Back in 1999 when I first saw ads and trailers for THREE KINGS, I wasn’t expecting something so smart and fresh. It seemed like a simple heist story, but it turned out to be so much more. For me it was the film that firmly positioned George Clooney in my mind as a movie star. Having not seen FLIRTING WITH DISASTER at that time, it was my first experience with the work of director/writer David O. Russell, who was able to perfectly balance between the action, the humor and the meat of the story, while establishing a unique visual style.

Set after the ceasefire of the first Persian Gulf War, Troy Barlow (Mark Wahlberg, BOOGIE NIGHTS) discovers a map hidden in the butt of an Iraqi soldier, which leads to a bunker where millions of dollars of stolen Kuwaiti gold bullion is being hidden. While Troy plans with no-nonsense Chief Elgin (Ice Cube, BOYZ N THE HOOD) and ignorant hick Conrad Vig (Spike Jonze, director of BEING JOHN MALKOVICH) on how to get the gold, Archie Gates (Clooney, THE PERFECT STORM) hears rumors about the map. He is a sergeant major from special-forces who is about to retire and has long ago stopped caring. Outranking the others, he forces himself into their plans, which if they get caught, they could be court martialed for. As one might expect, their plans don’t work out perfectly, getting caught in between Iraqi soldiers and Iraqi rebel forces.

During the first Iraq War, George Bush Sr. encouraged Iraqis to start an uprising against Saddam. Believing that the U.S. would back them up, rebels rose up, to only be squashed by Iraqi soldiers when the U.S. pulled out troupes. During their heist, the soldiers meet Amir Abdulah (Cliff Curtis, ONCE WERE SOLDIERS), an Iraqi businessman who wants a free Iraq, but sees the brutality to come. Amir and his group need the Americans to help them get to a refugee camp in Iran. The irony is that the soldiers could be court martialed for doing the right thing too. In the end, the soldiers and reporters, like Adriana Cruz (Nora Dunn, TV’s SATURDAY NIGHT LIVE), begin to wonder what the war was all about. And in one scene, Iraqi soldier Captain Said (Said Taghmaoui, LA HAINE) has a good answer.

Based on a story by John Ridley, Russell crafts what appears to be an action film that turns out to be a dark satire about the war. The various soldiers represent various American impressions of the reasons for the war and of Iraqis and through their experiences of actually working with Iraqis their views change. The film challenges American motives in the Middle East, putting its soldiers in a lose-lose situation whether they do the wrong thing or do the right thing. Russell’s film has many of the conventions of an action/war picture, but with a modern warfare twist. The bleached visual style makes the whole film look like it’s been out in the desert too long — a look fitting its subject matter. Like other great dark satires, the laughs are painted with great truth and irony to the point where if we weren’t laughing, we’d be crying.

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With its big name stars and big star moments, this slick courtroom drama was good Oscar bait material for director Rob Reiner in 1992. There was no way of knowing at the time that the film would only gain weight in the future for events that couldn’t even be thought of in the early ’90s. Set at Guantanamo Bay, the crime story revolves around the death of a marine private and the possible orders that were given that might have lead to his death by the abuse of other soldiers. Aaron Sorkin’s script deals with the following of orders that are not just and a military code of conduct that has become warped. Looking back now, the film almost seems hauntingly prophetic.

Lance Cpl. Harold Dawson (Wolfgang Bodison, LITTLE BIG LEAGUE) and Private Louden Downey (James Marshall, TV’s TWIN PEAKS) have been charged with murder for the death of William Santiago (Michael DeLorenzo, ALIVE), the weakest soldier in their unit. Lt. Cdr. JoAnne Galloway (Demi Moore, ST. ELMO’S FIRE) believes the deaths were the result of a hazy ritual called Code Red, which went awry, and wants the case as a way to expose the practice. Her superiors are playing politics and decide to go with Lt. Daniel Kaffee (Tom Cruise, RISKY BUSINESS), a skilled lawyer who has never seen the inside of a courtroom because he is the master of the plea bargain. Along with researcher Lt. Sam Weinberg (Kevin Pollak, THE USUAL SUSPECTS), Kaffee and Galloway dig deeper into the case and hit nothing but stonewalls from those involved.

