PREDATORS

Director: Nimrod Antal

Stars: Adrien Brody, Topher Grace, Alice Braga, Walton Goggins, Oleg Taktarov, Laurence Fishburne, Danny Trejo, Louis Ozawa Changchien, Mahershalalhashbaz Ali
Year: 2010
Rating: R

On the surface, this seemed a done deal; there's not an actor whose talent I respect more than Adrien Brody, and while I thought him a curious chose for the lead role in Predators, I was willing to go with the flow until I saw the film ... after all, I'm also a huge fan of the Predator series (yes, even the first Alien vs. Predator, although its sequel was quite a disappointment). And with a fine supporting cast that includes a few of the best "character actors" working today, I knew the film would at least have some substance in the acting department, if not the story itself.

The film certainly opens up with a bang; Adrien Brody, hurtling toward the ground after having evidently been tossed from a plane, regains consciousness just in time to open the parachute he wears, saving his life as he lands in the middle of a tropical jungle. Confused and disoriented, Brody's character soon learns he's not the only one in the same situation - in the first few minutes of the film, eight people of various nationalities and from different parts of the world all learn they share nothing in common but this same bizarre experience. None of them can remember what happened leading up to their blacking out, or why the hell they've been literally thrown into some wild jungle with various sorts of weapons they've never seen before on their person.

Brody's character, because of his military training and determined-to-survive mentality, becomes the unspoken leader as the others follow him, searching for a way out ... even as the lone woman in the group, Isabelle (Alice Braga, channeling Michelle Rodriguez at her toughest here), shows little trust and even less liking for Brody's tough, loner demeanor.

The group, forging their way toward high land to get an idea of where they are, soon come across some strange crates, attached to parachutes, that lay broken and open and empty on the ground. What was in the crates becomes frighteningly apparent when the group is attached by dog-like creatures the likes no human has ever seen before - and it becomes apparent, very quickly, that these creatures are only the first offense; behind them is something bigger, deadlier, and hot on their trail - an alien species out to hunt them for sport, tracking them through the forest to pick them off one by one.

Predators is very much a throwback to the first films in the series, negating the whole Aliens crossover films entirely. Here we are back in the jungle, with predators again hunting humans - only this time its a group of murderers and mercenaries, those who don't fit into society, chosen for the game, as opposed to a group of soldiers fighting a war ... and this time the action takes place on an alien world. The predators themselves have been upgraded, as well; know there are the "regular" predators as from the first two films, but also an even more advanced species of hunter, bigger and uglier and meaner than even the "regular" predators, who indeed hunt the smaller, "weaker" faction of society when there are no humans or other creatures to hunt. It's a nice upgrade, and the monsters in this film are most convincing.

As is the acting, thanks to a fine cast - led by Brody, who here is all buffed out and as Rambo-like as he can get, only with much better acting chops - who do their best with material that ranges from very intriguing to a bit on the melodramatic side. Laurence Fishburne, in particular, plays a nutcase named Noland and almost borders on over-acting in a couple of scenes - but overall the film's pacing is right, the cinematography beautiful, and even the music in the film is used smartly, when either heightening suspense of simply setting a somber mood ... as our little group is, indeed, picked off one by one by the predators.

Good points aside, the film has its share of problems. The road traveled here is all too familiar to anyone who has seen the previous films in the series, so that even though many things have changed since Arnold Schwarzenegger caked himself with mud in the first film, the mood and energy and storyline of the film just don't feel particularly fresh. The action overall is well-paced and suspenseful - but overall things feel a bit rushed here, and the downbeat ending , setting the scene for another sequel, gives a hint of things to come that just doesn't satisfy, or have any real resolution.

I liked Predators; just didn't love it. It's a must-see (maybe "should-see"?) for completists of the series - or even for Adrien Brody fans - but otherwise you can catch it on cable of via Netflix, and be perfectly satisfied. With the cast involved especially, however, you can't help but feel it could have been a little better. *** - Reel Cool

Artistic Inspiration: My Interview with KYLE CLARE

Since my first interview on this blog, with Gran Torino's Bee Vang, I've halfheartedly sought out other actors to speak with; actors whose work not only inspired me, but also who deserved the attention of everyone I knew, because his or her talent was so freaking out there, it should be seen. Well, between moving to L.A. and other things in life intervening, I came across an actor who - in just one performance - blew me away so much, I sort of dug in and hung on, more than happy to work around his busy schedule until he could find the time for a chat.

You may never have heard of him, but I suspect that is only temporary. It's real talent that holds its own in this town, building a lengthy career, and if that's the case I think Kyle Clare is pretty much set.

It was Watercolors that did it for me. The first time I saw the film, I sat down expecting another formulaic film about a young gay high school boy who falls for the jock he can never have - yet, somehow, manages to get, even if only temporarily. Such indie films are rampant, usually showing excessive skin in lieu of a plot or characterization, and almost always such films also end in tragedy for those involved, especially the main character (or someone he or she loves).

Watercolors broke that, beautifully. On paper it may play out as as read above, but thanks to the phenomenal heart and soul put into the film by writer/director David Oliveras, as well as the pure, very honest and humane performances of the two lead actors, Tye Olson and Kyle Clare, Watercolors takes a compassionate, very honest and wholly real approach to its subject matter - and delivers beautifully. And much as Tye Olson's character of Danny finds artistic inspiration for his drawings and paintings in the form of Kyle Clare's character Carter, it's Clare himself, with his performance, who inspired not only this interview, but my own work as a writer, as well. I hope he won't mind if I call him my friend, but that's just how Kyle is; one conversation, and he treats you like he's known you forever.

But enough of that; you can read the review here; this piece is about one of the stars of a film everyone who has ever fallen in love should see.

Kyle Clare, was born in Santa Monica in January of 1985, the son of parents who divorced while he was still very young. Movies were a big passion even from an early age, and a young Kyle would often find himself acting out characters to the point where he wouldn't answer to his own name. He was signed to a children's agency as a kid, but barely remembers the experience; it was in the eighth grade, after his class attended a show at the high school, that young Kyle first realized THIS was what he wanted to do.

