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Cop Out: B
If all you’ve seen of this movie is the green-band trailers and TV spots, you haven’t gotten a good feel for this flick. Trust me, you haven’t.
Shutter Island: A+
But he’s too good of a filmmaker to just let the mechanics of plot drive the narrative. In fact, in a way, I came out of watching “Shutter Island” thinking it was perhaps Scorsese’s most psychologically-demanding, and emotionally-resonate film in decades.
The Wolfman: A-
But these are just the right notes for such a film. Look back at those black-and-white masterworks and you’ll see what I mean (Stephen Sommers really screwed the pooch with his bombastic “Van Helsing,” which was all of the former taken to 11).
Edge of Darkness: A-
Campbell makes the beleaguered stars’ return to the screen into a genuine event, and Gibson- whose personal failings have damaged his star shine in recent years- makes the most of the opportunity. You won’t be able to take your eyes off of him.
To Save a Life: C+
But then “the message” sets in (which, regardless of how important it is, feels forced), and the emotional lives of the characters feel more like melodrama and facile preaching than genuine experiences.
Daybreakers: B+
While its’ story comes more from modern concerns about the economy and the film has a more comic book feel than the Gothic dread of earlier vamp works, “Daybreakers” nonetheless shares more in style and theme with “Nosferatu” (both versions) and the classic “Dracula” films than the aforementioned modern successes.
Youth in Revolt: A-
Like Tyler Durden, Francois is an outlet for all the dangerous impulses Nick just can’t express. He’s Super Id to Nick’s average Joe, and Cera plays both with wit and heart.
The Imaginarium of Doctor Parnassus: A+
When it comes to his films- anything goes. Sometimes that’s not so good of a thing, but in his best films, it’s like a dare not only to the audience to go along but also to his fellow filmmakers to try and push themselves further.
Drawing With Chalk: A
I get the feeling watching this that Giglio and Springer understand this better than others.
The Lovely Bones: A-
“The Lovely Bones” rearranges the structure of Sebold’s story but not the heart of it, which is Susie’s observations of her life before her death, and her pain at seeing her family regroup and split apart, and the darkness of knowing her killer was still out there.