Dawson’s direct superior Lt. Jonathan Kendrick (Kiefer Sutherland, LOST BOYS) specifically told his men not to touch Santiago, but Dawson claims that Kendrick came to him and ordered him to give Santiago a Code Red. Kendrick is a by-the-book butt-kisser who truly believes in “unit then corps then God then country.” Col. Nathan Jessep (Jack Nicholson, ONE FLEW OVER THE CUCKOO’S NEST) is the tough-as-nails leader of the base who believes that it is his duty to train Santiago and doesn’t like any one telling him what to do. Lt. Col. Matthew Markinson (J.T. Walsh, PLEASANTVILLE) is the second-in-command and seems conflicted about what should be done, but then he disappears. Kaffee wants to find the easiest way out of the case and is surprised at how easy he gets what he wants from prosecutor Capt. Jack Ross (Kevin Bacon, FOOTLOOSE). Kaffee becomes intrigued at what is being covered up and eventually decides to try and blow the lid off the cover-up.

Quotable lines abound in this film — most notably, “You can’t handle the truth” and “I eat breakfast 300 yards from 4,000 Cubans who are trained to kill me, so don’t think for one second that you can come down here, flash a badge, and make me nervous.” Both lines are delivered in a fiery performance from Nicholson, who received one of the film’s four Oscar nominations. Just as solid and fiery is Cruise as a brilliant, commanding lawyer who knows the way things work and knows how to play the system. Moore, in one of her better performances, plays Kaffee’s opposite, an idealist who will take cases to court and draw them out on principle. The opposites pairing works and Sorkin and Reiner make the right decision to not force in a full-fledged romance between them. Along with the good work from all the previously mentioned actors there are smaller roles for: Christopher Guest (BEST IN SHOW), in a rare dramatic turn, as base doctor Stone; and Noah Wyle (TV’s E.R.) and Cuba Gooding Jr. (JERRY MCGUIRE) as corporals called to the stand.

The tight screenplay presents well-defined characters and gives them snappy, fun dialogue. There are a few padded scenes that seem they’re only present to provide “big moments” for key stars, which undercut some of the uncertainty about who is right and who is wrong. Therefore, the battle of the wills between Kaffee and Jessup bubbles to the top as the key dramatic pull, supported by the inherent suspense of whether the good guys can pull off the difficult case. It’s good to note how well Sorkin and the actors sell the final confrontation between the chief adversaries. Watch how Kaffee plays Jessup perfectly. It’s hard to believe that a lawyer needs to rely on a courtroom to win, but here it works.

As for the newfound weight the film has gained, it seems Gitmo was the perfect place to set a tale about abuse that leads to death. The military culture depicted in the film feels like a place where it wouldn’t be unusual to hear reports coming from about rampant prisoner abuse and the suspension of rights. Jessup is exactly the person who wouldn’t think twice about beating a terror suspect to a pulp if he thought for a second it might save one American life. In 1992, A FEW GOOD MEN just seemed like a good drama critiquing the alpha male attitude of the military, but now it seems to be critiquing something more insidious and disturbing.

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In his second effort as a director, Denzel Washington has now established himself as just as much a powerful force behind the camera as he is in front of it. His debut film, ANTWONE FISHER, was a surprisingly powerful film, and like that film, THE GREAT DEBATERS uses what seems like a conventional plot to actually tackle unconventional screen topics. Too often African-Americans are portrayed on TV and films as barely literate, but recent films like this one and AKEELAH AND THE BEE have brought an intelligent and inspiring portrait of African-Americans to audiences. But to pigeonhole these films as “black” stories would be undercutting their universal power, which deal with the universal power of education.

At Wiley College in Texas, poet and union organizer Melvin B. Tolson (Washington) runs the debate team with intense determination. Many students try out, but only four make the team. Tolson recruits Henry Lowe (Nate Parker, PRIDE), a well-read drifter, who has a weakness for women, booze and jazz. Samantha Booke (Jurnee Smollett, ROLL BOUNCE) transferred to Wiley specifically to try out for the team, making her the first female member. Hamilton Burgess (Jermaine Williams, FAT ALBERT) is the only returning member, who will take issue with Tolson’s politics. James Farmer Jr. (Denzel Whitaker, TRAINING DAY) is only 14, which shows in his awkward interactions with the other students. His father, Dr. James Farmer Sr. (Forest Whitaker, THE LAST KING OF SCOTLAND), is a well-respected teacher and preacher, who demands discipline from his son. As the team disposes of black schools one by one, they are invited to compete against white students, and eventually are asked to compete against national champions Harvard.