Though he'd start off well, playing the purser in "Anything Goes" in high school, Clare's the first to admit, "I didn't have it all together in high school. I tested well, but didn't really have a plan." While he got good grades, and had landed the lead in every show by the time he was a senior, it was a guidance counselor who saw a young man in need of direction that saw the young man's talent and handed him a few applications for acting schools. Four days after graduating high school, Kyle auditioned for the prestigious AMDA (American Musical and Dramatic Academy) conservatory in New York City, who accepted him into their program. "So I was just graduated from high school and off to New York," Clare recalls, citing that his mother especially ask him, "Are you sure this is what you want to do?" - but by then, the acting bug had fully bitten.

Clare has nothing but good thing to say about the AMDA, though it was often all work and no play. "It was a tough school," he says. " There was no time to rest, you were always acting. But I learned that you get out only what you put into it ... and if you're really focused, which I was, then you can get a lot out of it." When asked how he feels attending the conservatory helped shape his career, Clare stresses "the best training an actor can get is from theater; theatrically-trained actors have a real advantage." That said, Clare did eventually choose to take the second year of his two-year training in Los Angeles, where he could focus more on film and television, though his respect and admiration for the school and for theater are obvious when he admits, "Looking back, had I been older I might have stayed (in New York) and pursued stage, but the glitz and glamor of being rich and famous gets to you ..."

Then, soon after graduating from AMDA, Kyle Clare only wanted to take a break when his girlfriend at the time, Jessica, talked him into submitting for an independent film he'd found was seeking actors online. After reading about the indie film Watercolors, which was to be shot on video for a more-than-modest budge of $35,000, Kyle wasn't sure about submitting for a role in which he'd be not only playing a closeted gay male (especially for his very first film role), but also for a part that, right out, stated would require nudity. But Jessica encouraged him to seek out the role, pointing out that Carter was Kyle Clare as described in the breakdown - a lean and athletic with long hair - but that didn't stop Clare from being more than a little nervous at the audition.

"What really made me nervous, though, was that I knew I was perfect for the role," Kyle says. "I was nervous about getting it, about playing a gay character and the nudity, but I called back and after the call back I heard from David (Oliveras, the writer and director). He told me it was between me and this other guy, and he wanted to get together and just hang out, get to know me. After the second time we hung out, he called to offer me the role."

From here, the friendship between Oliveras and Clare only grew, especially as Kyle grew more excited about the project, and even became a part of the casting process. "At the time I was cast, Danny's character was called Eric, and another actor had been cast in the role. But after two weeks of rehearsals the vibe just wasn't right, and David ended up letting the other actor go. He asked me to help him re-cast Eric, and we got this kid who dropped out, like, after one rehearsal ... so by now, five weeks since being cast as Carter, we were still looking for a Danny - which was what David had changed the other lead character's name to - and then Tye Olson walks in."

Clare was impressed from the beginning. "Tye walks in, and Tye was Danny. I read with him, then Tye left and I turned to David and said, 'I want him.' We called him at Starbucks and cast him."

But more than just winning a role, what makes Watercolors work is that the Olson and Clare seem absolutely in-sync with their performances; you fully believe in the characters and their relationship with each other, both good and bad. And talking with Kyle Clare, it's easy to see, now, why the film works on an emotional level the way it does.

"Even if I wasn't shooting, I was on-set all the time. David, Tye and I became "the trio" - we hung out together, talked about characters, and got very close. I don't like to over-rehearse, but forming this great friendship with Tye and David, just hanging out and talking about the characters and story, really helped the film."

And it works; just see the film to believe that. Better still, go by the fact that Kyle Clare - for his first feature-length role, won the 2008 Best Supporting Actor Audience Award at the Clip Film Festival, and FilmOut San Diego, in 2009, presented him with the Jury Award for Best Supporting Actor, for playing Carter Melman. Not bad, for a straight guy playing a complex, troubled and closeted gay teen in his first film.

When asked how his family and friends reacted to seeing him as Carter, Clare curiously mentions that his mother of all people had little problem with the character. "I had blond curly hair as a little kid," he remembers, "and was always made fun of, seen as artistic and a little weird. In school, because I was artistic and a performer, I was called gay a lot, so I think my mom sort of always wondered if I was gay, which prepared her a little more." To this day, while Clare knows he has his father's overall respect and support, he's not even sure if his father has seen the film - "though I know he bought it the day it came out on DVD" - and admits to taking a ribbing from his friends about playing Carter, especially for the nudity. And even his girlfriend at the time, Jessica - who started the whole thing - was very proud of his work as Carter, and loved the film.

Life since Watercolors involves Kyle Clare cutting his acting teeth back on the stage - particularly with Zombie Joe's Underground Theatre in North Hollywood. "It's really unique, a 50-set, black box theater; total audience immersion, with some crazy, really out there shows ... and I've learned a lot there; it's prepared me for when the right project comes along. Being forced to play some really crazy characters, its torn and pulled and stretched me; now I know, if I can do Zombie Joe's, then I can do into any audition, on any set, and pull off the character. With every show I'm stretched; tested."

It's also taught Clare to be an actor's actor. His taste in favorite performers - or actors he'd like to work with one day - runs toward a few of the most well-renowned working today. "Sean Penn is my man. He's so deep. I really relate my style to his in some way, he really seems to understand his characters; he's so cerebral." On Robert Downey Jr. - "One of the most naturally-gifted actors of all time; he never ceases to entertain or amaze me." And Clare adds Sam Rockwell as a third influence on his work, stating "he's just an incredible actor, period."

