer is back at school the next day looking better than ever. The only difference is, she's now a cannibal demon, a succubus who eats boys. After snacking on a football star and an emo wannabe, Jennifer sets her sights on Needy's nerdy boyfriend.

The confrontation is well built and plays out entertainingly enough with Seyfried easily holding the screen with Fox, even as Ms. Fox goes all demony. However, both actresses take a backseat to writer Diablo Cody's pop savvy dialogue and Director Karyn Kusama's curious horror/comedy tone.

Jennifer's Body doesn't really know what it wants to be. The movie is played for dark laughs as it keeps a lighthearted tone not unlike Cody's Oscar winner Juno. However, even as things are light and breezy Jennifer is eating people and leaving behind a bloody mess.

This mix of gore and humor could work if the film were a little nastier. More Mean Girls Less My So Called Life. That is Mean Girls if Rachel McAdams character were a man eating demon. The template is Heathers, the 1989 black comedy starring Winona Ryder and Christian Slater. That film had the guts to get mean and allow the actors to dig into the ugly sides of their characters.

Jennifer's Body is damn near good natured even as the body's pile up. The final confrontation brings the violence as it should but by then the film has already failed to compel. Too often Jennifer's Body falls back on the clever dialogue and insightful human notes of Diablo Cody. That was good in Juno but in a horror comedy we need something more.

We need atmosphere, a consistent tone and a scare or two. Jennifer's Body is sunny when it should be dark and flat when it should be sharp. It's often funny but grows awkward when it comes time for the scars. Too bad, there are some strong elements in Diablo Cody's script and a pair of stars who seem like they were capable of more.

Movie Review The Front Runner

The Front Runner (2018)

Directed by Jason Reitman 

Written by Matt Bai, Jason Reitman, Jay Carson

Starring Hugh Jackman, Vera Farmiga, J.K Simmons, Alfred Molina 

Release Date November 6th, 2018

Published November 4th, 2018

My mother, Sue, loved Gary Hart. As a lifelong Democrat she saw in Hart not just another handsome politician, but the first real heir to the President she’d grown up idealizing, the late John F. Kennedy. I was only 11 years old in 1987 but my mom made sure I knew who Gary Hart was and why he was so important to her. In her opinion, he was going to be the next President of the United States. 

Obviously, we know that did not happen but what did happen? To Gary Hart, I mean, not the race for the Presidency in 1988, we know that then Vice President George H.W Bush trounced the overmatched Mike Dukakis. But, what happened to Gary Hart? Why did his promise flicker out so quickly? Why did the man who appeared destined to be the next President of the United State at one moment become a massive punchline and cautionary tale in the span of weeks? 

The new movie, The Front Runner starring Hugh Jackman, and directed by Juno director Jason Reitman, aims, if not to answer the question of what happened, to at least place a context and a frame on what we believe happened. It’s a story about a sea change in the world of journalism and politics, the end of the buddy-buddy bedfellows of Washington D.C and the beginning of a rampant decline in our political discourse that remains to this very day. 

The story begins in 1984 when Gary Hart first attempted to run for President. Hart, a relative newcomer and young lion at just 44 years old gave the establishment Democratic candidate, Walter Mondale, a pretty good scare, all the way to the Democratic convention where he was finally forced to concede to the former Vice President. Mondale would go on to the worst electoral beating in American history while Hart remained the biggest young star in his party. 

Cut to 1988, Gary Hart is back in the Presidential race. He’s announcing his candidacy and while his staff is struggling to keep up with his Western values, including a candidate announcement at Red Rocks in Colorado, well outside the political and media mainstream, Hart was dynamically bursting into the Presidential race as a front runner. Immediately after the announcement of his candidacy, polls placed the Colorado Senator as a frontrunner not merely for the Democratic nomination, he was up double digit numbers over VP Bush for the general election. 

It was, in 1987, beginning to feel like an inevitability that Gary Hart was going to be President of the United States. Inside the campaign however, cracks were showing relatively early, earlier than anyone outside Hart’s inner circle were aware. The cracks were showing in how candidate Hart and Senator Hart felt about questions related to his family and rumors of infidelity. Hart bristled at any talk of family or personal profiles, even sitting for photos with his wife appeared to be sticking points for Gary Hart. 

