THE LOSS OF A TEARDROP DIAMOND

Director: Jodie Markell
Stars: Bryce Dallas Howard, Chris Evans, Will Patton, Ann-Margret, Ellen Burstyn
Year: 2008
Rating: PG-13

If you've ever seen a Tennessee Williams play, or seen a film based on his work (A Streetcar Named Desire, Cat on a Hot Tin Roof, or Suddenly, Last Summer - to name a few), you'll find lots of a familiar territory here: flighty southern belles, hunky objects of affection, hints of madness in the family lineage ... even a grim, controlling matriarch. All are present here, in the story of Fisher Willow (Bryce Dallas Howard, in a liberating and captivating performance), daughter of a wealthy Tennessee landowner hated by most of his neighbors for a past incident that caused the deaths of innocent people. Fisher's been in Paris for some time, and just arrives back in Memphis as the film opens, staying with her Aunt Cornelia (Ann-Margret, still a stunner - though not really given a lot to do here) as she prepares to be presented at all the local debutante balls for the upcoming summer.

Fisher dislikes Memphis, and the local society that frowns upon her for her father's horrible actions, but has to go through the motions that society demands - so in turn, decides to hire the son of the man who runs her father's commissary (a store on the grounds of the father's property) to escort her to all the dances. This son, Jimmy Dobyne (Chris Evans, in a nuanced, very understated performance, southern accent and all), is also the grandson of a former governor of Tennessee and could probably have a more affluent life than he's chosen - but instead, Jimmy has chosen to stay on with his father (Will Patton), to help manage the commissary but also so he can be near (and visit) his mother - who is locked away in a local institution after going mad.

Fisher, at first, sees Jimmy as only another adornment to wear to all the parties; she measure him for the proper suits, then takes him shopping and outfits him to hunky perfection until the two of them make nothing short of a stunning couple when the party rounds begin. True to form, Fisher and her handsome escort are the talk of the town - even if it is a town that also whispers nasty barbs about Fisher and her family, occasionally to the girl's face - and Fisher even manages a small scandal or two at a couple of the parties, cutting loose in a way that European living taught her, even if such things aren't done at the best of Memphis parties ...

Until one evening, when a special Halloween party has Fisher borrowing a pair of dazzling teardrop earrings from her aunt - a pair of prized beauties worth $10,000 that Aunt Cornelia is hard pressed to part with. She relents, finally, and the earrings are nothing short of stunning on Fisher; that is, until just after she and Jimmy arrive at the party, after a failed attempt by Fisher at romancing the young man at the levee, and Fisher discovers she's lost one of the immensely valuable earrings. This small incident - and the subsequent anger from Jimmy, who believes Fisher is accusing him of taking the earring - starts a chain reaction of events that has Fisher (who, herself, has done time in a mental institution years back) questioning everything from her growing love for Jimmy, to her ever being forgiven for her father's sins, to her place in a world she can't stand.

The Loss of a Teardrop Diamond features two truly exceptional performances by its leading actors. Bryce Dallas Howard, as Fisher, evokes genuine sympathy while remaining a strong woman mentally (it seems) on the verge of collapse. She's really wonderful here. Chris Evans, not only incredible to look at, shows some genuine dramatic acting skills off here, bringing the brooding, more-complex-than-you'd-think Jimmy fully to life. The other outstanding performance, by Ellen Burstyn as a dying southern belle with one final wish - a wish that only Fisher can provide - is equally moving and real, and the screenplay (written by Tennessee Williams over fifty years ago) has everything you'd expect in a Williams story.

This last point - the script - is probably why the movie comes up a bit short in the end. It's all familiar territory here, with nothing really new to make the film (which starts to falter in its second half) really stand out. It's beautifully filmed, evoking the old south (the film is set in 1923) and Memphis society to perfection, and the story (along with Bryce Dallas Howard's wonderful performance) never allows the film to lag. I wasn't one-hundred percent satisfied with the ending, but it left room for hope (of redemption, of romance, of a new life) in a way that was satisfying, if not unforgettable.

An intriguing, thoughtful film worth seeing - especially if you're a fan of either of the leads, or of Tennessee Williams - but while wholly serviceable, the film itself is simply good, rather than anything (like much of Williams' other work) that is ultimately, heartbreakingly special. *** - Reel Cool

SHERLOCK HOLMES

Director: Guy Ritchie
Stars: Robert Downey Jr., Jude Law, Rachel McAdams, Mark Strong, Eddie Marsan, Han Matheson
Year: 2009
Rating: PG-13

Like many people, I grew up weaned on the Holmes films starring Basil Rathbone as Sherlock Holmes, with Nigel Bruce as his beleaguered sidekick Dr. John H. Watson. In fourteen films these two made together for Universal, to me Rathbone personified the brilliant, fastidious, analytical, and somewhat egocentric Holmes to perfection - over and over again, as I still watch and love the films to this day. Having spent a summer in Minnesota, as young teen, even reading many of the stories Sir Arthur Conan Doyle penned about what, arguably, has come to be the most famous fictional detective in world, it's still the Holmes that Rathbone personified, for me, that has remained over the years in my memory - and still brings warmth to my heart, whenever I watch films like The Pearl of Death, Sherlock Holmes and the Spider Woman, or The Scarlet Claw.

So when the trailers started appearing, last year, for Guy Ritchie's film version of the master detective's story - complete with Robert Downey Jr. in the titular role - at first I was downright irritated by the appeared to be the humor element in the film's trailers. Mind you, Without a Clue - the 1988 comedy featuring Ben Kingsley as the brilliant Dr. Watson, who hires an inept and drunken stage actor (Michael Caine) to play Holmes when his stories about the fictional detective grow so popular, he has no choice but to produce the man himself - is also a favorite of mine, and a very funny film.

But that film was marketed as an over-the-top comedy, whereas Ritchie's Holmes was supposed to stick more closely to the original character; to be a true rendering of the character for the new age, so to speak. The scene in the trailer, where Downey is nude and handcuffed to a bed (shocking the hell out of a poor, unsuspecting chambermaid who enters the room), seemed to me the biggest insult of all to Holmes, and at first I was determined to not even see the film.

What all this build-up is leading to is one simple thing: a humble apology. Because Sherlock Holmes is a film imbued with energy, drama, action, adventure, suspense, fun ... and a true love for the original character, AS created by Sir Arthur Conan Doyle and played to perfection by an astonishing Robert Downey Jr.

