The Citizen Review " A man goes to the movies. A critic must be honest enough to admit that he is that man." -Robert Warshow

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Sincerely,

The Citizen Review.

B-

Jack Meriwether 8/22/2010

When I thought about seeing The Switch, I expected a smart comedy with an indie-like flair, similar to 2008's Juno or Little Miss Sunshine. Unfortunately, what I found was the same thing that many of today's comedy-dramas struggle with: finding common ground between the laughs and the serious moments. It was a sort of a modern family drama, but it was doused in this comedy atmosphere that didn't quite work.

When thinking of a movie to compare it too, 2009's Baby Mama comes to mind. Both films star two very talented actors with great on-screen chemistry and have potential to be funny and heart-warming. Both of their problem is that the comedy is realistic or tight enough to carry the dramatic real-life moments so that when those moments come along, the audience has a hard time relating to the people on screen. I will also say that The Switch is a better movie than Baby Mama, due to better writing and slightly more resonant characters.

Wally is played by Jason Bateman, the brilliant comedy actor from such hits as Juno and television's Arrested Development. Wally is a likable guy with some issues. He is neurotic, has a small case hypochondria and is in love with his best friend Kassie (Jennifer Anniston). Oh, but that last one happens all the time, right?

So Kassie wants a baby badly, but feels she doesn't need a man to do that. So what does she do but utilize the modern gift of artificial insemination. Wally is not up to this idea, feels that she might find a perfect man and find out it will be too late, but Kassie is too strong in her beliefs. Then there is a "insemination party" and that's when things get rocky. In a mixed up twist of events, Wally switches the sperm donor sample with his own. He forgets this incident, Kassie, fully pregnant, moves out of the city and to a quieter place close to family.

Many years later, Kassie moves back with her son and the three form a certain bond that can't be denied and eventually Wally's little switcheroo comes out into the open. I think you can guess what might happen in the end.

Overall, The Switch is a decent comedy-drama that is saved by the strength of the two lead actors. It has it's problems with the comedic timing and dramatic balancing, but it's a film that can be enjoyed. Just don't walk in to the theater expecting too many gut-busting laughs or well-written dialog.

B

Matthew Meriwether 8/22/2010

Recently, I've noticed that the thoughts a film conjures up in your mind are what really defines a good film from a bad film. And the more I thought about this film, the more I liked it. It has a simple plot, but it's charm sneaks up on you. I differs from an average mainstream romantic comedy because everything that happens is completely believable and real. The characters aren't total opposites. They don't hate each other on first meeting. They're long time friends. They both would do anything for the other person, and it's not a stretch to believe that these people would fall in love in real life.

Kassie and Wally are best friends and Kassie tells Wally she wants to have a baby. Wally is not on board with this idea. But a week later, she has a "pregnancy party" in a priceless scene of wit sadness and reversals of fate.

The Switch isn't simply a romantic comedy. There is more drama than the trailers suggest. But I shan't belittle the nonstop witty dialog and quirky characters. The film draws you in with the first third of the movie where the set up is formed. The rest of the movie is pure delight. Seeing these characters live and interact with each other is quite real and almost on the border of comedy of manors.

The two main characters are played wonderfully well by Anniston and Bateman. But ultimately it's Bateman who really shines in this movie. He has always played the supporting role in films but this time, he shows his chops and delivers. He is priceless at developing a character that persnickety while still being likable. And with a few dramatic scenes, he proves he's got what it takes for a lead role.

"Happy-Go-Lucky"

By Matthew Meriwether 7/30/10

Happy-Go-Lucky is an introduction to one of the most unique and genuine characters I've seen in a long time. Poppy. This is the world through Poppy's eyes. And usually, it can be quite happy. However, this isn't the most happiest film around. This film is about Happiness and how people react to happiness. And not everyone is as happy as Poppy is.

Happy-Go-Lucky doesn't really have much of a plot. Which is part of the beauty of it. It's simply looking at average situations that could happen to anyone. Because Poppy is just an ordinary person. She's a primary school teacher who shares an apartment with her best friend and rides her bike everywhere.

In the first scene, Poppy's bike has been stolen. "We didn't even get a chance to say goodbye." says Poppy to herself. She then takes up driving lessons. Her driving instructor couldn't be more opposite to Poppy. He's humorless, angry and sees the worst in people. Poppy tries to lighten him up. But it's to no avail. There's also a little romance in this movie. But like I said, there's really no plot, and trying to make one would be pointless.

Poppy is played by Sally Hawkins in one of the best performances of the decade. And yet, no Oscar nomination. When will the Academy learn? She creates this character with subtle quirks and plays her with such breathless effervescence, you just can't take your eyes off of her. Sally has played her fair share of supporting roles in other British films, but in this one, she shines. And in return, so does the movie.