Eventually, with a remarkably entertaining and engaging setup, we arrive at the meat of The Front Runner. In May of 1987 with things going swimmingly on the policy side of things, Gary Hart accepted an invitation for a boat ride in Florida with an old friend and lobbyist named Billy Broadhurst (Toby Huss) and a few invited guests, including a beautiful model that Hart had met before by the name of Donna Rice (Sara Paxton). 

Rice and Hart spent time together socializing and perhaps flirting on the boat, photos were taken but nothing initially came from the boat trip to Bimini. Things actually kicked into gear when one of Rice’s friends tipped off a Miami Herald reporter named Tom Fiedler (Steve Zissis) that a woman was headed to D.C to meet Hart. Fiedler, along with another reporter played by comedian Bill Burr, ends up staking out Hart’s Washington D.C townhouse on a weekend when Donna Rice comes for a visit. 

It’s here where the most important moment in The Front Runner unfolds in a fashion that is riveting and memorable. Hart figures out that someone is stalking him out and assumes it is Republican operatives. He is genuinely confused to find Tom Fiedler, a reporter who had been on his campaign bus, now hiding in his bushes. Hart confronts the reporters who stand their ground, asks where Donna Rice is, asks if she’s staying at his townhouse and thus ends the era of the press and politician glad-handing. 

In one fell swoop the personal lives of Presidential candidates, the rumors, the gossip and the private peccadillos suddenly became front page headlines. Here, director Jason Reitman rather brilliantly lays out the moment. In a scene set inside the offices of the Washington Post, Ben Bradlee (Alfred Molina) relays a story about Lyndon Johnson warning the press to give his private life the same wide-birth they’d given to Kennedy or they would witness a parade of women who were not Lady Bird Johnson, leaving the White House. 

The press in D.C and the politicians used to have an understanding. They would drink and commiserate and members of the Congress would happily trade stories off the record with friendly reporters who would use the background for news stories. Politicians would look the other way when reporters took pieces of conversations and stretched them into stories as long as it was political and not personal. 

This ended for good with the Gary Hart scandal. No longer would the press abide by the gentleman’s agreement regarding sex and infidelity. With the rise of the religious right and the growing political power of the church in America, suddenly the issue of character and morality became buzzwords and political litmus tests. Candidates suddenly had to be open about religion, their marriage and their families. 

Was this a genuine change? It’s hard to say. Had Gary Hart not been the front runner in question would these questions have come up? It’s clear the Republican Party saw a weak spot in Hart’s campaign when it came to women and with him being so presumptive a leader, it made sense that making character and morality into political issues was a smart and effective tactic against a Senator with a strong political resume. 

However, the film makes a strong point that this sea change was coming with or without Gary Hart. Ari Graynor plays a reporter for the Washington Post and while her part is quite small she does make one of the most important #MeToo points in the movie when she says that Gary Hart is a man with power and opportunity and that takes a certain responsibility. “If he were just some day trader, screwing around with cocktail girls, I could handle just not liking him. But, as our potential next President, that makes me nervous.” 

She’s talking about Hart but she could be talking about Bill Clinton or even President Trump given their very public proclivities. It’s a strong moment and it leads to another remarkable scene where Hart is confronted with his behavior by a reporter and backed into a corner of his own making. The movie is quite fair and doesn’t let Hart off the hook just because journalists have begun crossing lines between gossip and journalism. 

The Front Runner is a superb film filled with tremendous drama and excitement and a lead performance by Hugh Jackman that captures Gary Hart in a way that feels authentic. Jackman perfectly captures the duality of Hart and the times he lived in. A man of the 60’s and 70’s where the loose morality was a given among the boys club of politics and the highly intelligent and thoughtful communicator who, despite his dalliances, may have perhaps made a great leader or have been just one scandal from a downfall at all times. 

The Front Runner offers a tantalizing what if story that is fair to all sides. Did journalists cross boundaries? Yes, they did. Were politicians including Gary Hart making character arguments while sleeping around on their wives? Yes they were. Does a candidate's infidelity demonstrate a lack of character? Yes, as does lying about it but does cheating make someone bad at being a leader or even a President? That last question is one that The Front Runner beautifully lays on us with no clear answer. 