Set in a Victorian London rendered beautifully by Ritchie, the story and mood of the film is set immediately by an action-packed opening scene that has Holmes, Watson and the police finally capturing the infamous Lord Blackwood (in a perfectly menacing performance by Mark Strong), a murderer and practitioner of the occult who, before being hanged for his crimes, promises Holmes he will not only come back to life and pursue his crime spree ... but will also enact a scheme that will forever change the world, and bend it to his will. He warns Holmes that death will only be the beginning for him, and the end for society as it stands now - and, sure enough, soon after Blackwood's internment his tomb is found busted open (seemingly from the inside), and the body of another is found in his casket. Blackwood, seemingly back from the dead and now unstoppable, has only to contend with the formidable team of Sherlock Holmes (Downey) and Dr. Watson (Jude Law) - who are determined to get to the bottom of things, and save all of England (and the world) from Blackwood's complex and evil plan.

The film (and especially Downey's brilliant performance) was a real reminder of the eccentricity of Holmes' character ... as written by Conan Doyle, which is the thing to remember most when watching this film. Holmes' eccentricities - his sarcasm and caustic wit, his preponderance for picking on/belittling landlady Mrs. Hudson, as well as Watson - even his penchant for fisticuffs or occasional lapse of personal hygiene; all were components of Holmes' character in the original stories and novels, and all are brought vividly and amazingly to life in what turns out to be one of the best performances of Downey's career. Similarly, Jude Law infuses Watson with a terrific, multi-layered persona that turns him into a flesh-and-blood best friend to Sherlock Holmes, even as he is sometimes barely able to tolerate Holmes, or indeed Holmes' treatment of his soon-to-be wife. Here, Watson is a fighter and hero, lover and gambler, roguish yet full of propriety. And always, always Holmes' good friend and companion.

Rachel McAdams, in an excellent supporting role, plays Irene Adler - the only woman to have ever bested Holmes, let alone play with the affections of his heart. Here Adler has her own agenda in hiring Holmes to find a man who has deep ties indeed to the Blackwood case, and the somewhat romantic yet potentially lethal relationship between Holmes and Adler is played up here in a way that both moves the story along, while at the same time providing a bit of comic relief in the middle of all the drama.

And drama we have, in what turns into a complicated and rousing thriller set in a London where the Tower Bridge is just starting construction - a setting that is used brilliantly for the final climactic scene of the film. Whether infuriating Watson, beating up a suspect, expounding his brilliant deductions based on the smallest of observed facts, or even besting Inspector Lestrade (Eddie Marsan, also excellent here), Sherlock Holmes is Guy Ritchie's love letter to the famous (and infamous) private detective - a great thriller with a complex story (complex enough, if you're not paying attention to what's going on, you might easily lose your way), wonderfully-drawn characters, brilliant action sequences ... and all of it set in a grimy, gray London perfectly rendered and brought to life. I thought I had learned, long ago, to never judge a film by its trailer - but this one's cured me of that misconception for good. Sherlock Holmes and Robert Downey Jr. are both a real treat; one of the better films I've seen lately, and truly worthy of the sequel sure to come. ****1/2 - Reel Awesome-Reel Must-See

THE LOVELY BONES

Director: Peter Jackson
Stars: Saoirse Ronan, Mark Wahlberg, Rachel Weisz, Stanley Tucci, Susan Sarandon, Michael Imperioli, Reece Ritchie, Rose McIver, Carolyn Dando
Year: 2009
Rating: PG-13

Just because of her pitch-perfect performance in Atonement, I had been wanting to see this film for Saoirse Ronan alone. Immensely talented, the girl was a marvel to watch on-screen in the above-mentioned film ... and here works at bringing another character from a popular novel to life - though ironically, the character she vividly brings to life here spends most of the film dead.

The Lovely Bones recounts the story of the short life of suburban Pennsylvania girl Susie Salmon (Ronan), who was murdered at the age of 14, in 1972, by a neighbor from up the street, George Harvey (Stanley Tucci, in an excellent, understated and fairly creepy performance) - a loner of a guy who builds dollhouses in his home, seemingly for a living. Susie knew her killer at the time she died, and after her murder spends the rest of the film watching over her killer and family from a realm that has her stuck somewhere between heaven and earth because she cannot let go of her grieving parents (Mark Wahlberg, Rachel Weisz) and alcoholic grandmother (Susan Sarandon), or the younger sister Lindsey (Rose McIver) she's left behind. Susie even keeps tabs on her killer from this otherworldly plane, watching as, after her disappearance, the years pass and Harvey seemingly gets away with her murder.

But in those years, as Susie watches and narrates the story, her disappearance has a profound effect on those she left behind. Whether the cute boy she'd been crushing on at school, Ray Singh (Reece Ritchie) - who, on the very day of her murder, Susie had finally gotten out on a date by - who cannot let go of the girl he was falling for ... to Susie's parents, and in particular her father (Wahlberg really makes the most of the material, here), whose guilt over not being able to save/protect his child eats him alive to the point where he spends months investigating the case himself ... to the strange loner-girl from Susie's school, Ruth Connors (Carolyn Dando), who actually felt and saw Susie in spirit form at the time of her death - the bulk of the film is about what happens after Susie dies, as well as Susie's experiences in dealing with this after-world she finds herself in, as well as the question of whether she will ever be free to finish her journey to heaven.

All very dramatic, and potentially a poignant and horrifying tale that will keep you glued to the edge of your seat - only in The Lovely Bones, nothing just ever seems to gel together right. There are moments of poignancy, sure, especially in scenes where Susie is attempting to communicate with her grief-stricken father from the beyond. And God knows there are few moments in the film where the suspense alone will have you biting your nails to the elbow, wanting to yell "Get out! Run! MOVE!" at the character on-screen.

But in between these wonderful moments lies a film let down by a weak script and a few ridiculous scenes featuring - among other things - character actions and motivations that don't make a lot of sense. Susan Sarandon's character, Grandma Lynn, is a lush who is seen early on in the film, but then brought back later to care for Jack Salmon (Wahlberg) and the kids when her daughter Abigail (Weisz) can no longer handle Jack's obsession with finding Susie's killer, and has to leave. When this happens, Grandma Lynn's character is actually used as a bit of comic relief in an otherwise very drama-heavy film, and it all comes off not only forced but a bit insulting to the other characters, and Susie's story. Also, the plotline of whether George Harvey's crime will ever be discovered, especially in light of the fact that it seems to not have been the only murder he's committed, is reduced in effectiveness by the constant (though quite beautiful) visits to Susie's world, which as seen through the eyes of a fourteen-year-old is quite beautiful and fun, indeed - though does little, until toward the end, to advance plot or character. Even Lindsey, Susie's sister, does something so incredibly brave toward the end of the film, in her quest to expose Susie's killer ... only to then do something totally stupid immediately after, in light of the information she's learned (sorry, I know that's confusing - but remember, no spoilers here). The film, in fact, has many moments like this, where you will have this amazing build up of suspense or drama ... only to have the scene fall flat, in an unsatisfying or even annoying way.

