Rachel Getting Married/Slumdog Millionaire

Rachel Getting Married

2 stars

There's a reason Anne Hathaway's street cred boosting film Rachel Getting Married is only getting award notices for Hathaway's acting. Because quite frankly, that's all this film has going for it.

After being in and out of various prisons and rehab facilities for 10 years, Kym (Hatheway) is released into her families custody just days before her older sister Rachel's (Rosmarie DeWitt) wedding. This leads to explosive confrontations between Kym, Rachel and their parents.

Certain aspects of this film is more than a passing resemblence to Sherry Baby, Maggie Gyllenhaal's much better film of a rehabed druggie returning to the outside world. Nothing against Hathaway, but Gyllenhaal was better. The primary source of notice for Hathaway is that it was a left field performance for her, and did prove herself as more than a Disney alum trying to make it in the world.

Hathaway's main source of acting support comes from Rosmarie DeWitt. As Rachel, she offers a great foil for Hathaway's Kym. She exudes the exaspiration of a bride to be faced with daunting and unresolved family issues. Hathaway's performance, and likewise the film as a whole, wouldn't be nearly as good as it is without DeWitt.

But stellar performances from the two leads isn't enough to launch this past a 2 star rating. The rest of the characters and actors are treated as incidental, with no real major impact on the overall final story.

And while throughout most of the film, the Kym/Rachel dynamic is engaging, it occasionally slips into a "Whose issues are bigger?" pissing contest. And the remaining characters don't help take it out of annoying status.

Then there's the wedding. A first generation Jamaican-American marrying a WASP, and they have a Hindi/African/American influenced wedding. The rehearsal was an open-mic night? Were they trying to be hipsters? Too much just didn't work, and ended up being annoying.

So in addition to annoying, whiney characters, you had an annoying plot point. And you walk away just embarassed for all involved.

Luckily DeWitt and Hathaway were able to come away unscathed. But I doubt I'll ever look at Jonathan Demme the same way again.

Slumdog Millionaire

5 Stars

In a year filled with Oscar bait movies, leave it to Danny Boyle to throw a wrench into the works with the crime/romance/bio/drama Slumdog Millionaire. It's a fascinating film that keeps you on your toes and never asks more of you as an audience than is absolutely necessary.

By sheer luck, Jamal Malik (Dev Patel), a young man who grew up in the slums of Bombay and now works as an go-fer in a tech support call center, has made it onto India's "Who Wants to be a Millionaire." By even more luck, or possibly eerie coincidence, he's got a shot at the 20 Million Rupee question. Jamal can't believe it. Indian Regis (Anil Kapoor) can't believe it. The Indian authorities can't believe. Jamal is promptly arrested on suspicion of cheating. As he and the police cheif watch the tape of his performance, Jamal reveals the story of his life, with each chapter informing his correct answers to the questions presented to him.

If you were to ask me to pick one film to define director Danny Boyle's career... I wouldn't pick this one. But that's only because he is a filmmaker who consistently mixes up the genres. Were I to name several of Spielberg's films, you'd recognize them as Spielberg. Same with Scorsese, Fincher, Tarantino and Smith. They have their signature styles. While Boyle certainly a great director, and leaves his stamp on his films, he removes his personality from the film. If I didn't know any better, I'd never be able to tell that Trainspotting, The Beach, 28 Days Later... and Slumdog Millionaire were all directed by the Boyle.

I commend Boyle for meshing the styles of Western filmmaking (he's British) with Bollywood. Including the random, yet not out of place dance sequence during the end credits.

The performances from the actors are powerful, engaging and truthful. You aren't hit over the head with the weight of what they're doing. There's a bizarre subtlty to it. Which is only bizarre when you realize that the 9 actors who play the leads (3 characters at different ages) have very little experience amongst the lot of them. It's films like this that make me wish they had a best ensemble performance or best Casting Oscar. While an actor can have a great single performance in a great movie (or terrible movie, as is the case with the previous movie reviewed), sometimes the whole cast together elevates a movie, as is the case with this one.

What makes this film perform well is a great match of strong script and director. Boyle understood the story that needed to be told, and told it very well.

And I've got writers block.

So... in summation... Slumdog Millionaire= One of the best of the year.

Concerning the Oscars

So the Oscar Nominees were announced, and as someone who is, as some would say, "a fan of movies" (which if you do actually know me, that's putting as lightly as one could possibly put it), and as someone who has been to and experienced the Oscar blitz (not as a nominee, as a fan) I should weigh in.