Just approaching his twenty-sixth birthday, when asked where he'd like to be in, say, five years, Clare - as many actors before him - mentions wanting to direct in time. But as always with Kyle Clare, it all has to come with meaning: "People have said they'll see me hitting my stride in my thirties," he says. "If so, I hope I can continue to do roles that I find interesting and satisfying. Working on things that mean something; heartfelt projects I want to do, and be able to sustain myself doing them. Just be able to act, and focus on that; whether theater or small, independent films, I would like to be where I can do the projects I want to do." When asked the kind of character he'd most like to play right now, Clare - in line with his theatrical training - cites his desire to explore the psychology of a character out of the norm of society. "Mental illness intrigues me," says Clare. "Exploring the character or a crazy person, or maybe a savant or even a psychopath, like Heath Ledger's Joker. I'd die a happy man if I could play a role like that, or maybe even like Sean Penn in I am Sam ... Hoffman in Rain Man. It's the only other role I've consciously thought of doing."

But no matter what, Kyle Clare is in it for the long haul. With most of his lengthy career still left ahead of him, the young and hugely talented performer has been around enough to have some good, solid and very realistic advice for the aspiring actor; advice as blunt and honest and together as Clare himself.

"Go home, sit down, and think about the whole thing. If you could ever see yourself doing anything else ... then do that. If you have doubts then do something else, because to be successful and effective and a good actor, it must be something you HAVE to do."

For more about this amazing actor and his work, go to www.kyleclare.com

BREAKFAST WITH SCOT

Director: Laurie Lynd
Stars: Tom Cavanagh, Ben Shenkman, Noah Bernett, Jeananne Goossen, Dylan Everett
Year: 2007
Rating: PG-13

While Breakfast with Scot plays more like a TV-movie with a twist, the characters - as well as the actors portraying them - give a certain charm to the tale, especially in the case of the three leads.

Tom Cavanagh (TV's "Ed") stars as Eric McNally, an ex-Toronto Maple Leafs hockey player whose career has been sidelined due to an injury. Now reporting for cable sports station in Toronto, Eric still rides on his popularity as a gruff, no-nonsense hard-head on the ice ... who happens to also harbor one small secret: that he's gay, and living with his boyfriend of several years named Sam, a corporate attorney. Eric and Sam lead a quiet life, Sam not so concerned about being out but Eric much more on the downlow about things because of his career and reputation ...

When one day that quiet is shattered, as Sam learns that his brother's ex-girlfriend has died of a drug overdose, and until Sam's brother (who is supposedly in Brazil) can be located, Sam and Eric are next in line to be granted custody of the dead woman's eleven-year-old son, Scot.

Eric freaks; the last thing he wants is a kid in the house, let alone a young roughneck kid he'll have to clean up after, or be responsible for. Sam calms him down, telling Eric they really have no choice and he'll make sure Scot doesn't cause any trouble; that this will only be until they find his brother, then Scot will be gone for good, but until then how can they desert a young boy?

But when Scot arrives, it's clear early on that this is no run-of-the-mill kid. In fact, with a wardrobe of tights, boas, hairbrushes that light up, and clothes with more sparkle than a Vegas showgirl costume, Scot alone is more flamboyant than Eric and Sam put together. At first, this tests Eric's patience even more - especially when, because of Sam's more rigid work schedule, he is forced to take care of and spend more time with Scot, especially out in public - but soon a bond does form between the flamboyant young boy and Eric, especially when Eric talks Scot into giving up some of his more "out" tendencies (the jewelry, his mother's makeup), and even teaches the boy to play hockey to sort of "man him up" a bit.

Question is, is this a good thing? As mentioned, the story plays out like a TV-movie, maybe on Lifetime if it were a gay channel, but even with a fairly schmaltzy ending the film still has some real heart and warmth to it; again, chiefly due to the three leads - though there is also an outstanding performance by young actor Dylan Everett in the film as well, playing a foul-mouthed kid in Eric and Sam's neighborhood who is all too realistic about his feelings on gays in general and Scot in particular.

Breakfast with Scot is harmless entertainment that will touch at the heartstrings a bit, even while being a bit manipulative in doing so. Tom Cavanagh is great as Eric, carrying the emotional weight of the film on his shoulders, and while Ben Shenkman does an equally impressive job as Sam, I wish his character were given much more to do. Special kudos, though, to Noah Bernett, who plays Scot with real humor and heart, in an engaging film with a very positive message of tolerance in the end. Definitely worth seeing (and no, I'm not going to tell you why there is only one "t" at the end of Scot's name; you'll have to watch it yourself to find out). ***1/2 - Reel Cool-Reel Awesome

DESPICABLE ME

Director: Pierre Coffin & Chris Renaud
Stars: Steve Carell, Jason Segel, Russell Brand, Julie Andrews, Will Arnett, Kristen Wiig
Year: 2010
Rating: PG

When we first meet Gru (voiced by Steve Carell) in the visually stunning animated feature Despicable Me, we understand right away that Gru is a pretty callous bad guy. Bearing more than a passing resemblance to Uncle Fester from "The Addams Family" television series, Gru is anything but lovable or altogether ooky; from making children cry to attempting to take over the world, Gru is a supervillain of the highest order.

Or, at least, he used to be. Gru's gotten older, and there is most definitely a crop of younger, even more evil supervillains coming up behind him, with bigger and more expensive plans to take over the world. SO expensive, in fact, that when Gru goes to the Bank of Evil to take out a loan for his latest, most evil plot of all - to shrink and steal the moon, holding it for ransom - he is turned down by the bank's president, who no longer is so sure of Gru's capabilities, and is instead forced to steal the shrink ray first, to prove he is still the baddest villain. The new villain on the block, a young impresario named Vector (voiced by Jason Segel), has recently stolen the great pyramid of Giza in Egypt, replacing it with an inflatable copy, and such daring, super-DUPER villainy has put Gru squarely into the #2 position of bad guys.

So Gru - along with the help of his elderly friend Dr Nefario (Russell Brand), and his many hundred of odd-looking, bright yellow minions, manages to steal the shrink ray ... only to have the machine, in turn, stolen from him by Vector, even as he escapes capture! Thwarted and determined to regain ground as #1 supervillain, a disgruntled Gru makes several attempts to break into Vector's compound - with hilarious results that prove, to a badly-bruised and beaten Gru, that Vector's fortress is impenetrable.