You can see the greatness of the film, just by seeing the way people react to it. I was on Netflix, and saw the comments from users about the film. Almost every single one of them hated it. They said that Poppy was obnoxiously happy to everyone and even when she was in a horrible situation, she was still happy as a clam. And yes, Poppy is happy. But part of the greatness of the film is seeing how people can react to happiness. It's almost like a wake up call to America. "Hey America, lighten up!"

Happy-Go-Lucky has an ease of it's greatness. It's easy to miss. But it's there. Just seeing these real characters live and interact as normal human beings, without plot twists and chase scenes, is like a breath of fresh air. I've seen this movie countless times, and I never get tired it. I smile bigger and bigger every time I see it.

Jack says:

Matthew says:

1. Ottoman

2. Walcott

3. M79

4. Oxford Comma

5. Boston (Ladies of Cambridge)

Honorable Mentions: (in alphabetical order)

Diplomat's Son, Giving Up the Gun, Horchata, Mansard Roof, White Sky

Jack says:

1. Oxford Comma

2. M79

3. Horchata

4. Walcott

5. Ottoman

Honorable Mentions: (in alphabetical order)

Cape Cod Kwassa Kwassa, Giving Up the Gun, Mansard Roof, The Kids Don't Stand a Chance,White Sky

Sincerely,

"Paranoid Park"

By Matthew Meriwether 7/28/10

Paranoid Park is film as an art form, visually and poetically. It has a seemingly modest plot progression and is done in a modest way. But the back and forth timeline, the change in cinematography, and switch of rock music and classical music is very embracive to art in general, and it's almost exhilarating to watch a movie that's done in that manor.

The story shouldn't really be explained. The less you know about it, the better it is. The main character tells the story in his own words. In a way it's a mystery, but not the sort you're used to.

Aside from being dark and mysterious, the film also wonderfully shows an average life of a teenager. And in this case, how something not average can affect it. And it does it in a way that isn't in any way in your face, or stereotypical. It's just honest and real.

This film, although modest, is very brave and an innerly emotional experience. From the start you're intrigued, and even though it's slow moving, it keeps your interest. Some indie films are stylish, but without much to say. This is stylish, but has quite a bit to say.

"Memento"

By Jack Meriwether, 7/27/2010

Christopher Nolan is the master of the unknown, the dark and the ominous and real-life dramas that tie all these elements together. So why does his early thriller Memento not work as well as his great films like The Dark Knight, The Prestige or Inception? Let me list the ways.

The first reason is the principle character, Leonard Shelby, played by Guy Pearce. Pearce turns out a good performance, that's not the issue, the issue is that it's very difficult to find this character very likable. He, like all of Nolan's male protagonists, has issues. His was was brutally raped and murdered and he has short-term memory loss, so his situation is reset every 15 minutes or so. We'll get to that part later.

So he has issues, just like many Nolan characters, but he treats his differently. He seems almost to not care about the fact that he has short-term memory loss, which maybe comes with the territory, but maybe that's why the main character is impossible to pull off.

The other problem is with the fact-based part of this film. If Leonard Shelby says the last thing he remembers is his wife dying, then how does he remember every time his mind resets that he has short term memory loss and that he is trying to find his wife's killer? He has notes and tattoos on his body to remind him of his intent but he doesn't read these every time. So does he have selective memory loss? That seems like a gaping hole too big to ignore.

The film is also told backwards. Yes. This is merely a plot device in order to reveal the plot twist in an intriguing way. Is it completely necessary? No. It is interesting for a couple of flashbacks but I eventually found myself getting bored. I think that the twist at the end is good. It is believable and not the norm with these types of psychological thrillers.

The other good things about this film: the performances are well-done, the conversations are well thought out, the artistry is all there. But towards the end, the engine seems to loose a lot of steam and the short-term memory loss and flashback aspects get tiresome. Overall, Memento isn't Nolan's strongest film but it's interesting and unconventional and would most likely be enjoyed by most psychological thriller junkies and Chris Nolan die-hards.

"Arrested Development"

By Matthew Meriwether, 7/26/10

Arrested Development is the story of The Bluths. A very wealthy family that owns it's own real estate company. The family, however, is very greedy and uses the business as their personal piggy bank. So, Michael Bluth (the only sane one in this family) has to save this family and company from falling apart (or perhaps he's too late).

Comparing Arrested Development to any other comedy show on television is a sad, sad one. If you watch a comedy show today, you'll laugh every now and then (it is a comedy show), but when you watch Arrested Development, you laugh the entire show. There isn't plot, plot, plot with a joke here and there. Every second is a laughable moment. There isn't a moment in this show that isn't hilarious.

The show has a fairly large cast, but unlike other shows with large casts, there is almost no supporting cast. Every character shines in every episode. And to put them together in one family, is just about the most dysfunctional family of all time. They're all weird, and the more weird they get, the funnier they are.

The writing, of course, to a show is crucial. And the writing in Arrested Development is so good, that any improvisational actor would just read from the script instead of coming up with something else. In fact, that's exactly what happened. This show was meant to be 50% improv, but when the actors read the script, they just read from it directly. Each one is extremely well plotted, and each one is very dense with humor.