Based on a true story, some of the details of the historical record are changed for dramatic effect, but the principle is still there. In a time when lynching was common in the South, these black students accomplished an achievement at the highest levels of academia. While the film does make it easy for the Wiley students, always placing them on the “right” side of the argument, it’s the ideas that resonant. The debates stand as a time capsule to the era and even allow for pointed arguments on the other side in context to the times. This isn’t black students talking down ignorant racists, but other well-educated students, who just happen to be white.

Washington acted in the film only to help get it made, but his performance as a determined educator goes to the heart of the story. There’s one speech about the history of slave masters keeping slaves ignorant to keep them in line that is gripping and important. His young co-stars all give fine performances, handling their big speeches with gravitas. At the heart of this film, education is viewed as the great equalizer. In an American climate where the dumbing down of every aspect of culture is pervasive, this is the kind of inspiring tale we need. We see inspirational sports films roll out every year, but often a good educational film can be infinitely more uplifting. Forget the big touchdown or the last minute shot, give me more movies where learning raises underdogs to great heights, because for most people it’s more realistic than the fantasy of winning the Super Bowl.

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Batman first appeared in Detective Comics #27 in 1939, so one could say that his early beginnings sit him aside other classic pulp detectives like Philip Marlowe. Director Christopher Nolan understands this and brings it to the forefront in his latest Batman feature film, which is at least as good as BATMAN BEGINS and in many respects better. Worthy to stand along other great crime dramas, this superhero film is like HEAT; only Al Pacino’s character wears a cowl instead of perfectly coifed hair. It’s like SILENCE OF THE LAMBS; only Hannibal Lecter fancies purple handmade suits to a classy linen ensemble. As much as you might have liked them or even hated them, it quickly rids the memory of images of Jack Nicholson hamming it up in circus make-up, or Joel Schumacher adding nipples to the Batsuit. This is the film Dark Knight fans have grown up to see.

Bruce Wayne (Christian Bale, AMERICAN PSYCHO) has been keeping up his image as a trust fund playboy in public, while in private he has cleaned up the streets of Gotham City as Batman. A new DA has come to town, his name is Harvey Dent (Aaron Eckhart, THE COMPANY OF MEN), and he’s dating Bruce’s longtime love Rachel Dawes (Maggie Gyllenhaal, WORLD TRADE CENTER). Lt. James Gordon (Gary Oldman, THE PROFESSIONAL) doesn’t trust Dent, who used to work in internal affairs, but Batman sees Dent, who is determined to take down the mob, as the white knight of Gotham, the public face of hope for the city. Plaguing the city in addition to the gangsters is a ruthless bank robber dubbed the Joker (Heath Ledger, BROKEBACK MOUNTAIN), who proposes to the various factions of the mob that they pay him to kill the Batman.

Those are the outward struggles of Batman, but the inner struggles of Bruce Wayne are more complex. Rachel, who knows his secret, said that she could only be with him when Gotham didn’t need Batman anymore. With Harvey cleaning up the streets and creating hope for the people of the city, Bruce feels it could be his time to put away the costume. His dutiful butler Alfred Pennyworth (Michael Caine, SLEUTH) warns him that there could come a time when he has to stop being the hero and become the symbol of something greater. At his corporation, Lucius Fox (Morgan Freeman, MILLION DOLLAR BABY) continues to secretly develop new technology for Batman, but wonders how much power one man should be able to wield.

Bale has settled into his role as Batman, making him captivating as both personas. While Katie Holmes was adequate in BATMAN BEGINS, Gyllenhaal makes her seem like a schoolgirl masquerading as an assistant DA. But the film’s real acting comes from Eckhart and, of course, Ledger. Eckhart develops Dent as a fearless crusader of justice. However anger fuels that drive to a degree, which makes him vulnerable to breaking rules for the greater good. Bruce understands his symbolic place as the city’s defender, but Dent hasn’t learned that he represents something bigger than himself. This is where we find the corrupting force.

You’ve probably already read the hype about Heath Ledger. Well, it’s not hype. His Joker is a psychopath, motivated by causing chaos and exposing the darker side of human nature, which makes him feel more normal. He believes that most people are inherently evil and exploits that idea. Ledger’s performance is menacing and captivating. When he’s not on the screen, you eagerly await his return. It is a performance that will be imitated, and like REBEL WITHOUT A CAUSE did for James Dean, could easily make Ledger a Hollywood legend.