That is, until Gru witnesses three young orphan girls, out selling cookies to raise money for their orphanage, allowed in to the compound when Vector learns they have his favorite cookies. So Gru, being evil and uncaring, makes immediate plans to adopt the girls, plant robot cookies into their supply of treats, and use them to gain access to Vector's home and get the shrink ray machine back.

But what Gru doesn't count on is that raising three little girls can, in itself, be more work than the most evil of plots. What starts off as a nuisance and a chore, necessary to put his plans into action, instead starts to change the lives of Gru, the girls, and everyone around them. And even as Gru fights to get back his Most Evil Supervillain title, he also grows to learn a lot more about life, and love, and what's really important than he'd ever knew possible.

Yeah, you can sort of see where things are going in Despicable Me early on, but it takes nothing away from the joy in getting there. Carell, even with the harsh European accent, is perfect as Gru, turning from evil to empathetic in the course of the film, in scenes that go from hilarious to touching and everything in between. Visually the film is a treat for the eyes, the animation oddly quirky and perfect for the story. Happily, even all those yellow guys, Gru's minions, don't take over things like such supporting characters usually do in these films; instead, they remain wholly entertaining, surprisingly fresh and funny, and provide some great moments in the story without stealing them from other characters.

You won't find a lot of depth of story or character here, but on the other hand the silliness and slight story and appealing characters all come together to make Despicable Me a charming film worth seeing, even owning on DVD. It's feel-good animation that comes from the heart, and also provides some hearty laughs; who could ask for more? **** - Reel Awesome

Trailer: COWBOYS & ALIENS

THE TRAP

Director: Howard Bretherton
Stars: Sidney Toler, Victor Sen Yung, Mantan Moreland, Anne Nagel, Tanis Chandler, Kirk Alyn
Year: 1946
Rating: N/R

When Monogram picked up the Charlie Chan film series from Twentieth Century-Fox, the quality of the films - which had always been entertaining and just a lot of fun to watch - seriously dipped from low-budget to practically no-budget territory. Sidney Toler, having taken over the role years before after the death of Warner Oland, gave Charlie Chan a warmth and humor the character had not had on-screen before. Toler was pretty much my favorite Chan, and this was the last film he made as the character, before his death in 1947 from cancer. Sadly, it's not a fitting tribute to the fine character actor, as The Trap features poor acting, poor writing, and a weary Sidney Toler who looks ill here, and isn't even introduced into the film until twenty minutes in - which, considering the running time of The Trap is just over sixty minutes, is pretty significant.

The plot, such as it is, revolves around a theatrical troupe - mostly female - who rent a beach house in Malibu for some well-deserved time off. The female performers are headed by the vain, bossy Marcia (Anne Nagel), who knows enough dirt on the other girls, she pretty much gets away with everything, even though the others hate her. The very day they move into the beach house, Marcia blackmails a young ingenue named Lois into stealing some incrimination letters from the trunk of another girl, and during the theft Lois is strangled to death by an unknown assailant. A state trooper who had pulled the troop over earlier in the film (Kirk Alyn) starts the investigation, but it's one of the women - a young Chinese girl named San Toy - who calls Jimmy Chan (Victor Sen Yung) for help, and soon Jimmy's father, the great detective Charlie Chan, is on the case ... along with his bumbling chauffeur Birmingham, played with humor and to great "yessir, boss, yessir!" stereotype by Mantan Moreland. At first Charlie's mission seems to be to find Marcia - who has gone missing since the murder, and is presumed to be the killer - but when Marcia's body washes up on shore the next morning, also strangled, it's up to Charlie Chan to figure out the motives and means ... and the identity of a dangerous killer.

While the film is not a total waste - especially for Chan aficionados - there is not enough here to make the film worthy of more than maybe a single viewing. Most of the cast truly hams it up for the camera, and the cast of characters leans toward run-of-the-mill stereotypes you will find in any murder mystery/thriller, right down to the sinister housekeeper/caretaker of the beach house, a C-movie version of Mrs. Danvers from Rebecca who goes around quoting about drink being the root of all evil. The playful, humorous banter between Victor Sen Yung and Toler, which was one of the best reasons to watch the series (especially when it was with Twentieth Century-Fox) is almost non-existent, the plot is both convoluted and fairly laughable, with lots of screaming from the girls and an ending that's a bit boring to say the least.

Sad that this was Toler's last film - but good that he left a legacy of great work behind, Chan and otherwise, as a terrific character actor; one who deserved better than this for his final bow. ** - Reel Mediocre

Trailer: HARRY POTTER AND THE DEATHLY HALLOWS, PT. 1

THE FINAL DESTINATION

Director: David R. Ellis
Stars: Bobby Campo, Shantel VanSanten, Nick Zano, Haley Webb, Mykelti Williamson
Year: 2009
Rating: R

Not having seen the film in 3D, I can honestly say I don't know how those effects turned out on the big screen ... but almost from the beginning, this incarnation of the Final Destination series was still pretty obvious about taking every opportunity possible to throw or thrust something at the audience. Having no real connection whatsoever to the previous films in the serious, this story of death coming after those who cheated it is set at a racetrack, where college boy Nick (Bobby Campo) has a hideous premonition of him and his friends (and everyone around them) dying horribly in a freak accident.

As in the other films, most around Nick scoff at the vision, and Nick's insistence starts a fight that ends up getting a small group of the attendees thrown out of the proceedings, where they stand outside arguing with and berating Nick - as, seconds later, Nick's vision comes 100% true and the bodies do, indeed, begin to fall (or get crushed, or decapitated, what have you). Now all the survivors are freaked out, none more so than Nick, but this is only (of course) the first ten minutes of the film; from here on, as death comes back to claim those, in turn, who would have died had they stayed for the entire race, the deaths get more bizarre and gruesome - and Nick and his girlfriend Lori (Shantel VanSanten) start a-sweatin', as they were the last to die in Nick's vision.

