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Release date: Friday December 5, 2008
Genre: Thriller/Drama/Comedy
Running time: 110 min.
Director: Randall Miller
Studio: Alliance Films/Freestyle Releasing
Screenplay: Jody Savin, Randall Miller
Producer(s): Jody Savin, Randall Miller
Cast: Alan Rickman, Bryan Greenberg, Shawn Hatosy, Mary Steenburgen, Bill Pullman, Eliza Dushku, Danny DeVito
Official Site: nobelson.com
Rating: R for some violent gruesome images, language and sexuality
Available film art: Nobel Son movie posters

Synopsis
A son struggles to finish his thesis when his father wins the Nobel Prize in chemistry, making life all the more difficult for him and his mother, a well-known forensic.

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The critics are loving “Milk“, suggesting that it is the best movie of the year.

Milk is a message movie, but more importantly, it’s an openly proud and entirely self-possessed message movie that wears its progressive rhetoric on its rainbow sleeve.

The distinction is crucial, because when you get right down to the nitty-gritty nub of what director Gus Van Sant has been able to achieve with Milk, it goes beyond teaching a particularly loathsome chapter of American history.

Van Sant, the openly gay film director, has created a universally accessible movie about the birth of the gay movement that is not framed by shame.

Back when this movie was set, in the mid-1970s, shame was an inherent part of the entire gay experience and Van Sant quickly sketches the emotional mood in the opening credit sequence.

Small, plain white titles appear over archival footage of police raids on gay bars. Slowing down the black and white footage to a surreal, dreamy pace, Van Sant sends us through the glass darkly as we watch all sorts of men being loaded into paddy wagons with their hands hiding their faces from public scrutiny.

It’s mind-altering imagery because it’s obvious these men are not criminals, yet truncheon-swinging police are corralling them into custody. Their only crime is hanging out with other men, and being who they are, but back then — and in many places to this day — homosexuality was seen as a legitimate reason to deprive a human being of his or her civil rights.

It’s a prickly issue, and it sits at the very heart of Milk because recognizing gay men and women as social equals without stigma was Harvey Milk’s life mission.

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Bolt gets 8 out of 10 stars for being smart and insightful.

Thanks to a string of commercial disappointments (or at most, underwhelming successes), Disney Animation has been in dire need of a revamp for several years. Notwithstanding the fact that computer-animated movies as a whole have dominated the family-film market for a decade or more, the looming presence of their cash-cow Pixar has overshadowed virtually every project during that time – which is no doubt one of the major reasons Pixar CEO and major-domo John Lasseter was appointed the chief creative officer for WDA a few years back.

Because of the labyrinthine production schedule of animated films, the official first effort under Lasseter’s auspices hasn’t arrived until now and perhaps unsurprisingly it bears many of the hallmarks of Pixar’s classics. Unfortunately, however, it doesn’t quite live up to their overall quality, which is why Bolt is a good but not great film which should earn Walt Disney Animation a deserved hit even if it won’t quite return them to the heights of their own creative and commercial heyday.

John Travolta plays Bolt, the canine star of a hit TV series about a girl named Penny (Miley Cyrus) who escapes capture by the evil Dr. Calico (Malcolm McDowell) with the help of her superpowered dog. When a mix-up results in Bolt being shipped to the rough-and-tumble streets of New York, he begins to make a valiant trek back across the country to Hollywood for a reunion with Penny. Because he has been deluded into believing that everything in the show is real, Bolt targets an alley cat named Mittens (Susie Essman) as a minion of Dr. Calico and enlists her to help him get home. In the meantime, the duo picks up a TV-obsessed hamster named Rhino (Mark Walton) along the way who helps inspire Bolt to feats of greatness after he begins to realize that he is just an average dog.