Movie Review Rock Dog

Rock Dog (2017) 

Directed by Ash Brannon

Written by Ash Brannon, Kurt Voelker

Starring Luke Wilson, J.K Simmons, Eddie Izzard, Lewis Black, Kenan Thompson, Mae Whitman

Release Date February 24th, 2017

Published February 24th, 2017

To complain that “Rock Dog” is a low-quality bit of animated flotsam is something akin to complaining about the wind blowing, that’s simply its nature. “Rock Dog” is an animated cash-in from China that isn’t meant to be good but rather is intended as a product, and a cheap one at that. China may still be under the boot of Communism but the burgeoning capitalists working their way around the government have learned a thing or two from Hollywood charlatans who pump out products rather than art or even the modest bit of fluffy entertainment.

“Rock Dog” features the voice of Luke Wilson, a paragon of youthful enthusiasm at a mere 45 years old, as teenage mastiff singer Bodi. Bodi lives on Snow Mountain with his bruising mastiff daddy Khampa (J.K Simmons) who has seemingly planned Bodi’s life for him. Like his dad, Bodi is expected to become a guard dog, protecting the simple and sweet sheep of Snow Mountain from the dastardly and deadly wolves, led by Linnux (Lewis Black).

Bodi however, dreams of music and when a radio falls from the sky from a passing airplane Bodi finds his muse in a rock singer named Angus Scattergood (Eddie Izzard). With dreams of having Angus teach him about music, Bodi leaves his family behind to travel to the city and join a band. Unfortunately, the wolves see Bodi leaving and see it as a chance to attack the village. Can Bodi achieve his dreams and still find a way to protect Snow Mountain? Will you care?

Don’t let this incredibly funny voice cast fool you, “Rock Dog” has only three laughs. Mostly “Rock Dog” seems to exist. The story is rudimentary, as my description indicates, when it isn’t filling time with nonsense about wrestling a murderous bear or padding things further with voiceover from Sam Elliott as, ugh,….. Fleetwood Yak. Somewhere several screenwriters high fived over that pun.

No, Fleetwood Yak is not one of the three laughs in the movie, though it did rank among the uncountable groans. No, Eddie Izzard’s rock star cat was responsible for the laughs “Rock Dog” inspires. One comes when he is forced into a bit of old school Warner Brothers slapstick, the second when he feels guilty for stealing a song from Bodi and is shamed by his robot butler and the last wasn’t memorable enough for me to recount but I can at least admit the laugh was there.

Does a negative review of “Rock Dog” matter in any way? Of course, not. Most parents don’t care what they throw in front of their small child’s consciousness. That said, for the few parents who do care, for the parents who are vigilant and give thought and care to what their children consume, this review is for you. This review says don’t waste your child’s developing brain cells on this. It’s not that “Rock Dog” is offensive or even bad for the children who do see it. Rather, that “Rock Dog” isn’t worth the 89 minutes your child could be reading or imagining or exploring a worthy work of pop entertainment. This review is for anyone who actually read all the way to the end of a review of “Rock Dog.”

Movie Review Thank You For Smoking

Thank You for Smoking (2006) 

Directed by Jason Reitman

Written by Jason Reitman 

Starring Aaron Eckhart, David Koechner, Maria Bello, Sam Elliott, Katie Holmes, Rob Lowe, J.K Simmons, Robert Duvall, William H. Macy

Release Date March 17th, 2006 

Published April 20th, 2006 

Whether you call him "Yuppie Mephistopheles'', "Goebbels In Gucci" or simply "Death Merchant" you cannot say Nick Naylor (Aaron Eckhart) is not a charming assassin. In his role as lobbyist for the tobacco industry Naylor's job is to charm, cajole and if necessary deceive whomever is in front of him into seeing his industry as the underdog in an unfair and unjust war on personal freedom. Never before has anyone been more charmingly full of shit.