Not speaking as a fanboy... not speaking as someone who doesn't really know how the Oscars operate (and there are several on the message boards I regularly visit)... I say this with as much authority as a 23 year old film critic can... WHAT THE FUCK!?!?!

The Dark Knight was more or less shut out. That movie more than deserved the 8 nominations it got (7 in technical categories, more on the eight later). But it deserved Picture, Director, Writing and Supporting Actor, as well.

I'm not going to claim that I've seen all the nominees, or even all of the eligible films. But for The Dark Knight to go relatively unnoticed in the artistic categories, it's an insult. And it really shows how out of touch the Academy is with mainstream audiences.

Now, mainstream films often are out of tune with what is generally considered "Award Worthy". And I in no way consider, Paul Blart, last week's box office champ, Oscar Worthy, in any category. So it's not a "mainstream vs. indie" argument on my part. It's on their part. The Academy's near reluctance to recognize mainstream films for major awards is a history that is long and storied.

Think about it, remove the fact that it's Batman, look at The Dark Knight as a straight crime saga. It's up there. The performances and the execution were great.

Unfortunately when they do go for a mainstream film, it turns out that film is Rocky, winning best picture over Network, Taxi Driver and All The President's Men. Really? WTF? Don't get me wrong... Rocky is a great film. Better than those other three? Certainly not.

Same with Wall-E. Point of fact, the only animated film ever to be nominated for Best Picture was Beauty and the Beast (and deservedly so). But with the recent addition of the "Best Animated Film" category, the liklihood of that ever happening again significantly dropped. With Wall-E not making the cut, I doubt it will ever happen again.

Those two films were widely considered the very best of the year. From highly respected critics to bloggers like me. And the box office receipts proved it. Instead the Academy opted for the generally safe historical dramas. Nothing against Frost/Nixon, as I have yet to see it, but what could it possibly bring to the filmmaking table that The Dark Knight did not? It's a dramatization of TV interviews. You could pretty much Youtube about half the movie.

I guess Ron Howard is a good standby, as opposed to going for directors who experiment and explore the boundaries of filmmaking. No nods for Darren Aaronofsky or Christopher Nolan for The Wrestler and The Dark Knight, respectively.

There is no greater proof of that than Howard over Peter Jackson in 2001 for A Beautiful Mind over The Lord of the Rings: The Fellowship of the Ring. Or in 2004, Clint Eastwood over Martin Scorsese for Million Dollar Baby over The Aviator.

I'm not going to say that they're political, though they have made "I'm sorry" choices in the past, like Scorsese finally getting that ever ellusive (unless you're name is Clint Eastwood) Best Director Oscar for The Departed. Sure it was well deserved, but Scorsese's Best Director Oscar has been well deserved for over 30 years.

And while it may be Robert Downey, Jr., I'm glad to see them finally recognize mainstream comedic work for acting (Best Supporting Actor for Tropic Thunder). When it comes to recognizing comedies, the Academy will slide more in the line of "dark comedy," "black comedy," or "dram-edy." It's a trend the've missed going on many years. Perhaps the first major missed opportunity is Sean Penn in Fast Times at Ridgemont High. And now they've nominated Downey for Tropic Thunder. They've certainly come a long way, but I agree with most critics and bloggers... James Franco in Pineapple Express, anyone?

I of course will still watch. I of course will still enjoy and severely geek out. But... they really need to look beyond the usual Oscar fair. Recognize the great films. Not just what is deemed Oscar worthy.

Because quite frankly, "Oscar worthy" is quickly becoming a sub-genre, rather than an honour.

On the flip side... major kudos for Slumdog Millionaire. Totally deserves it.

More Reviews Than You Can Shake a Stick At

I've got 5 films to review, so it'll be 5 mini-reviews. Kinda like when "Rescue Me" did those "mini-sodes" after the 5th season got postponed due to the damn writer's strike. Only there was no strike. I just fell behind.

Gran Torino

4.5 stars

It's interesting... I knew at somepoint I would have to accept that I would eventually be reviewing Clint Eastwood's last film as an actor. I just figured he'd be dead. But no, he's retired. And his swan song, Gran Torino is caps off an overall wonderful, if at times curious and disappointing, career.