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Check out this Twilight, video interview with IGN’s Todd Gilchrist and Eric Morrow

Twilight is an action-packed, modern-day love story between a teenage girl and a vampire. Bella Swan (Kristen Stewart) has always been a little bit different, never caring about fitting in with the trendy girls at her Phoenix high school. When her mother re-marries and sends Bella to live with her father in the rainy little town of Forks, Washington, she doesn’t expect much of anything to change. Then she meets the mysterious and dazzlingly beautiful Edward Cullen (Robert Pattinson), a boy unlike any she’s ever met. Edward is a vampire, but he doesn’t have fangs and his family is unique in that they choose not to drink human blood. Intelligent and witty, Edward sees straight into Bella’s soul. Soon, they are swept up in a passionate, thrilling and unorthodox romance. To Edward, Bella is what he has waited 90 years for -– a soul mate. But the closer they get, the more Edward must struggle to resist the primal pull of her scent, which could send him into an uncontrollable frenzy. But what will Edward & Bella do when a clan of new vampires -– James (Cam Gigandet), Laurent (Edi Gathegi) and Victoria (Rachelle Lefevre) -– come to town and threaten to disrupt their way of life?

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Quantum of Solace arrives in theaters on November 21st, but you can read the review here:

It may lack the grandeur and substance of Casino Royale, but Quantum of Solace is nevertheless a unique and thrilling Bond film and one hell of a good time. Thanks to Craig’s confident and commanding performance, Forster’s visual sensibilities, and an array of breathtaking action sequences, Quantum of Solace succeeds in continuing to reboot the Bond franchise for a new era.

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High School Musical 3: Senior Year is worth seeing.

It’s not every day that critics see a dark, unredeeming portrait of police corruption and a sunny, spectacular musical within the span of a few hours. But that happened recently to this reviewer thanks to back-to-back screenings of Pride and Glory and High School Musical 3: Senior Year. Interestingly, of the two films I preferred HSM3 even without having seen its made-for-TV predecessors, although it’s unclear if I was so demoralized by Pride and Glory that I would have latched onto any expression of hope or humanity, or if I actually found it genuinely entertaining. But in either case, the third installment in Disney’s cash-cow musical series is a colorful and enthusiastic – if not especially intelligent – film that makes a successful transition to the big screen thanks to some terrific production numbers and the irresistible charisma of its ensemble cast.

Zac Efron (Hairspray) plays Troy Bolton, a star player on East High School’s basketball team who gets recruited to star in a musical, the theme of which is Senior Year. Troy’s college plans are secure thanks to a basketball scholarship at a local university, but his girlfriend Gabriella (Vanessa Hudgens) is headed for Stanford, leaving their relationship in limbo. In the meantime, Sharpay Evans (Ashley Tisdale) conspires to take over Gabriella’s role in the production so she can win a scholarship to Julliard, and enlists her twin brother Ryan (Lucas Grabeel) to court writer-composer Kelsi (Oleysa Rulin) and win her support. As his friends weigh in with their opinions and his parents conspire to help him make a decision, Troy must ultimately decide what is most important to him – his basketball career, his burgeoning passion for musical theater, or his love for his girlfriend Gabriella – as Senior Year, and his senior year, comes to a triumphant close.

One of my colleagues recently defended the overly critical or even dismissive point of view that many reviewers will take with pre-fab entertainment like High School Musical 3, saying there’s no reason that any movie can’t be good no matter how low the bar is set for it to be considered a success. He’s right – any generic or clichéd story can still be well done – but there is also an argument that can be mounted, especially for films like this one, that traditional (i.e. adult) critics are not its designated audience. As such, the same standards that would be applied to, say, There Will Be Blood, cannot be applied to it. Additionally, a movie like this isn’t meant to be good for the reasons that we would usually consider when watching other films. So when it does execute moments poorly, it’s tough to be quite as critical – unless, of course, one was expecting to dislike it in the first place. (In which case, why see the film at all?)