Adapted from a novel by Christopher Buckley, son of the unctuous conservative pundit William F. Buckley, Thank You For Smoking is an amiable and amoral look inside the life of Washington's most sinister and charming lobbyist. Like him or not Nick Naylor could convince you the sky was green while standing outside.

Thank You For Smoking directed by another prominent scion Jason Reitman son of  director Ivan Reitman (Twins, Kindergarten Cop, Ghostbusters). But do not expect anything as gentle as his father's fun loving mainstream blockbusters. Jason Reitman's talent, it would seem, is sharp satire of the most un-P.C kind.

Thank You For Smoking is shockingly not about making the tobacco industry look any more demonic than they already do. Rather it's about this character, Nick Naylor, and his insidiously powerful charms. That his charms are employed by the tobacco companies is merely part of the deep dark fun. Listening to someone convince you that a product that kills more Americans than any other product in existence, a statistic Nick prides while discussing with fellow merchants of death Polly (Maria Bello), lobbyist for the alcohol industry, and Bobby (David Koechner), lobbyist for guns, lends a black humor to Nick's charm. He knows what he's doing is wrong, that the science he misrepresents is complete B.S but being charming and winning seemingly unwinnable arguments is what pays the bills. He also happens to be really good at it.

Darker still is Nick's relationship with his son Joey (Cameron Bright). His attempts to get closer to his son, he is divorced from Joey's mother, include attending a career day at Joey's school where he essentially convinces the children that they should make up their own minds about smoking rather than listen to mom and dad, especially if mom says smoking is bad for you.

Nick takes his son on a business trip to Los Angeles where with the help of an equally amoral superagent played by Rob Lowe, he hopes to restore the cigarrette's good standing in film. Nick's hope is that he can get the cigarette into a big time blockbuster movie in the hands of real movie stars rather than the modern norm that has cigarettes mostly in the hands of villains or europeans.

Also while in Los Angeles Nick is to meet with Lorne Lutch (Sam Elliott) the original Marlboro Man who, now dying of cancer, has become a vocal anti-smoking advocate. In a scene so disarming in its honesty and dark humor, Nick essentially bribes Lutch with a suitcase full of cash and yet convinces him and us that the money is not a bribe, but a gift that it would be rude or hypocritical to complain about publicly. Nick's son is witness to this scene and yet does not lose the esteem of his father. In fact he is convinced he would like to be more like his father.

Nick's near downfall, as it is with most men, is a beautiful woman, a reporter named Heather Holloway, who has her own unique opinion off and on the record. Heather's arc is likely the weakest in the film as her triumph over Nick is too easily overcome and the comic possibilities of the relationship are not fully discovered.

Thank You For Smoking is as nihilistic in its point of view of the dangers of smoking as Nick is. The film is not about condemning smoking, the tobacco industry, or its protagonist. In that perspective it's fair to say that film is not as sharp as it could be. A precise perspective would be welcome. However as a dark hearted satirical character study the film is whip smart and very, very funny. Thank You For Smoking is a must see.

Movie Review Spider-Man

Spider-Man (2002)

Directed by Sam Raimi 

Written by David Koepp

Starring Tobey Maguire, James Franco, Kirsten Dunst, Willem Dafoe, Bruce Campbell, J.K Simmons

Release Date May May 3rd, 2002 

Published May 2nd, 2002 

I must admit that when I heard Tobey Maguire had won the role of my favorite superhero, Spiderman, I was quite disappointed. How could the Cider House Rules geek be a superhero?!? Well, I'm glad that I now must eat those words because Tobey Maguire is a terrific Spiderman and now, I can't imagine anyone else doing this role.

As the film begins, we are introduced to science geek Peter Parker, a shy introverted kid who’s only friend is Harry Osborn (James Franco) and nurses a crush on the girl-next-door Mary Jane Watson (Kirsten Dunst). I'm sure most people are familiar with the origin of Spiderman; he was bitten by a radioactive Spider and began to take on the spider’s traits. The ability to spin webs, strength 10 times normal and of course the amazing ability to crawl up walls.