In short, The Lovely Bones could have been so much more than its end product, which is a bit of an emotionless mess thanks to a weak script with only the rare moment of true inspiration or beauty. The cast does great with what they have to work with, though sadly that's not enough here - and as much as you will be rooting for Susie, wanting her killer to be discovered and her family to be okay so that she can truly be free ... somehow, when a resolution of sorts is reached, it leaves you feeling hollow inside. A real shame, considering the cast, director, and much-loved source material (a novel) the film is based on. **1/2 - Reel Mediocre-Reel Cool

THE WOLFMAN

Director: Jim Johnston
Stars: Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Art Malik
Year: 2010
Rating: U/R

Whether terrifying me as a child, or making me laugh out loud - still - as an adult, when hooked up with Abbott and Costello, the monsters of Universal's classic and iconic horror films (Dracula, Frankenstein, the Wolfman and the Mummy) have very much been a part of my entire life. Whether good, bad, or indifferent, in the original stories featuring actors like Bela Lugosi, Boris Karloff, Lon Chaney and Claude Rains (or in less-worthy, but no less entertaining, sequels and spin-offs), I have literally spent decades enjoying the Universal monsters ... and hope to spend decades more as a tremendous fan.

All of which filled me with both trepidation and excitement at just the thought of Universal resurrection the Wolfman saga via an update/remake. Much as I enjoyed Van Helsing, it was a film literally crammed full of CGI and an over-the-top performance by Richard Roxburgh - not to mention a so-so storyline and plotting. That film, today, is more of a guilty pleasure of mine than a real favorite. Hearing Rick Baker - makeup effects GENIUS - had been signed on to do the film was a help ... but the real OOMPH to my wanting to actually see the film came via the casting of Benicio Del Toro as Lawrence Talbot. Del Toro is an amazing actor, long overlooked until his Oscar nomination, and his casting in the lead perked me up a hundredfold.

Which makes it even more ironic that, sadly, Del Toro's performance is one of the weaker elements of what is otherwise an enjoyable (if not very remarkable) film.

Set in the late 19th century, Del Toro stars as stage actor Lawrence Talbot, who one night after a performance of "Hamlet" is visited by the fiancee of his brother, Ben. The girl, Gwen (Emily Blunt, in a way-too-subdued, almost bland, a performance), informs Lawrence that his brother has been killed on the moors near their childhood home, torn to shreds by some sort of animal or monster. She implores Lawrence, who is about to embark on a tour with his play, to come back to his home with her, and help her to try and solve Ben's murder. Lawrence refuses at first, but in the end takes the train home ... to his father's rather creepy, rundown estate - and his even creepier, more run-down father, Sir John (Anthony Hopkins, in the kind of role the brilliant Hopkins could play with his eyes shut). Immediately, the film sets viewers up with the fact that the two men have never exactly gotten along, and in fact Sir John has seemed to always goaded or put down his son Lawrence since childhood. Lawrence, we also learn, seems to have witnessed the suicide of his mother as a child - a traumatic event that caused the boy's having to be committed to a mental institution for a time.

Regardless, Lawrence moves in to help Gwen to find Ben's killer, and clear his own mind about having justice done. And before long, as the trail of clues leads Lawrence to a local band of gypsies, that same night the creature attacks again, killing a number of people before Lawrence finds himself one-on-one with the beast ... who gets away, but not before giving Lawrence a bite to the throat that keeps the remaining Talbot son near death for days, Gwen doing all she can to keep him alive.

Lawrence not only heals, but heals FAST - too fast for the villagers, who believe a bite from the beast guarantees his transformation INTO a beast. And as the full moon grows near, Lawrence fears for both his sanity and his life ... and the lives of those around him, when the full moon finally wanes and the change begins.

Much like the American Werewolf ... films, Rick Baker here has fashioned some eye-popping special effects for Lawrence Talbot's transformation into the Wolfman. A werewolf that walks on its two hind legs or runs on all fours, depending on what is needed, is a sweet touch too, significantly unifying the man and beast aspects of the creature into one form. The action and fights scenes in the film are beautifully shot and not without their fair share of gore - but nothing, to this viewer, that wasn't out of place in showing the severity of what an out-of-control half man-half beast could do (I saw the unrated version, with 17 additional moments of footage, so am not sure if the violence was what was put back in; supposedly most of what had been edited was stuff that established the characters and storyline more solidly). The film's dark, brooding atmosphere is perfectly rendered, as are the chase scenes through the fog-enshrouded moors ... whether it's man chasing beast or the other way 'round. In fact, the film's look is spectacular; wholly believable, and one of the best reasons to watch this one, alone.

But oddly enough, Del Toro never seems to fill the shoes of Lawrence Talbot. It's too aloof and "chilly" a performance, too removed from the character to make him fully believable AS the character. It's almost too analytical a performance, one that - surprisingly enough - doesn't mar the enjoyment of the film when the Wolfman is on-screen ... even as it somehow diminishes things like plot and character and storyline when Talbot is. Emily Blunt, similarly, seems to match Del Toro in playing Gwen, her character at times almost blending into the background with the fog, while Anthony Hopkins spends the film doing what Hopkins does best in any film - which, for him, is also no stretch. Hugo Weaving, as the police inspector Abberline, shines by comparison, as always making the most of any material he's given ... while Art Malik, as Sir Henry's manservant Singh, also manages to turn a small role into something of significance on screen, well worth watching.

The Wolfman is a worthy remake/update, semi-successfully resurrecting a classic monster for the big screen. If only the human characters had been a bit more interesting, or worth caring about, in what ends up being a fairly shaky script, then Universal could have had a real modern classic on their hands. One worth calling an homage to the original, instead of just the pale imitation of a true classic. *** - Reel Cool

HANSEL AND GRETEL

Director: Pil-Sung Yim
Stars: Jeong-myeong Cheon, Shim Eun-kyung, Eun Won-jae, Ji-hee Jin, Hee-soon Park
Year: 2007
Rating: N/R
(in Korean w/English subtitles)

Atmospheric and under-your-skin spooky, Hansel and Gretel is a South Korean take on the dark fairy tale that works on many levels to induce some chills, while not overloading the senses on blood and gore. Like Pan's Labyrinth or The Orphanage, it will entertain and certainly give you the chills in places ... yet also contains a story worth telling that gives the film a deeper meaning by The End.