At nearly two and a half hours long, the epic scope of the production doesn’t get overwhelming with layer after layer of the plot unfolding in perfect secession, building complexity and intrigue. As writer, Christopher Nolan, along with his brother Jonathan and story help from David Goyer, have perfectly balanced action, plot, character and introspection. I will not attempt to rank this film among other superhero films, because it’s more than a superhero film. This isn’t for the “whop, bam, boom” crowd; it’s disturbing in content and in its visuals. This is an adult crime drama.

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Based on Scott B. Smith’s much-lauded horror novel, THE RUINS appears to be just another HOSTEL-like dead teenager film. Though it never rises to greatness, it is a solid entry within the dead teenager sub-genre. It’s a horror story that doesn’t rush into its gruesome moments, allowing use to meet its character before they start descending into madness.

Jeff (Jonathan Tucker, HOSTAGE) is a medical student who has gone on vacation to a Mexican resort with his heavy partying girlfriend Amy (Jena Malone, SAVED!), her best friend Stacy (Laura Ramsey, LORDS OF DOGTOWN) and Stacy’s boyfriend Eric (Shawn Ashmore, X-MEN). When German tourist Mathias (Joe Anderson, ACROSS THE UNIVERSE) present them with the proposition to travel to an off-the-map Mayan ruin, Jeff jumps at the chance to get some culture into their trip. However when they arrive, they encounter hostile natives, who surround them, forcing them to flee onto the summit of the ruins, where they discover why the villagers are so scared of the ancient temple.

What sets the film apart from the many films that have a similar premise is that this film is more interested in the dynamic between the four friends, rather than the visceral thrill of picking each of them off one by one. Jeff is far more reserved than the others while Amy is a free-spirit. Their opposite personalities make us wonder about their relationship and how it will survive when the goings get rough. Stacy is a paranoid person by nature and when things start getting hairy, her fears only worsen. In turn, Eric has long come to accept that his girl is paranoid, but as they say, just because you’re paranoid, doesn’t mean they aren’t after you.

All of the character nuances come from Scott Smith’s adaptation of his book. Carter Smith is an adequate director, but shoots the page. As the creatures that plague the young stars, the direction needs to be organic and Carter Smith is more mechanic, losing most of the subtext. As of writing this review, I have yet to read Scott Smith’s book, but from reliable sources, the novel delves deep into the psyche of its characters. Carter Smith only skims the surface. A perfect example of the director undermining the material is the placement of the first injured character on the ruins. They don’t want to move him, but once the threat comes, rethinking that plan might be something worth doing. This problem comes down to following the page and poorly staging it. I keep thinking back to Sam Raimi’s adaptation of Scott B. Smith’s A SIMPLE PLAN, and how that crime thriller was driven by the moral choices its characters were forced to make. THE RUINS could have been that.

Despite its weaknesses, THE RUINS does present a chilling spiral into madness. The standard set up is just that a set-up; it’s the way that it plays out and the tough choices that the characters must make that make the film chilling. While so many are ruled by plot, this one follows its characters, who act according to their well-defined nature. There are some great gruesome moments in store for the gore hounds, but they all go back to the tough choices the characters must make. THE RUINS is more than it seems, which is very, very rare in the horror genre.

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Ridley Scott’s sci-fi classic brings a film noir feel to a futuristic Earth where human-like renegade androids called replicants are hunted by blade runner assassins. However killing a replicant isn’t murder; it’s retirement. Perfectly paced for its haunting material, BLADE RUNNER is a moody detective story, but also ponders bigger issues about the meaning of life. If you knew that the day of your death was predetermined, but didn’t know the day, how would that affect the way you live your life?

Rick Deckard (Harrison Ford, INDIANA JONES) is the best blade runner around. Detective Bryant (M. Emmet Walsh, BLOOD SIMPLE) calls on his services after four top model replicants escaped an off-world site and since coming to Earth killed a police officer. Deckard is losing the taste for killing replicants, so Bryant keeps creepy detective Gaff (Edward James Olmos, STAND & DELIVER) on his tail. Meanwhile the renegade replicants, led by the military model Roy Batty (Rutger Hauer, TURKISH DELIGHT), begin searching for Eldon Tyrell (Joe Turkel, THE SHINING), the creator of the replicants. In his mission to retire Batty, Deckard visits Tyrell and meets the seductive woman Rachael (Sean Young, NO WAY OUT), who turns out to be the most advanced replicants he has ever seen. Sadly she doesn’t know she isn’t human.