While the filmmakers try to be inventive in the death scenes (and, indeed, the opening credits - spotlighting some of the more spectacular deaths from previous installments - make for pretty cool viewing, the way it's done), watching the film you can't help but realize you've been down this road before. And before, it was much more interesting. At only 82 minutes in length, the film has a rushed quality about it that make for no story or character development (not that you'd expect that here, anyway), so much as each scene, as the film goes on, being nothing more than a set-up for the death to follow. None of the actors particularly stand out, with one exception - Mykelti Williamson, who brings class and heart to everything he's in - and we're not really given enough time with any of them enough to care. The fact that the film's "plot" (such as it is) also makes zero effort to tie into any of the previous films (as some of the others did) also leaves the impression that the filmmakers didn't care about making this one GOOD as much as they did about making it FAST. And the ending, which doubles back on itself and literally has a "surprise" coming about the last three seconds of the film, seems hackneyed and forced ... and, frankly, a bit of a downer after what those characters had already been through!

Definitely the weakest of the series, with the fifth installment in the works you can only hope more care and TLC is taken with the franchise next time. Watch the first two in the series especially, and you'll realize it deserves it. *1/2 - Get Reel-Reel Mediocre

BLACULA

Director: William Crain
Stars: William Marshall, Vonetta McGee, Denise Nicholas, Thalmus Rasulala
Year: 1972
Rating: N/R

The death of blaxploitation film actress Vonetta McGee was a wake-up call that I had never even seen Blacula, though I have heard so much about it over the years. Finally sitting down to watch this early 70's hit, the film definitely proved to have its flaws ... yet remains a fun, very entertaining, suspenseful and seductive film to this day (largely due to its star).

Classically-trained actor William Marshall stars as an African statesman named Mamuwalde, who centuries ago visited the castle of Count Dracula with his wife, Luva (Vonetta McGree), as a sort of ambassador of good will. Unfortunately, Dracula had a thing for Luva, and in expressing both his lust and racism caused the angered Mamuwalde into attacking him. As punishment, Dracula bites Mamuwalde, turning him into a vampire ... but then seals the great man in a coffin forever, so that he would always know the vampire's hunger for blood but never get to quench it.

Flash forward to modern-day (the early 1970's), where a pair of effeminate male interior decorators buy up what's left of Dracula's castle from an estate sale (Dracula was, supposedly, killed off long ago). The decorators have everything shipped back to the States, where of course they accidentally set Mamuwalde - now a bloodthirsty vampire - free. Blacula, now loose in Los Angeles and on a killing spree, soon come across the surprise of his unending life, however, when he comes across a beautiful young woman named Tina (again, Vonetta McGee) - the image of his beloved Luva, now dead for centuries, whom quickly becomes Mamuwalde's obsession.

That's pretty much the plot, but this is definitely an old-school vampire flick that's a lot of fun to watch; humans turn into vampires soon as being bitten for the first time, all blue-tinged and clawing like zombies for their victims in a film that's most definitely campy yet never takes itself seriously enough to be anything other than fun. William Marshall, as Mamuwalde/Blacula, is as sensual a vampire as they come with his good looks and baritone voice; you sort of feel sorry for him, hoping he finds his Luva, even as he has to feed on and kill those in his way! Even the wonderful Denise Nicholas, as Tina's sister Michelle, is wonderful in the film - and even if the word "fag" is thrown around too offhandedly regarding the interior decorators, or the makeup (especially on Dracula's brides in the prologue) and "special effects" are overdone to the point of being a bit silly, there is just something so involving and exciting and fun when Blacula is at its best, the film becomes a must-see for anyone claiming to be a vamp-fan.

Old school for sure, but surprisingly enjoyable even in 2010, Blacula should be watched in the dark with a big bowl of popcorn, on a chilly night when the moon's full. Lots of fun with just a touch of suspense! **** - Reel Awesome

THE GOOD GUY

Director: Julio DePietro
Stars: Alexis Bledel, Scott Porter, Bryan Greenberg, Andrew McCarthy, Anna Chlumsky
Year: 2009
Rating: R

With an attractive young cast forming the (potential) love triangle and the amazing New York City as a backdrop, The Good Guy plays not so much like a feature film as it does a Lifetime or Hallmark movie-of-the-week, only bumped up a notch. The lead actors keep it slightly above that notch and are a pleasure to watch, but the script itself is a letdown, with foreshadowing that's never quite acted upon, and a story that - in the end - simply doesn't have a lot of conflict, or for that matter any kind of revelation for a resolution.

Maybe it's because viewers are supposed to spend the film wondering who is the good guy, and who is not. Alexis Bledel ("Gilmore Girls") stars as Beth, a lovely young Manhattanite with brains, beauty, and a love for keeping the planet (and her city) green. As the film opens (after a prologue more than suggesting their relationship is in trouble, the rest of the film acting as a flashback), Beth is dating Wall Street investment banker Tommy Fielding (Scott Porter of "Friday Night Lights"), a boisterous and very sure-of-himself handsome young man with money and friends ... and the most beautiful girlfriend in the world. Beth and Tommy's relationship is still fairly new, but seems more than ideal; they are the picture of two people falling in love in the greatest city in the world, young and attractive and with their futures in their hands.

But then Daniel Seaver (Bryan Greenberg) comes along. The newbie at Tommy's job, Daniel is inexperienced and not nearly as suave or savvy as he needs to be for the job he's supposed to be doing. When the departure of another guy from Tommy's group at work opens the door for Daniel to move up, Tommy - always the good buddy - takes Daniel under his wing, training the sensitive, quiet, handsome ex-soldier in everything from how to dress, how to maneuver the market ... even how to pick up girls. As Tommy's new project, Daniel indeed becomes more sure of himself, learning fast - as Tommy spends more and more of his time with Daniel and the guys, and less with Beth. And when Beth and Daniel finally meet - Daniel joining Beth's all-girl book club, no less - the inevitable question of Daniel's humongous attraction to Beth becomes obvious, even as the film hints that maybe Daniel has a past, and is not quite the gentle soul he seems to be.