Jeong-myeong Cheon stars as Eun-soo, a young man driving through a dense countryside on the way to visit his mother, who is very ill. He's on his cell phone when the film opens, arguing with his girlfriend (who is evidently pregnant and wants him home), when his lack of attention to his driving causes him to have an accident that flips his car into a ditch and renders him unconscious. It's still daylight when he comes to, but Eun-soo only makes it a few steps before passing out again from his head injury.

He regains consciousness again hours later, seeing a bright light in the darkness that comes from the lantern of a young, tween girl named Young-hee (Shim Eun-kyung) dressed in a Red Riding Hood-style cape. Still dazed and sore, Eun-soo follows the girl back to her house - a very tidy, neat, picture-perfect little home buried deep in the woods, a sign reading "House of Happy Children" on its fence.

Inside, Eun-soo meets Young-hee's parents, as well as the girl's older brother Man-bok (Eun Won-jae), a brooding 13-year-old - and their younger sister, Jung-soon (Ji-hee Jin). On the surface, they all appear to be the perfect, happy family, and offer Eun-soo a place to stay overnight, as he is still recovering from the accident. Unable to get any cell phone reception to call out (he asks the parents if he could use their phone, but they tell him it's not working and should be fixed tomorrow0, Eun-soo - exhausted - agrees and fairly passes out again in an upstairs bedroom.

The next morning, greeted by the smiling family and a pair of parents who for some reason seem exceptionally nervous - almost scared - behind the grins, Eun-soo is treated to a breakfast of sweets and cakes, the children watching and mimicking his every move as he eats. He asks about a way out of the forest, or for a ride to the highway, when the father tells him this is his day off work instead directing him out of the woods on foot. Eun-soo leaves soon after, but learns quite quickly that the woods are very dense and thick, and soon he is so lost and disoriented, finding nothing even resembling a way out, that by evening he ends up back at the too-perfect little house in the woods, where he has to stay another night - after getting the father a promise to give him a ride out the next day. That night, Eun-soo overhears a mysterious and very physical fight between the parents, shattering the "Brady Bunch" perfectness they've tried to show him so far ...

And the next morning, Eun-soo awakens to three crying children, and a note from the parents asking him to please take care of their kids, as they've had to leave on some sort of an emergency.

But as another day passes with Eun-soo unable to find his way out of the forest - his guilt over leaving the children (a reminder that he has his own child on the way), soon evaporating as he realizes he is trapped in the woods, in this house ... and with a trio of children determined to never let him leave. And as the days pass, Eun-soo will learn some horrifying secrets about the House of Happy Children, and what happens to those who try to leave it ... as well as some very dark secrets about the three children who've come to call him Uncle - and who aren't quite what they seem.

Hansel and Gretel, while departing significantly from the original children's story, still ties everything into the story of these three children and their "happy" home. Director Pil-Sung Yim has shot the film beautifully, and whether what's going on on-screen is tragic or cute or suspenseful as hell, the film's look alone just sucks you in and envelops you with its bright yet sinister candy-colored moodiness. Jeong-myeong Cheon is wholly sympathetic as Eun-soo, the character the entire film relies on, and from the beginning you root for the guy and are totally on-board with his flight. The young actors playing the three children range are exceptionally talented, especially Eun Won-jae as the rage-filled Man-bok, in an amazing performance that to go on further about might end in revealing too much of the story.

Subtle yet disturbing, with a few jumpy moments and certainly enough creepiness to leave you thinking about the film long after viewing it, Hansel and Gretel is a little chiller that proves "horror" films can get under your skin a lot deeper without all the blood and gore (while I could not find an MPAA rating for the film, my guess is it would be about a PG-13, for some disturbing images and violence). If you get a chance to see it, it's a great film that evokes the true underscore of darkness that all good children's fairy tales have - only here, bumped up another notch. An effective, moody, very well-made thriller with a heart, worthy of adding to your DVD collection. ****1/2 - Reel Awesome-Reel Must-See

ALICE IN WONDERLAND

Director: Tim Burton
Stars: Mia Wasikowska, Johnny Depp, Helena Bonham Carter, Anne Hathaway, Crispin Glover
Year: 2010
Rating: PG

One thing you're guaranteed with a Tim Burton film is that, visually, it will be a stunner. No less can be said about Alice in Wonderland, and the look of the film is a real treat for the eye, whether seen in 3D or not. It's one of the best traits of the film, and even when the acting or story falls flat (which does happen, sadly), your visual sense will remain quite satisfied.

Mia Wasikowska turns in quite a good performance as Alice Kingsleigh, a young woman who, since her earliest memories, has dreamed of a land with wild characters like talking rabbits and grinning cats that can vanish ... and a rather nutty gentleman in a top hat. Now an adult of nineteen and attending a party with her mother that she soon learns is her engagement party (she's about to get a marriage proposal from a certified snob whom she's expected to accept), the world of her dreams is about to collide with reality when Alice spots a darting white rabbit - in a suit coat, no less! - on the periphery of the party, seemingly trying to get her attention.

She follows the creature, and finds the rabbit hole he's disappeared into ... which Alice summarily falls down, beginning her adventure into a wonderland, in which she will meet familiar friends from her dreams, wonder how she can get out of THIS dream - and learn of her fate: the she must fight the Jabberwocky and save Wonderland from the wicked Red Queen (Helena Bonham Carter, in a brilliant, often very funny performance), restoring the kingdom back to the woman's sister, the White Queen (Anne Hathaway).

A slew of some of the UK's best character actors, including Matt Lucas (Tweedledee/Tweedledum), Stephen Fry (Cheshire Cat), Alan Rickman (Blue Caterpillar), Michael Sheen (White Rabbit) and Timothy Spall (Bayard) voice the CGI-animated inhabitants of Wonderland - all led by Johnny Depp as Mad Hatter, whose performance in the film at times seems both spot-on, and yet highly disjointed (something he was probably going for, playing a man who IS literally mad, but at times his work in this film is still very spotty in quality) - bring the beloved characters from the mind of Lewis Carroll to life quite vividly. Helena Bonham Carter has some terrific, very funny moments with Crispin Glover, who plays her head bodyguard and boyfriend Stayne in the film. And even Anne Hathaway, looks great here as the White Queen, though overall I found her performance very one-note and dull (and what was WITH that darker-than-blood lipstick?) - though the White Queen herself is, literally, not the most colorful of characters.

But overall, in both story and character, the film is lacking something. Visually, as said, it's a stunner - and I'm actually glad I did not see the film in 3D, as I think that would have distracted me from the film's overall look, as opposed to just keeping an eye out for those 3D moments. Mia Wasikowska does a wonderful job as Alice, the young girl who ends up having to pony up her bravery to save Wonderland - but I did find Johnny Depp a bit under-developed here as Mad Hatter, and at times even found the character slightly annoying ... though, when all is said and done, you do end up on his side. Not having been a huge fan of the original Carroll novels, I can't go by what other reviewers might say regarding the great leaps and bound director Tim Burton took in changing the story and adding characters for this film adaptation - though from everything I've read, he did indeed take several liberties, some of which fans didn't appreciate.