A masterwork of tone, Scott crafted a world that has influenced dozens upon dozens of sci-fi films since. A dirty future that looks like an exaggerated version of the modern world, especially when it comes to over-exaggerated advertising. Scott has tinkered with the film ever since its original theatrical release was hampered with a studio-insisted voice over. Considering the film was a box office failure, but has since gained a classic status since with most fans having long forgotten the original cut, Scott’s true vision has been vindicated. Those fans are the ones that look for something more than the visceral in their sci-fi. BLADE RUNNER is a moody piece, draped in shadows. This has stayed the same across all the versions.

As for the characters, Deckard is a typical film noir, grizzled private eye. He’s manipulated by the cops, who offload their dirty work on him. He falls for a marked woman; one he’s supposed to kill. Ford makes the character a beaten man whose indifference is a hazard of the job. For a top killer, he can be awkward and vulnerable at times. His soft spot for Rachael is against everything he’s supposed to be, but I think he feels sorry for her, because it’s not her choice to be a replicant, just like his role as a blade runner has become. Depending on whether you read Deckard as human or replicant (there are supporters on both sides), the film takes on different nuances. Though Scott has declared that Deckard is a replicant in his mind, the film’s ambiguity allows viewers to make up their own mind, giving the film different readings.

As replicants get older they begin developing emotions, which makes them dangerous. They begin wanting respect. Born fully-grown, Roy Batty is nearing his termination date and like a bitter terminal patient lashes out against God for the bum wrap. In his case, God is Eldon Tyrell, a man who likes to play God. Hauer’s “villain” is one of the most unique in film history, because we develop such sympathy with a character whom we should be scared of.

This sad tale deals with the grandest issue of all — life and death. More specifically, it deals with the quality of life and the mark that we leave behind. If our life at the end amounts to our memories, what was our life worth if there is no one to be a witness to our lives, or even worse discover that part of those memories are completely false? Deckard and Rachael’s unorthodox love becomes key to this idea — life is too short to not follow your heart.

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While technology has gotten better since TOY STORY was released, it’s not easy to improve on storytelling this clever. John Lasseter’s masterpiece could have been so many things with its recognizable brands and pop culture references, but it avoids all the pitfalls of that material and crafts an innocent story about friendship and love. The franchise has become a money making machine since, but, the film isn’t about selling toys, but the joy of a toy in the hearts of a child and the joy of being that beloved toy.

TOY STORY presents the whimsical idea that toys come to life when humans are not around. Woody (Tom Hanks, BIG) is the king of the toy chest in Andy’s room. He organizes the other toys, which include the comedian Mr. Potato Head (Don Rickles), dedicated Slinky Dog (Jim Varney, ERNEST GOES TO CAMP), insecure dinosaur Rex (Wallace Shawn, THE PRINCESS BRIDE), piggy bank Hamm (John Ratzenberger, TV’s CHEERS), and the ceramic lamp Bo Beep (Annie Potts, GHOSTBUSTERS), who has a thing for Woody. It’s Andy’s birthday and he gets the new spaceman action figure Buzz Lightyear (Tim Allen, TV’s HOME IMPROVEMENT), who doesn’t believe that he’s a toy. With his fancy gadgets, Buzz quickly becomes Andy’s new favorite, leaving Woody feeling forgotten.

Buzz believes that the box he came in is his wrecked space ship. As for Woody with jealousy comes selfishness, which often leads to tragedy. Buzz and Woody end up lost at a gas station, wandering a pizza parlor similar to Chuck E. Cheese, and then into the devious hands of Andy’s next-door neighbor Sid (Erik von Detten, THE PRINCESS DIARIES), who finds great pleasure blowing up his toys and ripping off the heads of his little sister’s dolls. This all takes place right as Andy is about to move, leaving both toys in jeopardy of never seeing their owner again.