Therefore, even as the couple evolves into a potential triangle, at the same time the script never really fulfills a lot of the promises made throughout. That's about as much as can be said without spoilers - but needless to say, while the cast (particularly the three leads, with special emphasis on Bryan Greenberg) does the most with the material they have, that material (as mentioned before) is pretty much TV-movie material. Writer/director Julio DePietro doesn't build up much suspense in the film, giving the characters or story enough development to really make viewers care much about who the "good guy" really is - which, in the end, is not even that big a surprise when revealed.

The film is great to look at, with an honest feel of sincerity, but overall is a letdown that's been done before on television. Unless you're a fan of someone in the cast, this one is harmless but could be missed. **1/2 - Reel Mediocre-Reel Cool

THE CRAZIES

Director: Breck Eisner
Stars: Timothy Olyphant, Radha Mitchell, Joe Anderson, Danielle Panabaker, Brett Rickaby, Lisa K. Wyatt, Justin Welborn, Justin Miles
Year: 2010
Rating: R

Some horror film buff I am; I didn't even know, at the time of seeing this film, that it was a remake of a 1973 Wes Craven film of the same name! Actually, though, that probably worked out to my advantage - 'cause when I sat down to watch The Crazies, I didn't even have an idea of the plot. All that had hooked me was the trailer, and the fact that Timothy Olyphant was starring. And that was enough.

So pre-conceived notions-free, I was actually able to enjoy the shocks and surprises of what The Crazies had to offer - and, in the end, really enjoyed the movie. Timothy Olyphant, too. I swear, that guy could do a feminine hygiene commercial, and I'd still watch; he brings a charisma and energy to the screen that few actors do today, and is one of this country's most-underrated actors (even WITH the success of "Justified").

Here Olyphant plays David Dutten, sheriff of Ogden Marsh, Iowa - a small farming community just far enough outside Cedar Rapids to have that peaceful, folksy feel that communities have where the people are always looking out for each other. David Dutten has a good life ... a beautiful wife named Judy, who also happens to be one of the town's best doctors (Radha Mitchell) ... and even a good-old-boy deputy, Russell Clank (Across the Universe's Joe Anderson, in perhaps the film's best performance), whom David also calls his friend.

But one day at the little league field, during a game, a local man comes marching across the field with a shotgun. Dutten and his deputy evacuate the field of its players, David trying to calm the local - Rory Hamill - who he thinks is back to drinking. Instead, Hamill raises his shotgun and points it straight at Dutten ... who has no choice, when Hamill starts pressing the trigger, but to shoot the man in self-defense. Hamill dies from the gunshot, and Dutten is left broken and angst-ridden with guilt; this is, after all, Ogden Marsh. Where everyone knows each other, and Dutten feels like he's just shot one of his own.

But it doesn't stop with Hamill. Soon after the incident, out on the outskirts of town, another citizen of Ogden Marsh burns his wife and son to death in their farmhouse - and is found by cops and firefighters at the scene, calmly mowing the lawn while the house (and his family) goes up in flames. Dazed to the point of almost seeming drugged, Dutten takes the man into custody that night - and the next day, when his call for county help goes unanswered ... and the internet goes down throughout the town ... and no cell phones or landlines work ... Dutten and Deputy Clank realize that something is very, very wrong in Ogden Marsh.

I thought, at first, that this was going to be another zombie movie. And indeed, while not a zombie movie, this is definitely a deadly-virus-makes-the-entire-town-go-whacko film. But thanks to the script, the action sequences (which lean to violent, and at times truly edge-of-the-seat-suspenseful - though the director stops just short of actual gore, leaving that nasty detail to the viewer's imagination), and the earnest performances of the lead actors, The Crazies is also a fairly terrific movie. Olyphant makes for a great lead, and as Dutten tries to hold the situation, those he loves, and even himself together in the middle of a town whose citizens - one on one - seem to be turning mad. "Chaos ensues" is a bold understatement, and even the intervention of the government/military, when they arrive, turns out (of course) to be anything BUT a good thing! But to reveal more about the plot would be to maybe say too much, so let me just say that The Crazies has everything you'd expect in a horror film - suspense, terror, violence, death, and at least a few "jump in your seat" moments - but never overdoes any of them, or even overstays its welcome. And as mentioned, just when you think you're going to get hit in the senses with blood and gore in the film, the director cleverly cuts away just before it happens - screwing with your mind by letting it put in the worst possible scenario itself, and in this case it really, REALLY works to make for a much more suspenseful film.

Watch for Justin Welborn - who, since Dance of the Dead, has been in enough of these kinds of films, he's practically a horror icon already - in a small role as Rory Hamill's distraught (and damned angry) son. But for excellent thrills and chills, without excessive bloody spills, The Crazies is a pretty awesome ride. **** - Reel Awesome

Trailer: THE GREEN HORNET

NEW MOON

Director: Chris Weitz
Stars: Kristen Stewart, Robert Pattinson, Taylor Lautner, Ashley Greene, Billy Burke, Graham Greene, Michael Sheen
Year: 2009
Rating: PG-13

This is my third year, now, for trying to make sure that I watch at least fifty new films per year - and each year, I try to make the fiftieth something unique; memorable. Last year it was Gran Torino (great film) - this year, the sequel to Twilight, which I gave a good review to back in September of 2009 (you can read the review here). For all its faults and fairly wooden dialogue, I enjoyed Twilight overall; it had an interesting story, very cool setting, a great-looking cast that did their best with the material, and a suitable ending that (of course) left everything open for a sequel.

I liked New Moon even better, on many levels - the stronger acting, the richer storyline, and even the deeper characterizations. But the woodenness remains ... and somehow, here, it's more apparent.

Kristin Stewart stars as moody high school student Bella, Robert Pattinson her vampire boyfriend Edward Cullen (does anyone living, right now, NOT know these two are the stars of the film?). Though a definite threat hovered over the two at the end of the first film (one I won't, of course, reveal on a blog that promises no spoilers), that threat is nowhere to be seen in its sequel - at least, not for starters, as Edward and his vamp-family prepare to celebrate Bella's birthday at their home.