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Harry at Ain’t it Cool News has this review of the upcoming thriller Eagle Eye (some profanity here, but that’s Harry):

I tell you – I knew it when I first saw THE SALTON SEA that DJ Caruso was a filmmaker to watch, but then he went through a rough patch of just not being teamed up with the right material. Then we had that great DISTURBIA screening at SXSW – where the film that looked like a total ripoff of REAR WINDOW, from a Teen vantage point – turned out to be… well, pretty much a ripoff of REAR WINDOW from a Teen vantage point… only, it not only didn’t suck, but was incredibly entertaining. So much so that it reminded me that DJ existed and when that film succeeded beyond everyone’s wildest box office predictions – it kinda meant that DJ should get a promotion of sorts. That he was ready for the next stage budget and a higher grade of script.

Enter EAGLE EYE. A project hatched from a notion and conceit that Spielberg had been percolating for a while – waiting for the right team to hand it off to. D.J. seemed to be the key ingredient. And boy was it.

So what is EAGLE EYE… essentially it’s a NORTH BY NORTHWEST style film dripping with paranoia, conspiracies and a story that is always a few steps ahead of the audience.

That’s due to a great device. The voice on the phone. The faceless female that is seemingly everywhere and all knowing is a great character. Essentially – she’s an RPG Game Master controlling the most dangerous ‘game’ of surprise LARPing ever concocted.

You see, Shia LaBeouf and Michelle Monaghan are just your average nobodies. Folks just working to get by, the sort of folks you don’t really notice. THEN… extraordinary shit begins to happen – a voice directing them… rather insistently with perilous ramifications for those that do not cooperate… to do her bidding.

Just like a Dungeon Master, the voice is the source for all information for the characters, and just like an asshole Dungeonmaster – if you piss them off, she’ll put you nostril deep in a bog of eternal fuckedupness. The voice controls everyone and knows seemingly everything in real time.

Now – it isn’t announced what time period this is, but I’ve got the feeling it’s no further in the future than some time in the next 5-15 years. The world seems stuck in the same sort of paranoid-fed levels of personal rights infringements – and the question that is forced into the forefront of my mind through most of this film is… WHAT IF – the access that is developed to learn everything about everything is turned against us.

Who is the puppetmaster? Frankly, to me the most important question on your mind through the film is, “What Next?” – and you think that often and quickly.

The film has an aesthetic look that is everybit as “pretty” as something that comes out of Michael Bay’s Dear Penthouse, I never thought I would shoot a film this well developed… fantasies. It has that beauty, without ever being stupid. The characters are developed, the turns are not predictable, the casting and random PEOPLE IN HIGH PLACES are there to SERVE THE STORY, not to artificially give it a sense of some misplaced grandeur and importance.

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The Duchess offers entertainment for both men and women:

Has there ever been a period piece about an arranged marriage that actually ended with the two people involved happy together and in love? This was the first thing I thought of as I watched The Duchess, an excellent but thoroughly depressing account of the marriage of Georgiana, The Duchess of Devonshire. As bad and outdated as is the idea of an arranged marriage, surely there was one woman and one man who came together and both made an effort to get to know and love one another, and whose story has been subsequently told. Of course, that kind of bland humanity, down-to-earth romance and earnestness is probably much less interesting cinematically than a story in which bosoms heave and hearts are betrayed. But then again The Duchess is largely successful because it manages to offer those degrees of humanity and romance (if not blandness) amidst the rest of its potent, bodice-ripping drama.

Keira Knightley, who was born to wear corsets, scoop-necked gowns and hairdos that highlight her swanlike neck, plays Georgiana – a young aristocrat whose mother Lady Spencer (Charlotte Rampling) arranges to marry the Duke of Devonshire (Ralph Fiennes). Despite her efforts to become a worthy companion for her husband, Georgiana disappoints the Duke when she fails to bear him a son – twice. But when she makes friends with another woman named Bess Foster (Hayley Atwell) who similarly toils in a loveless marriage, she finds a kindred spirit – that is, until Bess betrays her with the Duke. Soon, the three of them are living together, and Georgiana becomes a prisoner in her own home, with only her children, her former friend Bess, and the forbidden promise of a long-ago romance with a young politician named Charles Grey (Dominic Cooper) as distractions from her dreary existence.