Some of the visual wow factor has worn off since its debut. Yes, textures and lighting have gotten better, and the humans characters are passable and you’ll have to forgive Spud the dog, but there is so many other details that are right. The extra piece of plastic on the Bucket of Soldiers men is one of my favorites. However, like a good independent filmmaker, Lasseter and the artists at Pixar knew their limitations and worked around them. Toys were the perfect characters for texturing that makes everything look shiny. The company had worked out many technical hurdles on the shorts before even tackling the features. TIN TOY is a clear precursor to TOY STORY. Lasseter knew when they were ready for a feature and didn’t rush in. If they had gone with the technology of TIN TOY, TOY STORY would have looked dated now. They picked the perfect technological starting point for the feature where technology didn’t get in the way of the great story.

It also helps when the acting is first rate. Lead by great voice work from Hanks and Allen, the animators breathe detailed life into Woody and Buzz. They are a classic buddy duo. Putting Woody’s leadership position in jeopardy, Buzz, with his over confidence, cluelessness and luck, makes for a perfect foil for Woody, a worrier. Watch how Woody’s arms flail around creating his excitable personality and capturing the looseness of his fabric arms. Magnificent animation. Buzz’s earnestness is so engaging because he isn’t in on the joke, which makes it much more frustrating for Woody when the other toys fall for Buzz’s charms. What poignancy when the illusion is busted for Buzz. Moments like those give real weight because Lasseter and his team make us believe in these characters and their simple universal desires.

In 2007, TOY STORY made AFI’s top 100 American films list at #99, one of only two animated films to make the list along with SNOW WHITE. (Strangely, the film only ranked #6 on the AFI’s top 10 animated films list, but that’s for another place to question.) For it’s witty screenplay it was nominated for an Academy Award, along with two nods for Randy Newman’s music and songs. Lasseter was awarded the Special Achievement Award “for the development and inspired application of techniques that have made possible the first feature-length computer-animated film.” The Golden Globes nominated it for Best Motion Picture - Comedy/Musical. It was added to the National Film Registry in 2005. These accolades only define its place in history. They don’t capture the magic of watching this film. If you haven’t seen it for a while, watch it again. It’s the kind of film — that with a little distance from each viewing — can blow you away each time you watch it. That’s what true classics do; they live on forever no matter how cinema or the world has changed.

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Almost 10 years after bursting onto the feature film scene with BOYS DON’T CRY, Kimberly Peirce returns with an Iraq War drama that survives some plot contrivances with very well observed complex characters. As the title suggests, the film deals with the military policy of stop-loss, where soldiers can be reassigned to duty after their term of service is up. Nearly 81,000 Iraq War soldiers have been stop-lossed, which is viewed by some as a backdoor draft that pushes our stretched military too far.

Personalizing this idea, we meet a group of soldiers in Iraq. Sgt. Brandon King (Ryan Phillippe, CRASH) is the strong leader of the men, who is determined to do his duty to the best of his ability. Sgt. Steve Shriver (Channing Tatum, STEP UP) is a tough soldier with a pretty girl named Michelle (Abbie Cornish, CANDY) back home. Tommy Burgess (Joseph Gordon-Levitt, BRICK) is a troubled soldier who drowns his sorrow in liquor. Rico Rodriguez (Victor Rasuk, RAISING VICTOR VARGAS) is a trash-talking private who finds the positive in every situation. After an ambush in Iraq that kills some of their squad and severely injures others, the men get a break back home in Texas. Brandon and Steve have finished their tours and look forward to starting their civilian life, however, the horrors of war have made the transition difficult. Then Brandon is stop-lossed. He strongly objects and ends up AWOL, fleeing to Washington D.C. to plead his case to a senator he knows.

The chief hindrance to the film’s success is its tidy plot. Scenes play out too conveniently and the end ties up too nicely. This saps some of the potential power from the drama, but instead of torpedoing the whole production it just amounts to some lost opportunities. What really drives this story is the characterizations. Brandon, played powerfully by Phillippe, has conflicting feelings, which are twisted by the results of war. The war has played a toll on his psyche and he has honorably done his duty, but is angered by a policy that virtually makes him a slave to the military. At first, he seems the most stable of the returning men, but the stop-loss action brings his anger to a boil. On his way to D.C., he stops to talk to the family of one of his fallen men who was stop-lossed and to see one of his wounded men in the hospital. These scenes highlight the multi-layered guilt that he has for what happened in Iraq. Making his internal struggle worse is the knowledge that his men count on him, especially his best friend Steve.