Eastwood is pitch perfect as an aging Korean War vet with an archaic (re: racist) view of the world. He's stuck in his ways, but is forced to confront his evolving neighbourhood after he helps the kid next door out of a scuffle with a street gang. He even grows to respect and even grows fond of the next door neighbours, treating them as family. Actually, better than he treats his own family.

As director, Eastwood utilizes a great cast of Korean non-actors to further separate his character from theirs. And for never having done any professional screen work, the performances turned in by young actors Bee Vang as the wayward youth Thao, and Ahney Her as his older sister are remarkably impressive, and do well in holding their own against 50+ year veteran Eastwood.

I'd say this is one to watch come Awards season, but since I'm writing this on Oscar Nomination Day (it's a Holiday for me), that's a little anachronistic (it wasn't nominated for anything). But this is definitely one worth viewing. It has the added bonus of Eastwood holding a shotgun and delivering the greatest version of every crazy old coot's favourite phrase: "Get off my lawn!"

Bride Wars

.5 Stars

Oh, Anne Hathaway... I expect more out of you. Not so much out of Kate Hudson, this film is about on par with what I expect from her. But Anne, Anne, Anne.... You're more talented than this. So is Kate, now that I think of it, but she hasn't made a good career choice since Almost Famous, and that was 10 years ago.

A scheduling mix-up forces two best friends to duke it out over who gets to keep their dream wedding. With alledgedly hilarious results.

But the actual results are predictable, unfunny, forgetable and ultimately insulting.

I've seen some unfunny comedies in my day, but this one has to take the cake (no pun intended). Sure, maybe I cracked a smile every now and then, but was I laughing at the content, or the fact that the content exists? 99.9% of the time, the latter.

Every character except the two leads was expendable, and the writers seemed to make it that way. The only way I was able to tell which fiancee was which, was by which female lead happened to be on screen, and unfortunately that didn't help in several scenes.

But it truley dives into the insulting pool by it's portrayal of women. They're sycophantic, shallow, and I wonder if they're actually functionally retarded. There are no socially redeeming, or remotely admirable qualities in these two women. It pains me to say that Sex and the City was a more accurate representation of women, and they're materialistic, sex crazed bimbos. If those two were really friends, and I've seen this in real life, one would have made a sacrifice. These are who little girls are looking up to. Seriously, Judd Apatow, Kevin Smith, Joss Wedon and Quentin Tarantino need to write more scripts, they're the only ones writing great roles for females, it seems like. I'm saying that and Apatow's been accused of sexism. So.... eat it Hudson.

Hudson says she wants jucier roles, so lets hope she makes better choices. Because she can be a great actress, she just needs to pick better roles. And Hathaway.... stay far away from material like this. If you hadn't long ago proved yourself as a competant actress, I'd say this role is enough to get your recent Oscar Nomination revoked (she got it for Rachel Getting Married, a thankfully unrelated movie, review coming next week).

Paul Blart: Mall Cop

2.5 stars

Safe? Yes. Original? No. Enjoyable? Yes

Paul Blart (Kevin James) is a mall security guard. Paul Blart is a mall security guard because he can't seem to pass the New Jersey State Troopers exam. His heroics are put to a Die Hard-ian test when his mall is overrun with criminals out for credit card info on Black Friday.

James treads the safe waters of goof-ball, broad-comedy, quasi-parody with Paul Blart. It's clearly a poor man's Die Hard, but Airheads did it better 15 years ago when the reference was relevent.

But it gets in some good jokes, and the some of the best parts may be in the trailer, but there's some good filler. Wait for the DVD on this one, though.

It's safe, it's harmless, good for the whole family. But seriously, what's the deal with Jayma Mays' eyes, they take up like half her face?


Last Chance Harvey

3.5 Stars

You know... Joel put it best: "Romantic comedies tend to never really be romantic. Or comedic." I agree with that sentiment (that and they aren't geared towards the demographic I am a part of), so I stay away from the usual effor that is put forth in the genre. But this one piqued my interest, due to the leads. Dustin Hoffman and Emma Thompson. Both of whom I am a fan. And both are interesting choices as romantic leads. In 2009. Hoffman, yeah, sure, about 40 years ago. Thompson, about 25 ago.

And it works. I count the two amongst my favourites in their respective genders, and they are on top of their game. The film isn't nearly their best work, but it's good. It doesn't have to break the wall down to be good.