As well as being hilarious, Arrested Development is also great because of how original and innovative it was. It was the first single camera set-up for a comedy show. The sitcoms before this, were the ones with fake sets, multi-cameras and an audience. Having a single camera set-up allows for the show to be more cinematic, and cut to different scenes liberally for more comedic opportunities.

But this great show didn't last forever. It ended sadly with three seasons due to low ratings. Which makes me seriously question American television viewers. Arrested Development didn't make a single bad episode, and each one far greater than any show on today.

"The Red Shoes"

By Jack Meriwether 7/25/10

Upon viewing The Red Shoes, one can't help but get swept up in the large-scale grandeur of the film. It is dark, romantic, funny, eye-popping and also obscure at times. As Roger Ebert says in his Great Movie review, "You don't watch it, you bathe in it."

This film can fool you. In the beginning, The Red Shoes may seem like a charming but seemingly underachieving "backstage drama". But it's far from that. As you peer into it, you see it's whole other side. It's a film that has many beautiful images and moments and one that captures it's actors so very well. Moira Shearer, a ballerina-turned-actress, is ravishingly red-headed in this film. Could it be one of the greatest casting jobs in film history? She's a fierce talent: she acts well, she dances beautifully and her red hair emanates the idea of the red shoes.

The film is all about Boris Lermontov (Anton Walbrook), the fierce and vibrant ballet impresario, trying turn Victoria Page (Shearer) into a ballet sensation and the baggage that comes along with that. It's also about the love between Miss Page and the fledgling composer/conductor Julian Craster (Marius Golding), and how Lermontov will have none of it.

There are many elements that make this film great. One is the stunning art direction. There is a twenty-minute long ballet sequence within the film. The ballet is The Red Shoes, based upon the Hans Christian Anderson story, written in the film by Julian Craster; the amazing thing is that they actually wrote a ballet for the film. The sequence is filmed in a frenzied, dream-like way which captures the spirit of the film: it is beautiful and simple but also dark and enigmatic.

The other element is the casting of Anton Walbrook as Lermontov, the layered impresario. His character is the central role of the film. On the outside he seems harsh and iron-willed, which he his; but as Victoria and Julian get to know him better, they see that he is more than that. He truly loves the ballet and will do anything to make it great.

The ending is certainly drastic and over the top, but for this film, a simple ending would have been completely wrong. In the end, Victoria has a choice to make and either way she chooses, she will be unhappy. The film can't simply end with her heart broken, it has to shatter everything to pieces, which it more or less does. The film is told as a modern fairy tale with a tragic ending. If you pay close attention, you'll see that the storyline of the ballet The Red Shoes repeats itself in the film so the ending is inevitable. You'll have to see what that ending is for yourself.

The Red Shoes is the quintessential film about ballet, just like Singin' in the Rain was for the film industry. It is grand, spectacular, mind-bending and just plain startling to behold.

"Inception"

by Matthew Meriwether 7/24/10

Describing a film like Inception is kind of like explaining an undiscovered country. And that's exactly what it is. Undiscovered territory for film. Nolan has created a concept and a story that is completely original in every aspect. And watching it for the first time is like a breath of fresh air.

No matter how anyone tries to explain the ideas behind this film, it will only make you more confused. Only the film itself can tell it, and quite wonderfully if I might add. And that is what it does for about the first fourth of the film. It explains the ideas, and rules of this thing called extraction and inception. But it never seems like it's just explaining to us.

Once this "inception" actually begins to unfold, it's quite exhilarating to watch. The deeper you get into these dreams, the more absorbed you are in this world. I can't really go into depth about this film without giving anything away. It's the kind of movie you need to discuss with someone right away.

It took Nolan about ten years to write the script. And it shows. The story and plot is completely new and intricate. New layers, secrets and ideas come through throughout the film. And by the end of it, when the screen goes black and the lights come up, you sit there in awe of what you just saw.

"Salt"

by Jack Meriwether 7/23/10

With Salt, Phillip Noyce's more than just a little over the top jolt ride, we have even more proof that Angelina Jolie is everyone's favorite superwoman. If maybe you are that moviegoer who shies away from big blockbusters with titles like "Salt", who is also tired of nearly falling asleep to a dozen "art" films, Salt may be the perfect punch of flavor to wake you up a tad.

The film stars Angelina Jolie as Evelyn Salt, an American CIA agent, married to a loving German scientist, with a mysterious past. She's accused of being a Russian spy, which she isn't, which she is, then isn't all over again. Let's not fret too much over the story of this movie because it's not really about that. Salt is a well-made film that knows it's place in it's genre and uses the idiosyncrasies of said genre to give you one heck of a motion picture. We find the silky-haired action dame falling onto speeding trucks, dashing bullets, altering her appearance not only by hair color but as well as gender, use liquor bottles as deadly weapons, and looking slick good doing so. I got a special feeling watching Jolie beat the bad guys and deliver clever lines, she had the air of a classy actress who knew what she was doing.