No, all I can go by is how I enjoyed the film, and to me Alice in Wonderland most definitely has its moments of visual awe, strong performances, and an action-filled ending that did leave me satisfied. I just can't say the journey getting there was as entirely satisfying, though the film is worth a viewing just for its look alone. Not exactly at the top of the list of Burton's best work, but certainly a film that works beautifully on some levels, even if it may come up short on others. *** - Reel Cool

THE PRINCESS AND THE FROG

Directors: Ron Clements & John Musker
Stars: Anika Noni Rose, Bruno Campos, Keith David, Michael-Leon Wooley, Jennifer Cody, Jim Cummings, Peter Bartlett, Jenifer Lewis, Oprah Winfrey, Terrence Howard, John Goodman
Year: 2009
Rating: G

Best to sum up this review in three words: Welcome Back, Disney!

All love for Pixar and its lesser-quality counterparts aside, there is nothing like the wonderfully drawn, lovingly shot, and eye-popping, candy-like colors of the 2D animation that Disney exemplified in the 1990s. And while The Princess and the Frog - a wonderful and funny story set in New Orleans during the height of the jazz era - might herald the return of the 2D animation Disney does best ... the film also ushers in a new era at the same time, with its first non-Caucasian prince and princess!

Stage star Anika Noni Rose provides the voice of the adult Tiana - who, as the films opens, is a young girl whose mother Eudora (voiced by none other than Oprah Winfrey) works as a professional seamstress for many of New Orleans wealthy white families. The film starts with Eudora telling the story of "The Frog Prince" to little Tiana, and her friend Charlotte (voiced, as an adult, by Jennifer Cody), the young daughter of rich 'Big Daddy' La Bouff (John Goodman), one of Eudora's best customers. As Eudora tells the tale of the young girl who kissed a frog to change him into the prince who would become her true love, all the while working on yet another princess dress for Charlotte, the little girls find themselves wholly entranced with the tale - even as Charlotte loves the romanticized notion of the story, while Tiana is just grossed out at the idea of kissing a frog. That night, after Eudora and Tiana take the long trolley ride back to their section of town (nowhere near as affluent as where the La Bouff mansion is), we also meet Tiana's father, James (Terrence Howard) - one of the hardest-working men alive, whose big dream is to open a restaurant that serves incredible food, called "Tiana's Place" in honor of his daughter.

Flash forward over a dozen years later, and now Tiana is a young woman working just as hard as her daddy (who has since passed away) ever did to realize the dream he never had. Tiana works so hard, she has no time for friends or fun, and this more than worries Eudora, even as Tiana finds herself on the brink of finally having the down payment to buy a property she's been eyeballing for her restaurant. She's become the expert at preparing food her daddy had always been, and is determined to follow in his footsteps.

Then her friend Charlotte comes to visit, with the news that the dashing, rich, and incredibly handsome Prince Naveen of Maldonia is coming to New Orleans. Naveen is a jazz music buff, and Charlotte and her daddy are hosting a reception for him at their home, so Charlotte insists that Tiana prepare one of her best dishes, a sort of sticky bun treat, to impress the prince with. When she throws a stack of daddy's money at Tiana to do so, the girl can hardly refuse.

Meanwhile, Prince Naveen (another treat - a non-traditional Disney prince with an Indian name, voiced by Bruno Campos) has arrived in town, with his manservant Lawrence (Peter Bartlett) in tow. The pair run into the sinister, decidedly villainous Dr. Facilier (Keith David) right off, and Facilier sees this as a golden opportunity to get his hands on the prince's fortune - or the fortune he thinks the prince has, as Naveen has actually been cut off from his family for not taking women, or not finding a wife, more seriously. So instead Facilier, a very powerful voodoo priest, strikes a bargain with Lawrence ...

And at the reception later that night, while the prince and Charlotte are dancing and decidedly liking one another, Tiana has a small accident that ends with her having food spilled all over her. Charlotte rushes her upstairs to clean her up, putting the girl in one of her prettiest dresses and tiara before rushing back down to the prince and party. Melancholy at wondering if her dream will ever come true, Tiana comes across a frog sitting on the balcony outside ... a frog who not only shocks her by being able to speak, but who also claims to be the real Prince Naveen, even as he admits he's unable to remember how he became a frog in the first place. So with the tiara on her head, Naveen - mistaking Tiara for a princess - talks the girl into giving him a kiss to change him back, in exchange for financing her restaurant - but when the kiss finally happens, instead of Naveen turning back into a prince, the lip-lock transforms Tiana into a frog!

Things get even crazier from there, as the two end up on the run from Facilier and his demonic minions. Soon the pair end up in the swamps of the Louisiana bayou, where they meet up with (among other atypical Disney animal sidekicks) a large, trumpet-playing alligator named Louis (Michael-Leon Wooley, in a wonderful performance), who tries to get them to Mama Odie (Jenifer Lewis), an old voodoo priestess who lives way back in the bayou, and may be Tiana and Naveen's only hope to change back into human form.

Their journey is replete with lots of humor, some suspense, and of course a handful of quite catchy musical numbers, courtesy of Randy Newman. There are some true laugh-out-loud moments, and the story is sweet and charming (though note: Dr. Facilier and his creepy voodoo-hoodoo might be a bit intense for the youngest of children), with likable characters and excellent performances. I didn't find myself getting quite as emotionally attached to the characters quite as much as, say, in Beauty and the Beast - but that's a minor negative in what otherwise is a wonderfully original take on a classic fairy tale.

One can only hope The Princess and the Frog is a sign that Disney is far from getting rid of the kind of animation that made them what they are today. This was a real treat to watch, and a definite reminder that "old school" animation is alive and well and should never go away. **** - Reel Awesome

LEGION

Director: Scott Stewart
Stars: Paul Bettany, Dennis Quaid, Lucas Black, Kevin Durand, Adrianne Palicki, Tyrese Gibson
Year: 2010
Rating: R

I really, REALLY wanted to like this film. Loved the cast, premise, and look of the trailer long before the film premiered in theaters. Even after its release, with some of the more negative reviews rolling in, it seemed a good idea to hold judgment until seeing the film myself.

Sadly, in this case, Legion (for the most part) lives up to the negative hype.

Paul Bettany stars as Michael, an angel sent on a mission from God to destroy all of mankind. See, God is ROYALLY ticked off at mankind and what they've done with themselves; so much so, he has lost all faith in all he's created down here, and feels no hope of things turning around soon, so sends his favorite angel to do the deed.