Peirce and Mark Richard’s screenplay see these characters as they are with warts and all. They’re not PC and their hostility toward Iraqis is not hidden. They went into the military with idealistic notions and have left bitter and disgruntled. Each has different reasons for staying or leaving, which are warped versions of their original good intentions. Michelle’s actions show her feelings for war clearly. In the end, Brandon is left with few options, pitted between choices that where not of his own making.

While the film traverses ground that other war films have traveled before, STOP-LOSS feels like a film for this generation. This isn’t the generation of flower power, but one of gangster rap and death metal. It’s not a military comprised of drafted, reluctant soldiers, but one of true believers. The Vietnam War shook societal changes that were already happening in America. The draft made people who wouldn’t have paid attention stand up and shout. The Iraq War allows those people to stand at a distance and let “those flag-waving people” fight the war. As the Vietnam draft did for the general public, this film argues that stop-loss is doing the same to the flag-wavers, shaking their faith.

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Guillermo del Toro, director of PAN’S LABYRINTH, brings his boundless visual imagination to another screen edition of the HELLBOY saga. Filled with fanciful creatures and whimsical silliness, del Toro nicely balances between humor and action in this fun superhero adventure. While not as fresh as the original, HELLBOY II holds its own in a summer filled with wonderful superheroic antics.

Ages ago the magical creatures of the world made a truce with humans, setting aside their indestructible golden army. They would stay in the woods while humans ruled the cities. However, as the cities spread and humans became consumed with greed, the magical creatures were pushed into the shadows. Now Prince Nuada (Luke Goss, BLADE II) wants the magical world to rule again, so he seeks the three pieces of the crown that controls the mechanical golden army made up of 70 times 70 warriors. With his robbery of the second piece of the crown and the murder of dozens of humans, the U.S. government calls in their paranormal task force of Hellboy (Ron Perlman, THE CITY OF LOST CHILDREN), Liz Sherman (Selma Blair, CRUEL INTENTIONS) and Abe Sapien (Doug Jones, PAN’S LABYRINTH).

Since the first film, Hellboy and Liz have started a relationship together, but it’s rocky. Hellboy wants everyone to love him, but Liz wants him to focus on her. Government agent Tom Manning (Jeffrey Tambor, TV’s THE LARRY SANDERS SHOW) definitely wants to keep his “freaks” secret from the public. However that doesn’t happen and Hellboy begins to see how cruel humans can be. This leads the government to install a new leader to the group — rules-oriented German ectoplasm expert Johann Krauss (voiced by FAMILY GUY’s Seth MacFarlane). Meanwhile, Princess Nuala (Anna Walton, VAMPIRE DIARY) flees with the final piece of the crown to protect humanity from her brother.

Del Toro fills HELLBOY II with more comical creations than the previous installment. His visual style is unique and captivating. Hellboy, Johann and Abe visit a troll market, which is filled with amazing creatures, one is a librarian of sorts with a small building growing from his head. Like the first film, del Toro mixes these fantasy creations with jokester material and inner struggles. Hellboy might look like a hulking demon, but he has a soft spot for kittens and drinks in the shower when his girl won’t tell him what’s wrong with her. In lesser hands, the tone would be cheesy, but del Toro sets up his world’s tone from the start and knows just how far to push it without completely spiraling into ridiculous self-parody, ala SPIDER-MAN 3.

While the sets and set pieces are bigger this time around, del Toro weaves in an interesting character story as well. Prince Nuada isn’t simply played as a power hungry villain and his final statement to Hellboy was some poignancy. Hellboy’s relationship with Liz is moved along nicely too. Abe even gets a chance at romance with Princess Nuala, even if his actions at the end open up a big plothole. But I guess love will do that to ya. And the addition of the bizarre Johann added a welcome tension point for Hellboy as well. Ultimately, what makes this film work is that it stays true to the characters we came to love in the first film. Del Toro has fun with them and so do we as a result.

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The epic Oscar-winning blockbuster that captured the hearts of teenage girls for months upon its initial release, making Leonardo DiCaprio a modern-day matinee idol. James Cameron’s passion project paid off to the tune of $1.2 billion at the worldwide box office. No film since has come close to its success. Mixing a love story with a disaster tale attracted both women and men. It’s beautiful young stars brought in the young viewers, while the historic true-life disaster tale brought in older movie watchers. It was a spectacle that truly had something for everyone.