The film eventually takes Evelyn Salt to the secret corridor in the White House where the President goes to be safe from the bad guys, nice try Chief of State. She is bloodied, beaten-up, bruised and still willing to konk her way out of a moving helicopter into icy water. I won't tell you whether or not she was doing this to be a good guy or a bad guy. We'll let this film have some sort of mystery.

Yes of course there a major, stun-gunner plot twists and all-out action sequences, and it's these ridiculously realized elements along with the charisma of a truly good actress that make Salt a good film to see in theaters this summer.

Overall grade: A-

Matthew Says: A-

Well, Pixar just can't let go. Toy Story was their first film, and arguably their most acclaimed film, giving them the success they now have today. And the story continues with a third and probably final chapter that will be welcomed well among the other two.

Andy is going to college, and the toys haven't been played with in years. The toys decide they will go in the attic and wait until (possibly) Andy has children of his own. Until then, they will still all be together. Not everyone is on board with this plan, but Woody wants to be loyal to Andy. However, fate has other plans. They eventually (after a series of events) get placed in a donation box for Sunnyside Daycare. They think it will be a dream come true, but later realize it's their worst nightmare. And soon enough, it's escape time!

This movie truly has everything. Adventure, wit, horror, and sadness. By the end of it, I had laughed, cried, been scared and held at the edge of my seat.

The movie picks up right where it left breathlessly. It's as if the story wasn't managed or adjusted by people or companies, but just continued on by itself. But the true power of this movie lies in it's true, ironic human quality. It shows the most endearing, dark and emotional parts of humans throughout the movie. And by the end, you just feel so moved by these toys that have showed you these things. They are saying goodbye to Andy, but really we are saying goodbye to them. And a sad farewell it is.

Jack says: A-

Everyone loves Pixar, just admit it. The storytellers and animators at work behind those doors have the ability to move us in a way that no other production company does with its movies. Ever since their first release, a movie called Toy Story, they have set their own little standard for comedy, adventure, animation and heartfelt storytelling. Their newest release has toys moving us from the edge of our seats, to fits of laughter and eventually to tears. Only Pixar can do this.

The third and most likely last installment in the Toy Story franchise has just been released and it manages to pack it all in. It opens with the beautifully familiar cast of toys griping over the fact that Andy, their devoted owner, is all grown up and moving away to college later that week. They are all discouraged and Woody, their faithful leader, tells them not to worry. Panic once again arises when they find out that they are likely to be thrown away when Andy does leave. This hurts the gang, how could their lifelong pal, Andy, abandon them like this? This sets off a roller coaster and thrills and chase sequences and mad escape scenes, just like we know Toy Story to do.

Like I said, Toy Story 3 has the ability to move the viewer. When Andy is looking at his old toys with trepidation and longing, wondering whether to throw them out, we feel heartache. When the gang is about to be devoured by evil flames, we are truly scared and wonder about their fate. When the final scenes play out, we feel sadness and comfort as well.

The film has the ability to reach such heights because it tells a story we can all relate to, or feel we could. We've literally grown up with these characters in real time. Pixar didn't skip around with its film's timeline. When the film opens up eleven years later, eleven years really have passed. Maybe we think about how much we've changed since we last saw Woody and Buzz. So we feel a certain familial tie to the characters. As we see Andy grown up and ready for college, it makes us sad too. It's also affecting on the viewers side because we all feel that Toy Story is finally ending, it's poignant on many levels .

Toy Story 3 has a common life theme: change. Change with the familiarity of life. Change from the 'good old days' when you were played with. Its theme is also feeling loved. It is said often in this movie that all the toys want is to be played with. The antagonist in the story is shown being deeply, psychologically affected by feeling unloved. The film shows us what happens when we feel unnecessary. The same can be said of humans, all we want is to be loved. It's the deepest desire of our hearts. But Toy Story 3 also teaches us that we not only want to be played with, but we want to be played with by the people who matter.

Sincerely,

10. Howl's Moving Castle

9. Ponyo

8. Sita Sings the Blues

7. Persepolis

6. Fantastic Mr. Fox

5. Ratatouille

4. Wall-E

3. Finding Nemo

2. The Polar Express

1. Spirited Away

Matthew says: A

Wild at Heart can only be summed up by a great line said by Laura Dern in the film, "This whole world is wild at heart and weird on top." Such is the movie. At the core of the movie, is a wild, free spirit, having fun. And on the top, a weird, puzzling, visually striking film.

The film is technically a "road movie" but really, it's a romance. There's humor, violence, fantasy, crime, but essentially the wild, passionate love between Sailor and Lula is what carries this film. At the begging of the movie, Sailor is just getting out of jail, and Lula runs away from her strict, crazy mother to be with him. Together, they hit the road in search of God knows what. On the way, they run into all sorts of strange, dangerous events that act as foreshadow and warning.