Problem is, Michael doesn't agree. He does, indeed, still see the hope of humankind's salvation - and refuses to do God's bidding. Instead he goes rogue and comes down to earth, having fallen out of God's good graces ... where he is determined to save mankind instead, even if it means going head to head with Gabriel (Kevin Durand), the angel God has picked as his replacement.

Salvation comes in the form of the unborn child of a Arizona waitress named Charlie (Adrianne Palicki), who works in a grubby diner in a remote part of the desert. Michael lands on earth, stitches his back shut to hide the wings tucked in there, and cops a police car, heading out to the diner to find Charlie ...

As we're introduced to the young waitress, working, her humdrum life about to turn anything BUT humdrum as she tries to figure out how she will raise her child, once it arrives. The diner is owned by Bob Hanson (Dennis Quaid) and his son Jeep (Lucas Black, very endearing here), and Jeep - though not the father of Charlie's unborn baby - clearly loves Charlie in his virginal little way, wanting to help her raise her child. She wants none of it, however, not wanting to burden Jeep with her problems.

This particular afternoon, at the diner, Jeep has his hands full trying to fix a Mercedes, owned by a traveling couple (Jon Tenney and Kate Walsh) who are moving to Scottsdale with their mouthy, disrespectful daughter, Audrey (Willa Holland) in tow, when their car happened to break down. Tyrese Gibson, as a motorist who has gotten lost in the desert, is added to the mix, along with the diner's fry cook, Percy (Charles S. Dutton) ...

Just as things get truly ugly. A tiny, sweet, apple-cheeked grandma on a walker enters the diner, ordering a raw steak from Charlie. When given her meal, in her most sing-song voice the woman informs Charlie that her baby is going to burn - that, in fact, all babies are going to burn very soon. Charlie thinks she's insulting her, storms off angry into the kitchen - and this is when the fireworks begin, as the sweet little old lady turns feral, teeth turning to spikes and eyes going dark ... and literally crawls the walls after attacking a diner patron, when those in the diner fight back (all the trailers/TV ads showed this scene from the film, which was a real shame; it's the kind of scene that would have been much better off a surprise), eventually killing her.

Michael arrives soon after - and behind him, those who remain alive and nearby. See, a large part of the population has now become possessed by God's angels, sent here to rid the earth of mankind, and it seems their first item on the "to-do" list is to kill Charlie and her unborn child.

WHY is never made clear. In fact, there are several such plot holes and motivational issues like this in the screenplay, which ends up coming off as a mish-mash of Terminator mixed with Tales from the Crypt: Demon Knight, mixed with Night of the Living Dead (or any zombie movie George Romero ever put his hands on, for that matter). Paul Bettany, a terrific actor, mumbles many of his lines through a voice filled with gravel, and the acting throughout (except for maybe via Lucas Black and Kevin Durand, who stand out above the level of the material) is a bit on the hammy, even melodramatic side. The special effects are pretty cool, and the film looks great - but the plot is a mess, and the film seems to be trying to tell, in about a hundred minutes, a huge story way too big for the running time.

The story and acting are the biggest disappointments; you never really get to know, relate to, or even care about any of the characters. And when it's a handful of diner patrons and employees versus a horde of possessed, supernatural creatures many times their size - with only Michael and the arsenal of firepower he's managed to acquire standing between them and death, any viewer in his or her right mind will wonder why the hell the angels just didn't take out Charlie, the baby, and the rest in the first reel, and be done with it!

Really, REALLY wanted to like this movie, but Legion turned out to be a bit of an unbelievable, nonsensical mess, posing as a deep story with a message, as well as some heavy Christian undertones. The message gets through okay (and the ending, overall, isn't bad) - it's just that by the time it gets to you, you might not care what it is anymore. *1/2 - Get Reel-Reel Mediocre

SORORITY ROW

Director: Stewart Hendler
Stars: Briana Evigan, Leah Pipes, Rumer Willis, Jamie Chung, Julian Morris, Margo Harshman, Matt O'Leary, Matt Lanter, Maxx Hennard, Audrina Partridge, Carrie Fisher
Year: 2009
Rating: R

Much like the remake/update of Prom Night, I sort of liked Sorority Row ... even if I'm not exactly sure why. Very stereotypical of the slacker film genre, the characters aren't particularly developed (or for that matter very bright; I mean, who these days would walk into a dark, creepy room and say, "Hello? Is anyone there?" - I mean, is THAT asking for it, or what!). The storyline, while a great premise, isn't so strong and in fact has a bit of a weak revelation. And the script, while it has moments of inventiveness and is a bit clever in spots, is also quite typical of any other horror film of its ilk.

And yet somehow, the fresh young cast and creative enough killings keep things suspenseful enough to hold your interest. And I gotta admit, the opening premise is kind of cool.

The film opens on a humongous, fairly out of control party at the sorority house of the girls of Theta Pi - led by a small group of girls who have no idea how much their pledge of sisterhood and sisters for life is about to be tested. One of the girls, Megan (Audrina Partridge), has just gotten back with her boyfriend Garrett (Matt O'Leary) - taking him back after he cheated on her - and this little reunion also happens to involve a prank with Megan's girlfriends that ends up going horribly, horribly ... leading to a cover-up, and the beginnings of the rest of the I Know What You Did Last Summer storyline plot that follows.

For eight months later, with the past buried, out of the blue the Theta Pi sisters start to get creepy text messages from Megan's phone - and a hooded figure starts with the killings, using a very tricked-out tire iron as weapon of choice. Someone, it seems, has not only learned the girls' deadly secret - but is also acting out their revenge in a swift and brutal way. Or has the dead come back to life?

I didn't particularly care for the ending revelation, but along the way found myself entertained by a very attractive cast, and a few great performances by Briana Evigan as the "good girl" caught up in all the mess, and especially Jessica Pipes' turn as Jessica, the bitchy, heartless leader of the girls who starts all the trouble in the first place. Carrie Fisher even has a small, fairly comedic role as house mother Mrs. Crenshaw.

And in fact, the pop culture put-downs/references and dark humor in the film are probably what helps make it decent to watch. While not as clever as the similar style of humor done in films like the Scream series, here there is enough to keep the pace of the film from lagging, and while most hardcore horror fans will probably find this one about as suspenseful as throwing a Frisbee, I admit to having the occasional cringing moment, wondering when (or if) a certain character was about to "get it."