But an incident at the birthday party throws things into a bit of turmoil, prompting Edward to realize that as long as he and Bella are together the girl remains in danger. This is further exacerbated by the fact that Bella is pushing Edward to turn her into a vampire, so that they can be together always - the last thing Edward wants to do, as that would (he feels) condemn the soul of the one person he loves to hell forever. So before the fact that none of the Cullen family is aging begins to really register on the local townspeople, Edward decides that they need to leave town ... and that it would be best for Bella if the two of them broke up for good.

Needless to say, Edward's sudden decision leaves Bella heartsick and broken; she spends months in a depression, mourning Edward's departure, sure she will never be over him. Then, quite by accident, she discovers that Edward is watching out over her as best he can, for whenever danger is near a vision of him appears, warning her before disaster can happen.

This send Bella into one desperate act after another, trying to always keep Edward near - and when she needs a pair of dirt bikes rebuilt from the ground up, in pursuit of her new over-the-top hobbies, Bella turns to none other than childhood friend Jacob Black (Taylor Lautner), the hunky Native American who, himself, has been in love with Bella for a long, long time already.

But even as Edward constantly hovers nearby (sometimes literally), like a shadow she can never let go of, Bella starts to have feelings for Jacob - the boy who was there for her, in her grief, when no one else was. But Jacob soon has his own issues to contend with, ones that override even his love for Bella ... and soon Bella not only finds herself alone again, but caught between the natural enemies of vampires and werewolves - and on the radar of not only the vengeful vampire Victoria, but also of the Volturi ... the royal court of all vampires everywhere, who see Bella's knowledge of vampires as a threat to their very existence on earth.

New Moon does have a richer story and better-developed characters than Twilight, and indeed I enjoyed it more. Taylor Lautner did a much more impressive job capturing the vulnerability of Jacob Black than I had thought he would; you really are rooting for him, even though you know Bella probably belongs with Edward, during his scenes with Kristen Stewart.

But in fact, it's the scenes with Bella and Edward that are (by far) the weakest in the film. While a lot of criticism has been leveled at Pattinson for delivering one-note performances as the sullen Edward Cullen, it's really Kristen Stewart who (at least, for me) is the weakest actor in the film. She simply has little to no emotion throughout the film, as Bella, and while at first I thought it might be a chemistry issue between her and Robert Pattinson (which has been mentioned in many other reviews of the film), the same lack of on-screen chemistry is evident (though to a lesser degree) even in her scenes with Lautner. Even a death-defying leap of faith (pun intended) in the movie lacks emotional depth ... because Stewart does, in the scene, as well. It's hard to tell if she's underplaying Bella, or just not that emotionally in the role - but either way, she and Bella both come off very flat on-screen, period.

A shame, considering Bella is the central character. But Stewart's woodenness, combined with the heavy teen-angsty melodrama and sometimes-just-plain-silly dialogue, definitely make New Moon a film geared for the young audience the books are intended for. Happily, it's also entertaining enough for adults to watch - so long as you're an adult not asking for too much from the film. So if you can sit back, check your brain at the door, and just enjoy, New Moon won't disappoint; it has plenty of action, story, nifty special effects, and shirtless young men to keep most of those who would watch it happy (if you don't scratch too deeply beyond the surface). **** - Reel Awesome

DAYBREAKERS

Directors: Michael & Peter Spierig
Stars: Ethan Hawke, Willem Dafoe, Sam Neill, Claudia Karvan, Isabel Lucas, Michael Dorman
Year: 2010
Rating: R

Just when you think you've seen every single take on a vampire story possible - along comes Daybreakers, a slick, trippy, and very bloody thriller with an intriguing premise, an exceptionally moody look and feel (think Gattaca, only about vampires), enough action and gore and splatter to satisfy the most blood-hungry of fans, even as the plot itself tickles your mind into attention.

The year is 2019, and a worldwide plague - over the last decade - has turned 95% of the world's population into vampires. Everywhere, "life" only exists now after the sun sets, and what life there is, is now in imminent peril as the world's supply of human blood has dwindled to nearly nothing. Those humans remaining - at least, those not in hiding - have been rounded up and are kept in huge farming communities, their blood harvested for the world's supply ...

But even this is not enough, and for years now scientists around the world have been trying in vain to find a blood substitute; one that will enable the vampires to survive long after the last human being has been wiped off the face of the earth. The need for such a supply has, indeed, grown even more critical, as society at large is learning that a vampire who has gone without human blood for an extended period of time begins to morph into a hideous animal gone insane - an animal who will kill anything it can in order to find sustenance. Indeed, under the real worlds of today, in 2019, there exists an underground of monsters; of rabid vampires gone out of control. A fate that's to befall everyone left on the planet, unless an alternative blood source can be found. Meanwhile, what's left is filtered into coffees and other drinks, often at only 20% in quantity, just to try and sustain the world's population as scientists work night and day to save vampirekind from extinction ... even as the human race certainly seems doomed for the same fate, already.

Edward Dalton (Ethan Hawke) is a hematologist for the biggest blood harvesting company in the United States. A vampire himself of course, Edward is one of the battalion of scientists conducting experiment after experiment, test after test, in the hopes of finding a blood substitute before its too late. His brother Frankie (Michale Dorman), one of the many soldiers out constantly hunting for and rounding up humans, is just one of the vampires Edward is trying to save ... even as, in his own heart, the bit of humanity that still resides in Edward feels sympathy and even pain for the dying out of the human race. Indeed, his reasons for finding a cure aren't so much rooted in trying to save what humans are left to build up a new blood supply ... but instead, finding a substitute that will enable the vampires to give up living off of human blood forever.

Such would not be the plan of Edward's boss, Charles Bromley (Sam Neill), a ruthless entrepreneur who - though once a human himself, of course - is now all about the money, as well finding a blood substitute so that real human blood becomes that much more valuable on the market. Even Bromley's own daughter Alison (Isabel Lucas), still a human and in hiding herself after running away from her father, weighs on Charles' mind as second place over business. Edward Dalton reports directly to him, and Edward Dalton - the best at what he does - is the only one Bromley sees as capable of producing that substitute and saving the world.