Wild at Heart would not be what it is without it's striking visual style. There are several Wizard of Oz allusions. And, in a way, the film is sort of a messed-up re-telling of that story. The way to go into seeing this film is with an open mind. A mind for a wild plot, weird twists and a great movie.

Should win- Avatar

Will win- The Hurt Locker

Should win- Collin Firth

Will win- Jeff Bridges

Should win- Gabourey Sidibe

Will win- Sandra Bullock

Should win- Christoph Waltz

Will win- Christoph Waltz

Should win- Mo'Nique

Will win- Mo'Nique

Should win- Kathryn Bigelow

Will win- Kathryn Bigelow

Should win- Up

Will win- Up

Should win- The Cove

Will win- The Cove

Should win- The White Ribbon

Will win- The White Ribbon

Should win- Inglorious Basterds

Will Win- Inglorious Basterds

Should win- An Education

Will win- Up in the Air

Sincerely,

Matthew for The Citizen Review

The Academy Awards are in one week and with such little time, I would like to reflect on this year's nominees. There is much to say about some categories and very little about others. There are some upsets and some shoo-ins as well. Let's start with Best Supporting Actress.

Well actually, it's not really called Bes Supporting Actress this year. Nope, in my mind this category is owned and dominated by Mo'Nique as Mary Jones in Precious. It's been this way for a long time. No, I have not seen the film but one does not need to see the whole film to understand the power, the villainy and the conviction of Mo'Nique's performance.

If any one else wins the Oscar for Best Supporting Actress, it will not only be an upset, it will be unfair. The rest of the actresses in this category just look better by having Mo'Nique amongst them.

Next, the Best Actress category. This one is less simple and straightforward. There are two nominees that completely deserve the Oscar. There are two others that don't deserve it. And then there's Helen Mirren, sorry Helen.

Gabourey Sidibe for Precious and Carrey Mulligan for An Education deserve the award, but neither of them has any chance of really winning. However Meryl Streep for Julie & Julia (whom I love, but she doesn't deserve it) and Sandra Bullock for The Blind Side are both the current contenders for Oscar gold. This is ridiculous. It is so obvious that Carey Mulligan (a resurrected Audrey Hepburn) and Gabourey Sidibe (a dramatic force of nature on and off screen) have the best performances of the year.

Very rarely do I feel so strongly about two actresses but these two women deserve the award, either one of them. Now, Meryl Streep is obviously an amazing actress, probably the best actress alive but Julie & Julia is not her best performance nor the best performance of the year. It's a shame that she was nominated so many other times for so many other great movie and Julie & Julia had to be the won to win her another Oscar (um...Doubt?)

Sandra Bullock is another very talented artist. She has been in some other good roles and has proved herself worthy of a nomination. But for The Blind Side? The sappy, predictable, cheap feel-good movie? No. It wasn't a bad performance, it was very good. But she doesn't deserve an Oscar. It's a complete sham that the Academy would recognize these performances from these actress from so many other good ones they've had over the other two nominated. It's criminal.

So who will win? My money is on Bullock. She won the Golden Globe and her 'Oscar-winning campaign' is too revved up to be denied. I have a small, microscopic, infinitesimal hope that either Sidibe or Mulligan will get the Oscar this coming Sunday.

The saddest part is that this is a worthy host of great actresses: Meryl Streep, Sandra Bullock, Helen Mirren and now these budding stars in the making. It's not a battle of worthiness, but of material.

Sincerely,

Jack for The Citizen Review

Average: A-

Jack says: A-

There isn't much I can say about Moon that doesn't give way to part of the plot's twist. What I can tell you is the good parts of this movie. Moon stars Sam Rockwell as Sam Bell, a scientist on a lunar mission that was supposed to last three years. He talks to his wife and child via video messages, but there is no live feed, only sent videos. Sam Bell only has two more weeks left on the space ship and he's going a little stir crazy with just him and an always-helpful computer named GERTY (Kevin Spacey).

Sam Rockwell delivers a dynamite performance worthy of an Oscar, but of course there was no chance of him getting nominated (thank you, Oscars). It is directed by Duncan Jones, who does an outstanding job of directing Sam in the small confines of the space ship.

Like I said, there's not much I can say about the very awesome story line without disclosing something important. The plot is thin yet complex, and a brainy masterpiece. It's the best Sci-Fi movie in years and one of the best films of 2009. It gives you the ticking-bomb factor of a man at the end of his wits and offers the mystery of outer space and makes it seems effortless. Moon will have you guessing, laughing, jumping and feeling deeply for the characters within it. Yes, even a talking computer.

Matthew says: A-

Moon is an indie science fiction film. Doesn't that seem like an oxymoron? It does seem rather impossible to make a good science fiction movie with an indie budget. But Moon pulls it off breathlessly.

The story (the most essential element of a sci-fi film) is Sam Bell is on a 3 year contract on the moon. He is doing mining of sorts there for a major science company called Lunar Industries, much like NASA. The film starts with Sam Bell (played with powerful conviction by Sam Rockwell) counting down the days until he gets to go back to earth. He has only 2 weeks left. But then, something happens.