Against an epic backdrop, the story is simple. Rose Bukater (Kate Winslet, LITTLE CHILDREN) is a 17-year-old girl engaged to the wealthy heir Cal Hockley (Billy Zane, SILVER CITY). She doesn’t love him, feeling trapped in a life that was not of her choosing. Her mother Ruth (Frances Fisher, L.A. STORY) needs her to marry rich so that their future is secure, since her husband left them with nothing but debt upon his death. In total desperation, she decides to jump off the back of the ship. But third-class passenger Jack Dawson (DiCaprio, THE DEPARTED) convinces her to rethink her decision. This begins a whirlwind romance much like Romeo and Juliet, however the sinking ship will put their happily ever after in jeopardy.

The core story on the Titanic in 1912 is bookended by a modern day treasure hunt led by Brock Lovett (Bill Paxton, TWISTER). He’s looking for a giant diamond necklace that Cal brought on board for Rose. Turns out, Rose is still alive. Played by Gloria Stuart (THE OLD DARK HOUSE), she is over 100 and recounts her experience to the men looking for the necklace.

As a spectacle, TITANIC works. The attention to details is breathtaking. It’s magnificent to watch. However, there is a reason why out of its 14 Oscar nominations and 11 wins, there was no nod for Cameron’s screenplay, it’s the weakest part of the film. The story is by the numbers all the way. The characters are one dimensional and the plot is typical with many contrived moments. From time to time its dialogue is awkwardly handled or filled with tacked on exposition. Facts about the ship are forced into scenes and characters are often asked to act against reasonable behavior just to make future “big” moments work.

The actors craft their characters the best they can. Winslet given the most depth makes Rose the most interesting character, and Stuart’s performance as the aged woman is graceful and charming. It has been rumored that DiCaprio and Cameron did not see eye to eye on how to play Jack. While DiCaprio wanted to craft a dark soul, Cameron wanted the perfect romantic lead. I guess it’s up to the viewer to decide who was right and what would have been more interesting. Kathy Bates (MISERY) also pops up and adds some sass to the proceedings as the “Unsinkable” Molly Brown. Zane does what was asked of him — create a villain the audience will love to hate. The flat bad guy only needed a mustache to twist and we would have believed he was actually a villain from a 1912 film.

Because these characters are so beloved I will set out a few examples to prove where I’m coming from. Look at the scene where Rose first comes to thank Jack and she gets upset with him asking whether she loves Cal. She blows up at him and wants to leave, but then awkwardly asks to see his drawings. The transition doesn’t play out naturally. It feels like two scenes where forged together from previous drafts. If Jack is supposed to be a loner, why give him the friend Fabrizio (Danny Nucci, WORLD TRADE CENTER), especially when the screenplay abandons him once Rose shows up? He’s not the only character to be introduced like they are important to be completely forgotten, making their fates uneventful and sometimes unintentionally humorous. Rose getting on the life boat in the first place, Cal not ripping up the picture, the real fate of the necklace etc., etc.. These are just a few moments where characters act against their nature so that plot points can hit like they should. And why is a gunfight needed to add tension when the characters are on a sinking ship?

When I think of the TITANIC I always think of Roy Ward Bard’s A NIGHT TO REMEMBER, a 1958 film about the tragic ship that peeks into the lives of various groups of characters and makes us care about each of them. That film truly captures the vastness of the tragedy, because it gives weight to more than just two star crossed lovers. It also makes us contemplate just why the sinking of the Titanic was such a landmark event. TITANIC only hints at the arrogant belief of industrial age’s invincibility, attributing it to caricatured rich men.

So it sounds like I don’t like TITANIC, but I gave it a recommendation. Why? First, because of its place in film history; over 10 years since its release that cannot be denied. But I also recommend it for all the things that it gets right. It’s entertaining in a popcorn movie way. The production value is first rate and Cameron presents his pieces well, carrying us along even past all the bumps in the road. For a film over three hours, it doesn’t feel like one. That’s an accomplishment; there are better epics that still can make you look at your watch. There are also some flares of deeper writing. The scene where Rose’s mother explains to her why she must marry Cal says a lot about the status of women in 1912. But TITANIC is worth seeing mostly because of the classic iconic romantic imagery. While they might not all be laced together naturally, there is no denying that when Rose and Jack stand on the rail at the bow of the ship that hearts can swoon for the idea of perfect love. In some ways innocence was broken the day the Titanic sank and that’s what happens to the film’s central lovers as well.

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