Which makes Edward's task that much harder when, after a traffic accident one night, he runs across a human female named Audrey (Claudia Karvan), and in turn helps her escape from the police. Soon after, Audrey - realizing Edward just might be sympathetic to the remaining humans - finds Edward again, this time bringing along her friend Elvis (Willem Dafoe) ... a grizzled, gruff-sounding revolutionary who holds the key not to a substitute for human blood - but to a potential cure for vampirism that could mean a second chance for the human race.

Wow, did I enjoy Daybreakers. With a strong premise, interesting characters, solid performances, and an intriguing story that holds the mind's attention far beyond the bloody violence meant to keep your eyes riveted - even a slightly weak ending and a final-act plot point I could see coming a mile away still did not curb my enjoyment of the film one bit. Ethan Hawke, doing his usual brooding thing in this film, makes it work perfectly here as the concerned scientist who himself is starting to change into a monster, due to his own lack of human blood - and Willem Dafoe, always captivating on-screen, commands your attention as Elvis in every scene he is in. Sam Neill plays evil brilliantly as always, and all are backed up by a supporting cast in a film that never fails to surprise, and definitely have more than a few jolts in store for viewers along the way (the overall mood of the film, plus the special effects and the way the vampires were designed to look, only help to create a very real world mostly devoid of mankind).

Daybreakers is genuinely entertaining; a vampire movie I could really sink my teeth into (yes, I went there). The gore might be a bit much for those with weaker constitutions, but if you can ride it out this is a fairly unique spin on a subject that's been done to death in recent years. One well worth seeing. **** - Reel Awesome

DORIAN GRAY

Director: Oliver Parker
Stars: Ben Barnes, Colin Firth, Ben Chaplin, Rebecca Hall, Rachel Hurd-Wood, Emilia Fox
Year: 2009
Rating: R

This latest adaptation of Oscar Wilde's famous novel, regarding a young man who never grows old thanks to a secret that lies in the portrait painted of him long ago, is a film that's very appealing to the eyes and ears - even if it does lack any real substance overall.

Ben Barnes (Prince Caspian of the Chronicles of Narnia films) stars as young British aristocrat Dorian Gray. As the film opens, its Victorian London setting suitably dark and grimy, Dorian is in the middle of committing and hiding a vicious murder, seen first stabbing an unknown victim with pure malevolence in his eyes before managing to dump the body in a river. We, the audience, have no clue as to what is going on, or who Dorian seems to be killing ... as the film then flashes back one year, to tell us Dorian's story as he first arrives in London due to inheriting a mansion and much wealth. Dorian's young, exceptionally handsome, and immediately the draw of every female in the area. Fortunately for him, he also draws the attention of a painter of some local fame, Basil Hallward (Ben Chaplin), who finds Dorian so incredibly striking, he asks the young heir if he might pose for a portrait.

Dorian, flattered, agrees; he's a nice young man, after all, making new friends. And the painting, which turns out just as incredible as Dorian is, also brings Dorian a new friend in the form of Lord Henry Wotton (Colin Firth) - a smug, self-consumed member of upper-crust English society who believes in pursuing all of life's pleasures and apologizing for nothing.

Wotton becomes an immediate influence over Dorian, who (in ways that won't be revealed via this review) in time turns into the hardened, narcissistic, pleasure-seeking and heartless creature that Wotton would still be - if only he had Gray's looks and youth. Pleasures of the flesh, of narcotics and opiates and drink, literally remake Dorian into a monster inside; a monster who still manages to retain the outer appearance, the youth and beauty, of the young man who originally arrived in London. Nothing touches Dorian, or changes him physically - not disease or drugs or drinks - even as the portrait does start to change, and the now-corrupt Dorian realizes he's only just touched on testing the limits of what he can do ... and get away with.

Wilde's novel, while intricate and full of messages on beauty and its corruption, here feels very flat on the screen. Ben Barnes, certainly handsome enough for the role and a very good actor, somehow never reached through the screen for me and truly became Dorian Gray in the film. As mentioned earlier, the film's look and feel (with credit due to the cinematography) does a pretty good job of creating both the aristocratic side of Victorian England, as well as its underbelly of poverty and crime - but even when held up to the look and feel of a film set in a similar time, like the recent The Wolfman, Dorian Gray again comes up short, even if difficult to pinpoint why.

Colin Firth is perfectly rotten as Lord Wotton, corrupt a man as ever existed and determined to turn his protege the same way ... and Ben Chaplin is wonderful in the small role of artist Basil Hallward, playing a painter whose brush strokes seem to have reached right into the supernatural for their inspiration.

But none of the main characters (with the possible exception of Wotton) are set up very well from the beginning, giving the viewer very little to work with as far as being able to feel they know or could sympathize with that character. We're told (and, in some flashbacks, briefly shown) of the sweet-natured Dorian's background as an orphan and abused child - but not in a way that makes us feel we know Dorian any better, which would have therefore made it that much more shocking when he morphs into such a bad guy in the film. The film also seems a bit obsessed with showing viewers nude or scantily-clad women, or Dorian's having sex with them, as a way of presenting Dorian's corruption in a titillating way over focusing on the dialogue or interacting with those around Dorian - who see him remaining the same youthful beauty even as they, themselves, grow old.

If this review seems muddled, I apologize - but at the same time, it reflects my own feelings about the film. Dorian Gray isn't bad, it's just ... lacking. At first I credited this to Ben Barnes, who just doesn't come across as charismatic or particularly believable in the lead role, but in the end I think the script let him down; a script that seems more focused on the sensational, controversial aspects of Dorian's story over Wilde's haunting "beauty corrupts" message, or the wit and sophistication of character and dialogue found in his writing.

Dorian Gray is a compelling enough ride for nearly two hours - but overall, in the end, a ride that is easily forgotten once it's over. It has a few heartfelt moments, but overall comes off one-dimensional and showy as the painting at the crux of the story ... or as shallow as the man, in the end, forever changed by it. **1/2 - Reel Mediocre-Reel Cool