There isn't much one can say about a film like Moon. All you can say is, just see it. It is one of the best and most interesting and thought provoking science fiction movies in a long time. I can't even remember the last time a saw a sci-fi movie that actually had me thinking the whole time. The mysterious plot, and Sam Rockwell's powerful performance keeps us on edge until the last few shots, where everything comes together.

Average Grade: A-

Jack says: A-

Going in to see Shutter Island, I expected many things from viewing the trailers. I expected a film noir-esque mystery. I expected an eerie thriller. Well for the first hour and a half, that's what I got and it was great.

The film begins with U.S. Marshalls entering Shutter Island, a remote island with an institution for the "criminally insane" as Teddy Daniels (Leonardo DiCaprio) puts it. From the get-go, things seem a little fishy to Daniels on Shutter Island and he can't figure out what happened to Rachel Solando, the supposed missing "patient". Of course, Teddy has a haunting past. Throughout the film he has remembrances of World War II, being a soldier in Nazi death camps. He also has visions, or dreams of his deceased wife Dolores, who died in a fire.

The film isn't just creepy, it oozes creepiness and emits fear. There is a dark, dark shadow cast on all of the island that makes the viewer question the morals of everything that occurs on it, even of the main protagonists. Martin Scorsese has done something very impressive with Shutter Island, he made it as if he had resurrected Alfred Hitchcock from the grave and had him direct it with him. It's that good.

The performances are also great. Leo, Mark Ruffalo, Ben Kingsley, Emily Mortimer, Patricia Clarkson and Michelle Williams all give Oscar-caliber performances. The film is also graced with great dialogue and many scenes are just Teddy and one other person talking. There is also a twist. Of course, a twist is expected from a movie like Shutter Island but this twist was beyond twisty. It doesn't just affect the main characters, it throws the whole movie you've been watching out of the water. I won't give it away but it's as if Scorsese has given us two films, something not quite pleasing but masterful.

There are great scenes in Shutter Island, some that are hard to watch. It will have you second-guessing the villains, the heroes, even yourself.

Matthew says: A-

The mysterious and eerie Shutter Island opens with a large boat slowly coming out of the fog, closer to the dark island. It's a classic, noir opening, much like the rest of the film. Shutter Island is shot with long winding shots, dark lighting and labyrinthine sets. The film draws you in with every shot.

Teddy Daniels is an FBI cop and comes to Shutter Island with his new assistant to investigate the missing case of a child murderer, played creepily by Emily Mortimer. No one knows how she escaped, it's nearly impossible to. But there's another reason why Teddy is here. Teddy has a dark past, much like most of the noir heroines.

Throughout the movie, you feel like there's something everyone knows but you. Teddy feels the same way. He continually drifts off into dark, eerie dreams, shot beautifully, but with the beautiful camera work, results in horrifying images.

Some critics complain, saying the ending wasn't worth the rest of the movie. But the rest of the movie is the mad brilliance of the final sentence. Shutter Island is a beautiful, horrifying, mysterious noir film that shouldn't be missed.

Average Grade: B-

Jack says: B-

It doesn't matter what you say to me, I will never believe that The Blind Side is Oscar-worthy in terms of Best Picture. I have finally seen the movie and I wasn't moved from my side of the fence. Did I enjoy this movie? Yes. It wasn't my favorite kind of entertainment but parts of it were worth watching.

One such aspect was the performance given by Sandra Bullock. There's no denying that Bullock is one of the finest actresses in Hollywood today, but not even her performance could save this movie which is drowning in it's cliches and drowsy montages. The worst part of this movie (aside from the lackluster, store-bought musical score) were the performances by the actors whose names weren't Sandra Bullock or Kathy Bates (yes, she snook her way into this one, too). The focal point of the story, Michael Oher, was played by Quinten Aaron and I'm sad to say it's one of the worst performances of the year.

Some of the scenes are good, but there are some scenes and montages that are just unforgivable in terms of acting caliber and believability. The movie isn't horrible but is it one of the ten best of the year? Not even close. As it remains, The Blind Side is one of the biggest outrages in Best Picture history.

Matthew says: C+

The Blind Side is a film that has been getting a lot of buzz around Christmas time, it being the inspirational film for the holiday season. That being said, this film isn't very inspirational or moving, or emotionally filled. It's one of the most emotionally empty "emotional" film I've ever seen. And that is certainly no thanks to the writer/director John Lee Hancock. Did this guy just say to read from the script and then leave the set?

I'm sure you all know the story of The Blind Side, then again, you only need to see the cover for the film, showing the black teenager and the rich white mother together, to know what this movie is about. The story is secondary to Hancock's vision for the film (or lack thereof). The only thing on his agenda is getting the audience to root for this story, no matter what it is.

One of the few good things of this movie, and without it this film would have been completely unenjoyable) is the performance of Sandra Bullock. Now, just because I said that, does not mean I think it is the best of the year. And, as you might have guessed, I certainly don't think it is one of the best pictures of the year. It is far from it.