Hoffman's titular Harvey, a New York jingle composer, travels to London for his daughter's wedding, only to find out his daughter wants her step father (James Brolin) to walk her down the aisle. Hoffman makes a hasty departure for the airport to get back for a big meeting with a client, only to be informed en route that he's been fired. He connects with Thompson's Kate in an airport bar, and the two commiserate over drinks, and they begin an unorthodox romance.

And with his spirits renewed, Harvey returns to his daughter's reception with Kate. And with nothing to go home to, decides to stay in London for a while.

It speaks to the dis-heartened souls, who are frustrated with life. That something will come along to bring them out of a rut. It's not holding a rosey coloured lens to the world, and giving the Disney ending of a story, but it is providing a good, happy ending, with out the overly sweet sentimentality.

Think of it as Diet Disney.

My Bloody Valentine 3D

3 Stars

I entered this movie the same way I entered watching Zombie Strippers- very low expectations. It's a cheesy slasher flick, a modern one at that. Think of the last time a really good horror movie was released. Saw. The first one. After that... I got nothing. And slasher flicks? That sub-genre hasn't been good since Scream effectively satirized it to death 13 years ago (I'll do a post soon about my feelings on Scream soon, but I do love it).

But you know what? If you enter it with your expectations set at "Good way to kill an hour and a half" and nothing more, then you will have an enjoyable time.

One year after a crazed miner went on a killing spree following the collapse of the mine, he awakens from his coma to go on another killing spree, and is killed in another mine collapse, in the same mine. Then 10 years later, when the son of the mine owner (and cause of the original collapse) returns to town, the killings by a masked miner start again. Suspicians abound as to who could be causing it. But think about it, the ending isn't as shocking as perhaps they want it to be.

It's a good slasher flick. A nice throw back to the slasher hey day of the of 1980's. Unfortunately is missing the thinly veiled social commentary that Elm Street, Halloween and Friday The 13th had. Lots of gratuitous violence, gore and nudity, all in one neatly wrapped 3D package. You don't get that much these days.

The performances... well they sucked. Little to no actual character there. Just brooding angst, nuttiness, faux heroics and the obligatory stupid whore. I went with Joel and his fiancee Fawn (who watched the film through her fingers), but Joel commented about halfway through that WB/CW mainstay Jensen Ackles clearly graduated from the Keanu Reeves School of Acting.

What made this movie was the kitschy nostalgia of 3D horror. And that's really all the film has going for it. I give it higher marks for not having too many scenes that are obviously only in existence to flex the 3D muscle.

So if you like horror movies... go for the 3D, stay for the... 3D. I can't wait for the sequel that they will most likely make.

Valkyrie/The Curious Case of Benjamin Button

Valkyrie

3.5 stars

Valkyrie is the tale of how Tom Cruise and Eddie Izzard traveled through time to kill Hitler. Ok... it's not, but that would have been a way funnier movie. But Valkyrie is the story of the final of 15 separate plots to assassinate Das Fuhrer. And while I'm glad they didn't make it funny (good luck making Hitler funny, it's not easy, just check this very short lived British sitcom). But Cruise and company made a damn compelling film.

Cruise (War of the Worlds, Scientology) portrays German Colonel Claus von Stauffenberg, mastermind of the Valkyrie plan. The original Valkyrie plan was a government restructuring plan to be implemented in the event of Hitler's death. After climbing the ranks of Germany's military, Stauffenberg is able to redraft it so he and his cohorts would be in charge, effectively putting an end to Hitler's Germany. The film follows the path from development to failed execution, and the risks each men take to see it through to the finish.

The first thing that piqued my interest in this project was the amazing cast assembeled. In addition to Cruise's strong performance, we also get magnificent work from Kenneth Branagh (Hamlet), Bill Nighy (Shaun of the Dead), Tom Wilkinson (RocknRolla), Terrence Stamp (Get Smart) and Izzard (Ocean's 13). While Cruise puts forth a great performance, the movie would be nothing without the supporting cast.

I kind of want to ask director Bryan Singer what his fascination with Nazi Germany is. First he did Apt Pupil, about an ex-Nazi. Then X-Men, with Magneto being a holocaust survivor. Now Valkyrie. Not that it's led him astray. He's just like.... the poor man's Spielberg (and to further that connection, Spielberg was listed as a producer on NBC's ER a full 10 years prior to Singer being listed as a producer on FOX's House, MD).