Worth a look for the hot cast, or if you like slasher flicks and need an evening's diversion. If only the ending had been better, or a bit more clever ... but this one still has its fun moments, for sure. Sadly, I have yet to see the original 1983 film, The House on Sorority Row, that this one was based on. So can only review this as a stand-alone, and as that it's pretty okay. And wouldn't you know - the ending of this one sets things up for a sequel. **1/2 - Reel Mediocre-Reel Cool

NINJA ASSASSIN

Director: James McTeigue
Stars: Rain, Naomie Harris, Ben Miles, Rick Yune, Sho Kosugi, Randall Duk Kim, Sung Kang
Year: 2009
Rating: R

Ninja Assassin's first and extremely bloody ten minutes are the perfect indication of what you're going to get for the rest of the film: lots of adrenaline-packed action, killer (pun intended) special effects that often appear just a step or two short of 3D, and a (more or less) throwaway storyline that pretty much exists as a vehicle for the extremely well-done fight scenes and action sequences.

Korean actor/pop music star Rain, in his first leading role for a feature film, plays Raizo - a young man ripped from the streets as a child by the centuries-old Ozunu clan who has spent nearly his entire life under the brutal training of necessary to become a world-class killer ... one of an order of modern-day ninjas. After a very cool (and blood-soaked) opening scene featuring just a sample of what ninjas can do (not necessarily for the squeamish), the film opens with a young woman named Mika (Naomie Harris), who works in Berlin for Europol and has just learned a very powerful - and very dangerous - secret.

Mika, you see, has been able to tie together a string of extremely high-profile political assassinations to a clan of ninja warriors in Asia; in effect, uncovering a conspiracy of very powerful and ruthless men who, when necessary, hire the silent, deadly, and very untraceable ninjas to assassinate an unwanted enemy. Mika is fairly freaked by what she discovers, and in fact is made fun of by her boss at Europol, Ryan (Ben Miles), for her ridiculous theories.

But as Mika goes deeper into the conspiracy, it becomes clear that she and Ryan are being watched ... investigated ... and could even be in danger themselves, in a situation where you don't know who is friend or enemy.

Meanwhile, via seamless (and well-done) flashbacks, interspersed through this unlikely plotline is the story of Raizo's upbringing, and the flinch-inducing tests (again, possibly not for the squeamish) the young boy and man was constantly put through during his training. You learn of the devotion he was forced to show to his master/"father" Ozunu (Sho Kosugi) to prove himself worthy - and even learn of the first and only love of Raizo's young life, before his heart was turned to stone forever. One of the best aspects of the film is the non-disruptive scenes between Raiso's past and present-day; all flow effortlessly and you truly come to like and care about Raizo, even as Mika gets closer and closer to tracking him down.

To say too much more would be revealing a bit much, even though I know other reviews have gone a bit farther than you may read here. Let's just say that Raizo and Mika DO meet, that everything is not quite what it seems ... and that Raizo ends up having to fight to protect Mika's life, as well as his own, when he abandons the order and all his ninja clansmen (and women) come after him with everything they have.

Ninja Assassin was given a huge, very harsh amount of criticism when it debuted in theaters - and with the semi-silly plotline, as well as a few mediocre supporting players in the film, I guess remarks made in those directions were justified. But is it me, or who goes to a film like this for the plot and performances? Uh-uh; martial arts fans go for the action, the fight scenes, and the blood - all of which Ninja Assassin has in enough abundance to quench the thirst of even the most die-hard martial arts fan. Rain takes the role of Raizo very seriously, yet balances the character of sensitive yet bad-ass Raizo well enough to show the guy's got some real acting chops. Naomie Harris, playing it straight, turns in a good (if sometimes overwrought) performance, working well with Rain - and even with very few lines, model-turned-actor Rick Yune manages to pull off the right amount of menace as Takeshi, Raizo's closest "brother" in the Ozunu clan who - in turn - becomes his worst enemy.

Soaked in blood though it is, Ninja Assassin is stylish wall-to-wall action, with beautifully-shot fight scenes that may induce a gasp or two from the stuntwork. One of the better martial arts films to come out in awhile, it's surely worth seeing for fans of the genre ... or even for the performance of Rain, who proves here why he's the mega-star he is in Korea. *** - Reel Cool

A SINGLE MAN

Director: Tom Ford
Stars: Colin Firth, Julianne Moore, Nicholas Hoult, Matthew Goode, Jon Kortajarena
Year: 2009
Rating: R

Fashion designer Tom Ford's directorial debut is a true tour de force featuring maybe the best, certainly most sensitive performance of Colin Firth's career. Set in 1962, here Firth plays Los Angeles-based English professor named George, a middle-aged gay man (and transplanted Brit) still painfully suffering from the fairly recent death of his long-term love, Jim (Matthew Goode), who was in a car accident while visiting family in Colorado.

The film opens with George beginning a typical day; showering and dressing and grooming himself for work, George lives in a beautiful home full of windows, an architect's dream that he and Jim shared together. As he starts his day, we're treated to flashbacks that still haunt George to this day; memories of Jim, the phone call from one of Jim's cousins informing him of the accident (and subsequent denial of his attending Jim's funeral) - even memories of George and his best friend Charley (Julianne Moore), both good and bad ... including the night he showed up at her place, devastated over Jim's loss.

We watch George get ready, and soon begin to realize that George also plans to kill himself that day, as he readies himself for that, as well. He is not moody, morose, or angry; George simply IS. And that's the problem, now that Jim is gone - George simply IS. He's alive, but not living. The memories, the loss, the pain; it's all just too much to bear, especially when there is an alternative, and the rest of the film is about what looks to be George's final day on earth. He visits his safety deposit box on the way to work, sets up letters and money for Charley and his housekeeper, and even plans his last evening with dinner at Charley's house that night ... his last.

And yet, A Single Man is not a depressing film - even with the ultra-serious story. And that's in large part due to Colin Firth's amazing, Oscar-deserving performance. Breathing real life and genuine melancholy into George, Firth still makes him highly intriguing, and never the victim. George has simply chosen a way out of his pain, and while you care and feel deeply for him, you never pity the guy - and can wholly identify with what he plans to do, wondering yourself how you might handle the loss of someone who was your whole world.

Even meeting an incredibly hot guy - and potential trick - named Carlos (smoldering Spanish model/actor Jon Kortajarena) at the liquor store can't deter George, who turns down the much-younger Latino's advances ... though one of George's college students, Kenny (Nicholas Hoult), is more intriguing. Kenny not only seems to be crushing on George, he also seems to be the only one who notices that George is very different today - sad, even. And he wants to help.