Suddenly the shy kid is a muscled-up superhero and immediately looks for a way to cash in on his newfound abilities. He finds it in a wrestling ring with a huge guy named Bonesaw (The legendary Randy “The Macho Man” Savage). Peter, now calling himself Spiderman, defeats Bonesaw to win $3,000 dollars, however the promoter refuses to pay the full amount. The promoter’s office is then robbed, and Peter skips an opportunity to catch the thief. The decision to let the thief get away is a fateful one as it is the same thief who shoots and kills Peter's beloved Uncle Ben (Cliff Robertson).

Parallel with Peter Parker's story is that of Norman Osborn (Willem Dafoe), father of Peter's friend Harry and the president of Oscorp. With his company on the verge of losing a major military contract Osborn decides to test his controversial new weapon on himself. Needless to say, the experiment is a mistake and causes Osborn's personality to split between Norman and his new alter ego, the Green Goblin.

It's a classic comic book story and transfers to the screen extremely well thanks to the brilliant director Sam Raimi. Raimi could have just used his big budget for nothing but special effects, but instead he uses it to create a whole universe for Spiderman and his supporting cast to inhabit. Whether it's Aunt May and Uncle Ben's row house, Peter's High School, or even a professional wrestling ring, the comic book sheen that Raimi and his team brings to Spider-Man looks terrific. 

Maguire is excellent; he makes Spiderman and Peter Parker come to life. Maguire never plays him like your typical, all-powerful, unkillable superhero. He plays him as a human who can bleed and get angry and has to fight his emotions as well as his pursuers. Kirsten Dunst has it easy, she merely has to smile, and the audience falls for her the same way Peter Parker does. Dunst is a wonderful actress who builds great chemistry with Maguire. Willem Dafoe is effective as Osborn/Goblin, he certainly can play a believable psycho and in Spiderman he does so with only a little bit of scenery chewing.

It is rare that a summer blockbuster actually meets expectations; it is far rarer when one surpasses them. Spiderman does exactly that and is one of the best movies I've seen this year and one of the best blockbusters of all time.

Movie Review: Contraband

Contraband (2012) 

Directed by Baltasar Kormakur 

Written by Aaron Guzikowski

Starring Mark Wahlberg, Kate Beckinsale, Giovanni Ribisi, Caleb Landry Jones, J.K Simmons, Ben Foster 

Release Date January 12th, 2012 

Published January 11th, 2012 

Contraband is a mediocre action movie that rises above mediocre because Mark Wahlberg is so darn compelling. I've been a Mark Wahlberg fan for years; despite his having starred in such duds as The Happening, Maxx Payne, and Shooter. Wahlberg simply has that intangible star quality that makes you want to follow him on whatever film journey he's taking. Contraband could not survive with a lesser star.

Chris Farraday (Wahlberg) was once known as the Houdini of the smuggling world. With his sidekick Sebastian (Ben Foster), Farraday could smuggle anything without ever getting caught. Now, Farraday is a civilian, running his own security company, happily married to Kate (Kate Beckinsale) and raising two sons. He’s gone soft, he’s gone legit, and anyone who’s ever seen a movie about a bad guy gone good already knows where Contraband is headed. 

Yup, Farraday is dragged back into the smuggling underworld when his boneheaded brother in law Andy (Caleb Landry Jones) pulls a drug smuggling job and ends up dumping the drugs in the river when Customs boards his boat. Not surprisingly, Andy's employer, Briggs (Giovanni Ribisi), is none too happy and he wants Chris to pay Andy's debt or else. Pulled back into the business, Farraday calls on Sebastian for one more run. 

There are no surprises in this set up; Contraband is not original or unexpected. What works in Contraband is the businesslike, conservative approach of director Baltasar Kormakur who gets down to the business of smuggling with only the most necessary bits of exposition. When Mark Wahlberg and his crew finally get on a ship ready to smuggle the pace is methodical and to the point.

Giovanni Ribisi is not exactly the most intimidating bad guy one could imagine and this does undermine a few scenes where he's supposed to be playing tough. One scene that will test an audience's ability to suspend belief finds the wiry Ribisi pushing around Kate Beckinsale. Anyone who's seen and enjoyed the Underworld movies knows Kate Beckinsale could snap Ribisi like a twig if she wanted.