But all that aside... he does a great job with the material. My main worry about this film going in was the direction. Singer could have dragged it out, run all sorts of circles around himself before he got to the point. But no. He kept the movie tight, and pace on a nice easy flow. It kicks right off with Stauffenberg being unhappy with Hitler's vision for Germany, jumps to the plot to kill him, and doesn't stop till the conspirators are rounded up and executed. It's a very well paced thriller.

As far as historical political thrillers go, I would count this one on par with All The Presidents Men and JFK. Only... with Hitler.

Hey you know who else was in this movie.... nevermind.

The Curious Case of Benjamin Button

4 stars

Sometimes a 3 hour movie is overly long on time and overly short on actual reason for being 3 damn hours long. Benjamin Button is not like that. It's a thoroughly engrossing story that keeps you in the moment and in the story for the entire run time. Brad Pitt and Cate Blanchett have never been better.

Benjamin Button is a man born old. I don't mean he's mature for his age. He was literally born an 80 year old man, and is aging backwards. After his parents abandon him at a New Orleans retirement home, Benjamin (Pitt) quickly bonds with the home's residents and the caretakers (Taraji P. Henson and Mahershalalhashbaz Ali) become his adopted parents. We get to watch him live his life... backwards. From a young-old man to an old-young man, and how his reverse aging affects his personal and professional life. He has affairs with much older women, he travels the world. But he always comes back to his one true love, Daisy (Blanchett), who has grown up (normally) alongside Benjamin.

In my opinion, Pitt (Snatch) is one of the most under-estimated actors of this generation. When looking not just at his body of work, but his performances in those films, you really can't deny that he really is a damn fine actor, if not one of the best working right now. And this role as Button is another highlight in his career. He brings a subtlety, and a warmth to the character that I think we may have lost with some other actors.

And Blanchett (Babel) continues her reign as one of the best actresses in Hollywood. There's a charm, and grace she brings to the film.

Director David Fincher (Se7en, Fight Club) continues to bend your mind with his bold look at interesting stories. What I like about Fincher's take on the story, is that he forces the audience to accept that Button ages backwards without explanation, by himself accepting it without explanation. A lesser director would have attempted a half assed explanation, or try to give some big grand explanation that ends up seeming ludicrous and taking you completely out of the story. But by diving into the story, we're pulled along with him into it, and I ultimately didn't care that I didn't know why he aged backwards.

For an engaging life story, that's light fun, but great story, definitly check out this flick.

Marley & Me/The Spirit, plus a rundown

Brodie Fanns!

I've been away, here's a rundown of the movies I've seen recently and not given full reviews.

Yes Man- 3.5 stars
Seven Pounds - 2.5 stars
The Day The Earth Stood Still - 2 stars
Zack and Miri Make a Porno - 4.5 stars
Saw V - 2.5 Stars
RocknRolla- 3.5 stars
Twilight - 3 stars
Four Christmases - 2.5 stars
Australia - 3.5 stars
Transporter 3 - 3 stars
Punisher: War Zone - 3 stars
Nothing Like The Holidays - 4 stars

And now onto the reviews:

The Spirit

2 Stars

Comic book movies really came into their own as a legitimate genre this year with impressive critical and box office results from both Iron Man and The Dark Knight. But if there was one movie that could undo all the positive press those two did over the summer, it would have to be this years last entry of the genre, Frank Miller's adaptation of Will Eisner's The Spirit.

The Spirit is the tale of rookie cop Denny Colt (Gabriel Macht) who is gunned down in the line of duty, only to rise from the grave (due to a medical experiment), only now he's invincible. In order to truely rid Central City of the despicable criminal element, primarily from The Octopus (Samuel L. Jackson), he dons a mask, coat and hat to become The Spirit, with only Police Commissioner Dolan (Dan Lauria) knowing his true identity. As the Spirit works to clean up Central City's streets, he has passionate love affairs with nearly every woman he meets, including his childhood sweetheart Sand Saref (Eva Mendes), his ex-fiancee Ellen (Sarah Paulson) and even having a grand old time with Octopus croonie Plaster of Paris (Paz Vega). Even the angel of death (Jamie King) seems to have a thing for the Spirit.