Sandra Bullock. Best actress?

What is happening...

We're still in shock.

Sincerely,

The Citizen Review

Jack says: A-

If you ever watch a reality show on MTV, then I'm sorry. Those aren't realilty. There is one called "Taking the Stage" about teenagers at an art school in Cincinnati trying to become stars. It's not horrible but it's not very realistic. Well, Every Little Step gets everything right that TTS gets wrong. It's gritty, it's funny, personal, terribly entertaining and you can't help but get up and dance.

It follows the journey of severl actor/dancers trying out for a part in the revival of A Chorus Line, the tour de force of the 70's. It shows just how quintessential this show was and is in the lives of dancers and actors. There are parts where the director plays excerpts from the famous night where all the dancers gathered to talk about themselves. That premise alone is haunting and beautiful enough to sustain the movie.

To make things very interesting, it puts the story of the dancers struggling to get to the top in the real lives of the dancers trying to make the crucial cut.

The dancing is real, raw and out of control. The producers and directors and choreographers who worked on the original show are great to watch as well. They are true characters, especially Baayork Lee. She is the dancer from the original, playing the part that was written about her life. and she's a true force of nature, a creature of the theatre.

This film deftly moves from person to person, telling their story from callback to callback. It shows the pain and the risk that actors take when they do their job. It shows the letdowns, the happiness, the utter up-then-downness of it all. It's a documentary that is so electrifying and raw that I found myself wanting to watch it over and over again.

Matthew says: A-

Documentaries. No matter how riveting the subject sounds, the real film is rarely ever as intriguing. However, this little documentary will make you smile, cry, bite your nails in anguish, and want to leap from your seat and dance. In fact, that may be the only flaw in this film, having a sudden wish to burst out in song and dance and then realizing you can't. (I'm just speaking for myself).

Every Little Step is the story of the revival of the Broadway classic, A Chorus Line. The film goes off and on between the audition process of the revival and the history behind the original musical. The history is fascinating, and the auditions are insanely entertaining.

This movie really does make you feel deep sad emotion. With the true stories of these dancers with subtly troubled pasts. They may not seem excruciatingly horrible on paper, but as these real people tell their stories with full honesty, it's heart breaking. And then it shows these actors try to pay homage to these people and their stories, you really want them to. And in the end, seeing the finished show, after all the work put into it, you feel like a proud parent seeing their child chasing their dreams.

Jack says: C

The Lovely Bones is one of those confusing dramas where one must watch it two or three times to fully grasp or understand it's intent. Unfortunately, it's also one of those dramas where you don't want to endure it's wrath more than once.

There were parts of this film that I found enjoyable. The writing (which I hear is mostly derivitive of the Alice Sebold bestseller) was very good. Susie Salmon's monologue was poetically passive, if not slightly ambivalent. It was delicate and quietly beautiful. I thought the scenes that simply examined how the family reacted to the given situation were at times very good too. It showed how random the horrible act was, and how everything can suddenly change, and how we realize that we are so unaware. It also showed that life is so delicate and that very few things are needed for us to be alive, and how easily they can be taken away.

There were also parts that were in my opinion just unnecessary. Not unnecessary just in the aspect that they were frivolous and didn't help the story, but scenes that were probably not meant for the screen. The scene that leads up to the murder of Susie is so horrifying and taxing that I had to turn away. It wasn't exactly distasteful, it wasn't gruesome. It was subtly disturbing, but I don't think it needed to be. We all know how horrific murder is, we don't need a lesson.

The book The Lovely Bones is unread by myself but it seems like a book that doesn't translate well for screen. The scenes where she was in "the blue in-between" weren't inconsistent but they just were wrong. I don't know why. It seems like the film would have been better as a dramatic study of the family after Susie's death, and her just narrating it. But on the same token, those heaven scenes might be necessary. What I guess I'm saying is that this just can't be made into a film, at least not by Peter Jackson.

After leaving the theater, my friends and I were confused. We weren't sure whether it was good, or if we even liked it. But we were pretty sure we wouldn't want to see it again. I think we were so confused because the film was confused along with us.

Matthew says: C+

For the past 20 years or so, Woody Allen has made and released a film ever year. Perhaps this reflects on his work. Well, in any case, it certainly has in his latest release, Whatever Works.

The movie is very "Woody Allen-like" but that's basically all it is. When you watch the movie all you think is him trying to recreate his success with his previous, and better, New York set film. It's been four films since his last New York picture, and let me just say, maybe he should go back to Barcelona.

Whatever Works is the morality tale of an intelligent but has a very dark view of the world. One day he stumbles upon a teenage southern belle, comfortably residing in the dumpster by his house. She ran away from her constrained life in the south and wants a place to stay. Well, she and he get more than they bargained for when the incidentally fall in love (or something like that).

Her very southern, bible beating mother comes along and gets swept up in the mad world of New York City. Her father also drops by, and gets swept up as well.