(Yes, I'm aware that movie magic makes Beckinsale a badass vampire in "Underworld;" I was being cute.)

The key to raising Contraband above other, similar action thrillers is Mark Wahlberg. Since his bold and ballsy Oscar nominated work in The Departed Wahlberg has really come into his own as a movie star and that movie star quality is the one thing working in favor of Contraband. Without Mark Wahlberg, Contraband is an exceptionally average movie. See "Contraband" for Mark Wahlberg or maybe to chuckle at Giovanni Ribisi's tattooed tough guy; both are strong reasons to see "Contraband."

Movie Review New in Town

New In Town (2009) 

Directed by C. Jay Cox

Written by C. Jay Cox and Ken Rance

Starring Renee Zellweger, Harry Connick Jr, J.K Simmons, Frances Conroy 

Release Date January 30th, 2009

Published January 29th, 2009 

I find as I grow in the job of film critic that I am getting a little softer. I am growing more tolerant of some things and less tolerant of others. In my fiery early years I likely would have torched a little movie like New In Town simply because I could. I wouldn't have done it merely for sport, I would have had good solid reasons for torching it. The point being that I would have walked into the movie with an attitude and perhaps been less tolerant of overly familiar elements of the rom-com. 

In fact, I have a number of good reasons to torch the film right now. But I am not going to. With experience I like to think comes wisdom and my newfound wisdom tells me that I would have been far too hard on this harmless forgettable little formula romance. Trashing New In Town for being a formula rom-com would be like squashing a bug with a rocket launcher.

Cute as a button Renee Zellweger stars in New In Town as Lucy, your prototypical fish out of water. The water here being New Ulm, Minnesota, a frozen corner of the world that is none too welcoming to a gal born and bred in Miami. Lucy has come to New Ulm to take over the management of a local food producing plant and fire half the staff.

If you can't guess that the hard hearted city gal falls for the small town charmers like Siohban Fallon's Blanche Gunderson or J.K Simmons as the crotchety plant manager, you just aren't trying. Throw in Harry Connick Jr. as the obligatory love interest and you can really say you've seen the movie just from knowing the cast.

Nothing in New In Town breaks the mold of your typical rom-com. This is where I would have started lobbing bombs in years past but not this time. Sure, I knew every step of this movie before walking in the door of the theater, the plot has all the depth of a 2 minute film trailer.  What experience has taught me however, is that with rom-coms, it's not about how cliched the story is but rather how enjoyably enacted those familiar elements are. A well executed formula romantic comedy can still be a good movie if the cast is likable enough to make you forget the overly familiar elements. 

New In Town succeeds, ever so slightly, due to Renee Zellweger being cute as a button with charm to spare. Zellweger is backed up by a charming supporting cast of veteran character actors capable of stealing a scene or two, especially the brilliant J.K Simmons, the conscience and the soul of New in Town and a guy who is impossible not to admire. The romance between Renee Zellweger and Harry Connick Jr. doesn't exactly set the screen on fire but, because of Zellweger, it has just enough charm for me to care about it. 

Now, it's highly likely that you will have forgotten about New In Town by the time you reach the parking lot after seeing it. But, while you are watching New in Town, I imagine that you will smile, you will laugh genuinely and a few times and the movie will never offend you with any low brow humor, stupidity, or insulting twists of the plot. It may be a formula rom-com but it is a formula rom-com starring a rising superstar in Renee Zellweger. Her appeal alone is enough to life the film to a mild recommendation from me. 

Yes, New in Town is a dumb little fairy tale romance that aspires to be nothing more than a minor distraction. That said, how can I trash a film for accomplishing exactly what it set out to accomplish? This review may not be enough to encourage you to see New In Town but I am not here to discourage you. The film will earn every dollar it gets this weekend.

Movie Review: Up in the Air

Up in the Air (2009) 

Directed by Jason Reitman 

Written by Jason Reitman 

Starring George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Danny McBride 

Release Date December 4th, 2009 

Published December 3rd, 2009 

It's a horrifying idea but I am told it is real. Companies actually do hire people to fire employees for them. It's bad enough losing your job but to have the people you have given your hard work and dedication to for however many years hand you off to someone else for the worst moment of your career is a disgusting thought. It's just the kind of cowardly and dehumanizing effect of modern capitalism that turns my stomach. 