A Single Man is brilliantly filmed; it's hard to believe this is Tom Ford's directorial debut, let alone that the designer also penned the script (based on Christopher Isherwood's novel). The story is told unsparingly, with minimal effects and maximum emotional impact. Firth is brilliant, Matthew Goode the perfect boyfriend in flashback scenes, and Julianne Moore is truly engaging as George's best female buddy - and the woman who has been in love with him all her life. Nicholas Hoult, it should be mentioned here, turns in a subtle breakthrough performance in the film as Kenny - and Tom Ford must have been completely smitten with the young British actor, because he took every advantage to show Hoult in such romanticized shots and lighting, this reviewer defies anyone not to be totally in love with Kenny yourself by the film's end.

This review, obviously, will not reveal how the film ends - but suffice to say, for the performances (especially Firth's nuanced portrait of George) and atmosphere and emotional impact of the story alone, A Single Man is a touching and unforgettable film. Not to be missed. ****1/2 - Reel Awesome-Reel Must-See

DETROIT METAL CITY

Director: Toshio Lee
Stars: Ken'ichi Matsuyama, Yoshihiko Hosoda, Ryuji Rosa Kato, Yasuko Matsuyuki, Gene Simmons
Year: 2008
Rating: N/R
(in Japanese w/English subtitles)

For those who caught Ken'ichi Matsuyama's understated, quiet, and introspective performance as "L" in the brilliant Death Note, as well as in its sequel and spin-off, and wondered whether he was a one-note actor ... wonder no more. You'll not only hardly recognize the guy in Detroit Metal City, but Matsuyama also masterfully plays two distinctly different characters in the film - the nerdy, virginal Negishi, whose sole ambition in life is to become a pop music star ... and Krauser, the death metal music fiend Negishi becomes instead. And Matsuyama is so damned convincing as both, his performances (or maybe, it should be said, "performances") make the film worth a view alone.

Negishi, a poor, slightly backward and even a bit feminine (though he's straight) farm boy with a mushroom haircut, has spent his early life dreaming of going to Tokyo and becoming a famous pop star, singing tunes about first love and first kisses in the most bubble-gummy of fashion. So when his mother ships him off to Tokyo, to attend college, Negishi finds some friends and spouts wisdom like "No Music, No Dream" as his motto - which also charms and inspires his friends in their own search for their place in the world.

But flash forward five years later, and we learn that Negishi has taken quite another path to musical stardom, indeed - as Johannes Krauser II, lead singer of one of the most violent, evil death metal bands to ever perform music, Detroit Metal City - or DMC, for short. In full makeup and long reddish-blond wig, Negishi's singing and music have gone a long way into making DMC not just one but THE death metal band to listen to in Japan on the indie scene. Their followers spew the band's message or destruction, annihilation, abuse/rape of women, and hate ... and Negishi is nothing short of absolutely miserable, writing and playing and singing music that is the absolute antithesis of everything he ever wanted to do.

The plain truth is, Negishi is a wimp - and totally at the mercy of the band's manager (Yasuko Matsuyuki), a beautiful but completely crazy woman who worships death metal and is the one person who seems to see the real talent in Negishi - even if she is willing to twist and pervert that talent for her own good. She's a psychotic, violent, chain-smoking bully determined to keep the three band members in line, even if that means beating the snot out of them - and Negishi, the only one really fighting to give up DMC, is often her primary target.

Meanwhile, things get complicated when Negishi runs into old college friend Yuri (the beautiful Rosa Kato), a young woman he had THE biggest crush on all through college, and would dearly love to date. Yuri always loved the music Negishi wrote and played, and would be wholly disgusted and shocked if she knew he was Krauser (not to mention a part of DMC) - a fact that Negishi finds harder and harder to hide as the film goes on, especially when another man starts paying Yuri a lot of attention ... and Negishi can only be bold enough to confront the situation or check up on them when dressed as Krauser!

But clashes do come, and secrets are revealed - and everything ends up boiling down to one last battle of the bands, as the death metal king of all time, Jack Il Dark (Gene Simmons - and yeah, THAT Gene Simmons), challenges DMC to one final concert ... to see who, indeed, is the future of death metal. And Negishi has to confront his demons, tell Yuri the truth, and somehow break free of Krauser in order to play the music he really loves.

The film definitely has its funny moments; Matsuyama hams it up just enough, as Negishi, to show the effectively portray a man very much afraid of the very world to which he aches to belong. His scenes with Yuri, especially, truly shine - and Matsuyama, no doubt, is as adept at comedy as he was playing "L". As Krauser, complete with satanic smile and gravel-coated voice, he's the yin to Negishi's yang - again, in a role that could have been cartoonish in another actor's hands, but comes off completely real thanks to Matsuyama's immense talent. Seriously, as "L" he totally won me over as an actor; in this film, he shines with the true versatility of a seasoned character actor.

The supporting cast, especially the two ladies that play Negishi's love interest and insane band member, is excellent as well, in a story that can be touching, but is also truly the kind of comedy in which the humor can sneak up on you without warning. Though I thought the ending just a little bit of a letdown, overall I really liked and laughed at Detroit Metal City - though in the end, it was the gifts of the film's lead actor that this reviewer won't soon forget. ***1/2 - Reel Cool-Reel Awesome

Teaser Trailer: TWILIGHT: ECLIPSE

COREY HAIM: 1971-2010

Damned shame doesn't even begin to cover yet another story about drug addiction and death in Los Angeles. Early Wednesday morning, March 10th, actor Corey Haim lost that battle with addiction when found unresponsive in his own home, pronounced dead at the way-too-young age of 38.

With five films listed in pre-production on IMDB, the actor seemed almost on the brink of a full-fledged comeback - but it was never an easy road for Haim, who leaped to fame at a very young age, thanks to roles in films like Lucas, The Lost Boys (my personal favorite of his work - no one in that film is funnier or more charming than Sam Emerson), and License to Drive. Even before Lucas, in which Haim made being the school nerd seem the coolest thing in the world, I was blown away by his vulnerable yet intelligent portrayal of wheelchair-bound Marty Coslaw in the adaptation of the Stephen King story Silver Bullet. Marty was a cocky young kid with attitude who had to learn to grow up really fast - much like Haim, himself.

He graced every teen magazine in the 1980's, his boyishly handsome face and well-developed acting chops making him hugely famous. But it all started to slide when he started doing drugs, and the roles stopped coming as that boyish charm turned adult ... and not so charming. Even an attempt at a reality show, with long-term friend and fellow actor Corey Feldman, often depicted a Corey Haim who seemed pretty fractured and unstable on the inside. But as many as fifteen trips to rehab later, the actor's instability continued to grow.

Really sad, when the demons win one, and with Haim they scored big. Sad, sad loss of someone caught up more in the lifestyle than the art. RIP, Sam; you were one of my favorites, and always will be.

Trailer: LEGEND OF THE GUARDIANS