In predictable but effective form, The Duchess is full of sequences in which modern women will be rightfully outraged by the behavior of her husband, and moreover, the prevailing culture of 18th Century England. At the same time, there are numerous scenes in which Georgiana stands up for herself and in spite of those restrictions, she asserts her identity and makes her feelings known. Perhaps in specific comparison to the truly godawful “women’s films” that were released in recent months (The Women and Sex and the City in particular), the reason that The Duchess stands out so sharply is that unlike the overprivileged females who fret and preen about their pampered lives and quite frankly frivolous personal problems, Georgiana literally has almost no rights, and cannot do anything to change her situation. She is required to make horrifying sacrifices and endure painful losses, and the movie rightfully points out that no girls’ night out or trip to the Victorian-era equivalent of Saks 5th Avenue will repair them.

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Burn After Reading is a must see. Nuff said, read the review.

All critics have their “rules,” their preferences and pet peeves. Sometimes they’re a matter of personal taste – one genre over another – and sometimes they’re a result of seeing the same approach taken too many times with the same material. But despite cinema’s inherent ability to instruct its audience upon the finer points of finding love, recognizing shortcomings, and overcoming adversity, I really, really hate it when characters learn lessons. All of which is why, at least according to my own, subjective standards, the Coen brothers’ Burn After Reading may be the greatest movie ever made. Frances McDormand (Almost Famous) plays Linda Litzke, a personal trainer who decides to blackmail former CIA operative Osborne Cox (John Malkovich) after her colleague Chad (Brad Pitt) finds a disc that contains Cox’s memoirs. Cox, however, refuses to cooperate, and soon Linda is forced to juggle her get-rich-quick scheme, her responsibilities at the gym, and a burgeoning relationship with Harry Pfarrer (George Clooney) – a married man who is also carrying on an affair with Cox’s wife Katie (Tilda Swinton). Meanwhile, Cox’s former colleague (David Rasche) and superior (J.K. Simmons) at the CIA discover that Linda went to the Russians with Cox’s memoirs and monitor the situation as it continues to develop.

As suggested above, there are going to be a lot of folks disappointed by Burn After Reading if only because it follows the artistic triumph of No Country for Old Men and is by any standard a completely unimportant story bereft of dramatic substance. But longtime Coen brothers fans will observe that this material perfectly fits within the general themes of their other films, most of which make fun of stupid people by telling, yes, a completely unimportant story. From Raising Arizona to The Hudsucker Proxy to Fargo to The Big Lebowski to O Brother, Where Art Thou, the Coens regularly assemble their stories to satirize if not outright ridicule the best laid plans of men with the brains of mice. And this film is no different. While there are a few sympathetic and even intelligent characters within Burn After Reading’s ensemble, they are given enough human shortcomings (arrogance, insensitivity, obliviousness) to make them worthy of the Coens’ derision, if not also the audience’s. Additionally, Malkovich gives a great performance as Cox, the analyst whose self-aggrandizing but by all accounts mediocre memoirs set into motion the film’s comically catastrophic turn of events, and J.K. Simmons contributes a terrific cameo as a CIA superior who supervises the events with appropriately dry disbelief. But as always, Ethan and Joel are the ones pulling the strings, and they’re the ones who most effectively create this tapestry of complicated situations and yet manage to make it all seem simultaneously significant and superfluous. Ironically, of course, there are far more movies made in Hollywood that are really about nothing, but pretend to be about something – which is also when their supposed lessons mean the absolute least. But with Burn After Reading, the Coens have successfully made a movie that both pretends to be and is in fact about nothing at all.

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There was a huge pricing mistake on the: Tropic Thunder DS 1 Sheet Movie Poster - Advance Style A. The price states that it’s: $99.99. That is incorrect! The correct price is: $19.99. It has been corrected.