George Clooney gives life to one of these workplace specters of career death in a snappy suit, a  and a pamphlet for a sickle. He's the villain of this story in many ways but by drilling down on this character, we don't find a villain but a lonely, sad result of what soulless capitalist pursuits can do to a human soul. George Clooney delivers the best performance of his career under the direction of Jason Reitman in Up in the Air. 

In “Up in the Air” George Clooney plays Ryan Bingham, a man who takes pride in spending some 330 days of the year traveling. He has a semblance of a home, a tidy bachelor hovel in Omaha, near the corporate headquarters of the company he works for but rarely sees. It is Ryan's job to fly into cities across the country, visit some no name corporate outlet and do the boss's dirty work - firing people. He and the company have some cruel euphemism for firing but it's a firing and it's as ugly as you imagine. 

Ryan is very good at his job, occasionally he's actually soothing which, given the circumstance, is rather impressive. Ryan doesn't love his job, though when asked to he can romanticize and defend it. What he truly loves is the travel which allows him the comfort he's never found at home. In passing relations with fellow travelers and the faux kindness of the service industry professionals he encounters Ryan finds the kinds of relationship he's never achieved with just one person. Simple relationships unencumbered by emotion or instability.

Naturally, all of Ryan's notions are soon challenged. The first challenge is personal as, while on a layover in some airline lounge, he strikes up a conversation with Alex (Vera Farmiga) over her choice of Blackberry. The conversation soon turns to travel, rental cars, hotel upgrades and all of the things both truly cherish. He tells her he has a goal for airline miles but refuses to tell her what it is. That, for Ryan, is too personal.

The second challenge is professional and arrives in the form of Natalie (Anna Kendrick), an up-and-comer from the home office in Omaha who has a plan that will take Ryan off the road and strand him in Nebraska. She wants to fire people over a computer link up and the honchos, led by a less than convincing Jason Bateman, are ready to back the idea. In defending his way of doing things Ryan inadvertently ends up with Natalie as his protégé and traveling partner as he teaches her how to do his job.

Jason Reitman and  co-screenwriter Sheldon Turner tell a two track story in Up in the Air that coalesces into one spectacular series of scenes that includes gate-crashing a computer convention and an appearance by rapper Young MC. These scenes show Ryan and Alex falling in love while young Natalie unwittingly challenges each of their notions about who they are and why they are attracted to one another. This happens as she mourns the loss of the only relationship she has known in her own life. 

Of course, the scenes that will strike a chord with 2009 audiences are scenes featuring real people who went through the pain of being fired during the bailout crisis and recession of this late portion of the decade. Director Jason Reitman hired real people who had lost their jobs to take part in these scenes and the pain in their voices as they talk about the loss of their jobs is exceptionally powerful.

The firing sessions give the film weight and allow the romance to blossom around them in unexpected ways. Scenes with actors Zach Galifianakis and Reitman favorite J.K Simmons provide the visual link between the film world and the real world. Without Galifianakis and Simmons, among others, the transition between the real world of these awful firings to the film world's comedy and romance would be too jarring. It’s among many smart choices in this terrifically smart film.

In the end, “Up in the Air” is a film about connections - literal and figurative. The unique ways in which Ryan Bingham’s personal and professional lives connect are at the heart of a film that may not strive to define the last decade of American culture but in many ways does. From our current economic uncertainty, to our ever more casual sexuality, to our changing attitude about infidelities and modern obsessions with gadgetry, “Up in the Air” offers a modest comment on each and does so with style, wit, a little romance and never feels arrogant or overblown doing it.

Writer George Will flippantly called “Up in the Air” ‘Grapes of Wrath for the service industry.’ He’s not entirely wrong. Where that book and film defined a movement toward social justice coming out of the Great Depression, inside the romance of “Up in the Air” is an inkling of a cry for a just truce between greedy corporate titans and the humans they refer to as resources. It is only an inkling; this is still a modern, big star, Hollywood production, just one with a big beating heart for those who are struggling.