It's a hype-noirish tale in the fashion of Miller's own Sin City, but more like a watered down, store brand version of Sin City. The comparisons are unfortunately inescapable. Eisner and Miller were contemporaries and friends (Eisner passed away 4 years ago). Miller created Sin City, Eisner, The Spirit (not at the same time, just giving you some background on the two). Here's where I must call on the comparison of the two cinematic treatments. Miller was credited as a co-director on Sin City, but after watching this, it's clear he took on a more advisory role, as Robert Rodriguez handled the actual execution of the craft. Rodriguez has had 10 years to work on his craft and warrented the visual experimentation he utilized on Sin City. And he created a beautiful piece of work.

For Miller, it seemed like he may have picked up a few things from Rodriguez, and when he got to helm his own film, at every turn he must have been thinking, "Well, that's what Robert did..." But he never took the time to figure out why Rodriguez did what he did in his film. There was a reason for everything. Miller was just looking to follow suit. I hate to say this, because Miller is a legend in his field and I truely admire him as a graphic novelist, but it was reminiscent of late 90's punk bands, the bands that sprung up from the ashes of the true 80's punk bands. They were copying the sound, but not the emotion.

And the script he wrote wasn't much better. The dialog, while with full intention of calling back to the days when the comic was written and set, seemed cheesy and full of camp. The actors struggled with it, though oddly, the only one who seemed at home was Lauria (The Wonder Years).

And that does bring us to the performances. They weren't on a whole terrible. Just... not very good. Almost indifferent I suppose. I think Macht (Because I Said So) was looking to challenge himself with a different sort of role, but it fell flat. As did Mendes (We Own the Night) and Scarlett Johansson (Lost In Translation). Though Samuel L. Jackson, who is such a character in his own right, was able to rise above the material. Barely, as by my count he was only able to track a 20% success rate with his lines and actions in this film, but that's still better than anyone else.

Sin City, this is not. Hell, it's not even Spider-man 3. But fanboys may find it enjoyable. I like graphic novels, including the source book, but still found it hard to get into the movie. If you are looking for quality comic to film adaptations, re-watch The Dark Knight on DVD, or till April for Watchmen to come out.






Marley & Me



4 stars

When I originally presented this review on-air, I used three words I never thought I'd ever use for a film starring Jennifer Aniston AND Owen Wilson: emotional, evocative, effective. Ok, maybe Wilson, because he's at least got some indie cred... but not Aniston. But they all work for Marley & Me.

Marley & Me is based on the bestselling memoir by John Grogan about his rascal of a dog, named Marley. Wilson plays Grogan, Aniston his wife, Jennifer. It follows their marriage, with the life of the dog as a plot template. As the dog grows up with the Grogan's, their marriage grows. Grogan turns his life experiences as a young husband, dog owner, his subsequent fatherhood into fuel for his journalism career. It all culminates in an ending you know is coming, but is none the less effective, which is about all I can say without completely giving away the ending.

What makes this movie work, is the typecasting the two leads have built for themselves over the years, and the chemistry they create together. Wilson (Wedding Crashers) tends to come across as a directionless slacker, with Aniston (The Break-Up) as the neurotic love interest. But on this, the character types clash, and it works. I wouldn't call the Grogan character a directionless slacker, but Wilson still brings a hint of that attitude to the character. The characters are almost written to their respective strengths and weaknesses. While they won't win any major awards for their work, the two are certainly better than we've seen them in a while (if at all).

But the real accolade goes to Eric Dane (Grey's Anatomy, I believe they call him McSteamy, not that I watch the show or anything), who was Grogan's friend Sebastian. The character, and Dane's portrayal of him, is a not to subtle, but not to obvious counter to Grogan. While Grogan's dealing with married life, and the drudgery of his starter articles at the newspaper they work at, Sebastian is dating woman after woman, and jetting to Colombia to write articles on drug kingpins. And that foil continues through the entire film. Dane perfectly plays the guy Grogan wishes he could be, but also is glad he isn't.

And that brings us to what I have yet to talk about. Marley. The dog. This isn't a typical family film about a dog. I view it as a love story. Between a family and their dog. And that's what it is. The dog loves the family. The family loves the dog. And it's about the life they share together. And it's beautiful.

I'm not ashamed one bit to admit this movie made me cry. It has joined the ranks of Field of Dreams and The Green Mile as one of the few movies to make me cry. But it's that good, and that effective.

Coming soon... Valkyrie and The Curious Case of Benjamin Button.