In the end of this messy, confused tale, the only lesson I found is do "whatever works", whatever that means.

Sincerely,

Jack says: B-

In 1999's A Midsummer Night's Dream, we have a perfect example of what happens when a movie is nearly perfectly faithful to a piece of work, but changes all the wrong aspects of it.

The movie has a magical forest of great actors: Christian Bale, Dominic West, Calista Flockhart, Michelle Pfieffer, Stanley Tucci, Kevin Kline, Rupert Everett. They all have pretty good performances, considering the whole movie is in the original Shakespearian tongue. They all do their job, but it's all a mess at the same time. Another mistake was casting Anna Friel in the role of Hermia. Hermia could arguably be called the heroine of the story and she is least well-known actor. It seemed a little off.

The film is not set in Shakespearian times, but in the 19th century in Athens (it basically looks like England) which I think was the first mistake. If the film wanted it to be set in that era, I think 19th century jargon would suited the film better than the original play. It was just too confusing and clunky. If they wanted to keep the Shakespeare-speak, then it should have been set in the original date. There are bicycles, hoop skirts, parasols. It's a little over the top.

The storyline is also exactly the same as the play, which seemed to be a burden in the 'modern' setting. They should have changed it up a little if they wanted the film to communicate better to audiences. It's like it can't really decide if it wants to be a broad Shakespeare-blockbuster or a die hard period piece, for the most discriminating English scholar.

The film uses all classical music for the score, which made for some dramatic sequences that I quite enjoyed, it almost made up for the ridiculous other parts of the film.

The film can be used as an educational tool, since it follows very closely to the script. I watched the film in my Shakespeare class recently and one can basically hold the script in front of them and follow along. People who have studied Shakespeare in high school or maybe even college can appreciate the film for it's accuracies and it's beauty, for it's production value and for the merit of the performances by the supporting cast. But for those scholars out there writing their dissertation on old Billy S., it may seem like a frivolous misfire.

Sincerely,

The Citizen Review

First off, the best dramatic actress of the year was Sandra Bullock for The Blind Side. Not Gauborey Sibide in her remarkable performance in Precious. Or Carrey Mulligan in her vibrant performance in An Education. Nope. Or, let's talk about how Robert Downey Jr. won best actor, musical or comedy. The category was a little vacant. But I'd say he was the last person I would pick out of that bunch of actors. He gave his acceptance speech and I could have sworn it was the Sherlock Holmes her "portrayed" in the film. Or Iron Man. Whichever, they're pretty much interchangeable.

And, finally, let's all say it out loud. The Hangover won best film, musical or comedy. (500) Days of Summer? Nine? No.

Well, on a happier note, James Cameron won best director and best picture, drama for Avatar. And it deserved it. Hopefully these two categories will be the same in the Oscars. Meryl Streep won for best actress, musical or comedy and Jeff Bridges won best dramatic actor. Oh yes, and Mo'Nique won for best supporting actress and most dramatic speech. At least that gives us some hope that the Foreign Press wasn't smoking pot while they were choosing the winners. Some hope.

Well, the announcements for the Academy Award nominees will be aired February 2nd. We'll see what fate gives us. Or what the Academy gives us.

Sincerely,

The Citizen Review

1. Avatar

2. The White Ribbon

3. The Hurt Locker

4. Precious

5. Where the Wild Things Are

6. Up in the Air

7. (500) Days of Summer

8. Inglorious Basterds

9. A Serious Man

10. A Single Man

Colin Firth, A Single Man - WINNER

Jeff Bridges, Crazy Heart

Morgan Freeman, Invictus

Jeremy Renner, The Hurt Locker

Joseph Gordon-Levitt, (500) Days of Summer

Gabourey Sibide, Precious - WINNER

Carrey Mulligan, An Education

Meryl Streep, Julie & Julia

Zoe Saldana, Avatar

Zooey Deschanel, (500) Days of Summer

Christopher Waltz, Inglorious Basterds

Woody Harrelson- The Messenger

Matt Damon, Invictus

Stanley Tucci, The Lovely Bones

Zachery Quinto, Star Trek

Mo'Nique, Precious - WINNER

Julianne Moore, A Single Man

Anna Kendrick, Up in the Air

Penelope Cruz, Nine

Marion Cotillard, Nine

Jason Reitman, Up in the Air - WINNER

James Cameron, Avatar

Lee Daniels, Precious

Quentin Tarantino, Inglorious Basterds

Spike Jonze, Where the Wild Things Are

An Education, Nick Hornby - WINNER

(500) Days of Summer, Scott Neustadter & Michael H. Weber

Up in the Air, Jason Reitman & Sheldon Turner

Inglorious Basterds, Quentin Tarentino

Precious, Geoffrey Fletcher

Where the Wild Things Are - WINNER

Nine

The White Ribbon

Broken Embraces

A Single Man

It should be noted that these categories are listed in increasing merit. In other words the winner is first and first runner-up is listed second, etc.

Sincerely,