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Animal Kingdom

Animal Kingdom
Off the back of 'I Love You Too', the latest dud to test our faith in Australian populist filmmaking, the dark and shocking 'Animal Kingdom' by first-time feature director and screenwriter David Michod has bolstered our hopes once again. Michod has, quite deftly, crafted a crime story that manages to tell a very traditional tale in a manner that is identifiably Australian but never overt; delicate and dignified, but bursting into moments of punctuated violence and intensity practically without warning.

The backdrop of suburban Melbourne builds a radical tonal disconnect for the audience; the white picket fences belie the warped family ties at play. Shot with an eye for capturing the bleak atmosphere, Animal Kingdom is also immediately reminiscent of another gorgeously produced and crafted film, 'Lantana' – both creations careful to put characters and acting in line with taut photography and pace.

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Legion

Legion
In movies, it's usually the Devil who comes to Earth seeking to bring about Armageddon, but in Legion it's God who decides to destroy mankind. That's the premise of this apocalyptic thriller, a sort of cross between Assault on Precinct 13 and End of Days. The Archangel Michael (Paul Bettany), having defied a vengeful God, comes to Earth to save humanity. Why does God want to smite us all again (the first time was the Great Flood, remember)? Because after centuries of war and hatred, He's finally grown tired of our s**t. Michael, however, hasn't lost faith in humanity.

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Phoebe in Wonderland

Phoebe in Wonderland
“Phoebe in Wonderland,” a tremblingly sensitive family drama that decomposes in its last half-hour, examines the difference between the growing pains of a gifted child and the possibility of more serious mental illness. When 9-year-old Phoebe Lichten (Elle Fanning) auditions to play Alice in a school production of “Alice in Wonderland,” childish superstition drives her to act out self-punishing rituals to earn the part. In one she repeatedly washes her hands until they are raw. Another involves executing painstakingly counted-out dance steps on the sidewalk without landing on a crack.

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The Strangers

The Strangers
It is not immediately obvious why The Strangers is rated R. The horror film, about a young couple (Scott Speedman and Liv Tyler) terrorized in their home by a group of sadistic masked assailants, is reasonably violent, but not very graphic: aside from a brief glimpse of a pretty nasty gunshot wound and some stabbings that are either obscured or off-screen, there's not much here that would ordinarily raise rating board eyebrows. (The elaboration states that The Strangers is rated R for language in addition to violence, but there are, at the most, one or two muttered F-bombs.) In terms of content, PG-13 films have gotten away with worse. Hell, the PG-rated Chronicles of Narnia: Prince Caspian featured a decapitation, which is more than we see here. What, then, explains the MPAA's harsh (and no doubt economically damaging) treatment of The Strangers?

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Halo Wars

Halo Wars
Finishing Halo Wars must have been bittersweet for Ensemble Studios. On one hand, they’ve created a fine addition to the Halo franchise, but on the other hand, it was their final project and they had the pressure of turning a shooter into an RTS for a console. It could have ended up brilliant or absolutely horrendous. But you need only look at their pedigree and know that the franchise was in good hands.

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Silver City

Silver City
John Sayles has always made political films; they are his bread-and-butter. Yet none, not even Matewan or City of Hope, has been more openly partisan than Silver City, which rips into the anti-environmental policies of the current administration, shows the pointlessness of fighting the co-op of big business and bigger government, and presents a scathing caricature of our current president in the person of Dickie Pilager (Chris Cooper), the man who would be governor of Colorado. Pilager is all smiles and charm, yet, beneath the polished surface, there's nothing. Yet, because Sayles has a story to tell, and his tale is both compelling and alarming, Silver City is unlike Fahrenheit 9/11. This is a movie, not propaganda, and, while it doesn't shy away from displaying its political stripes, it is not a tract, nor is its goal to influence the 2004 election. Sayles is simply presenting today's circumstances as he sees them.

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Upside of Anger

Upside of Anger
Now that Kevin Costner has grown too old to convincingly play a baseball star (even an aging Major Leaguer, as in For Love of the Game), he has progressed logically. In The Upside of Anger, he portrays an ex-Detroit Tiger whose life has deteriorated the further age has taken him from the diamond. It's an effective performance, but only a supporting one. The Upside of Anger belongs to Joan Allen (for whom director/screenwriter Mike Binder developed the project), and there's no way Costner or any of Allen's younger co-stars is going to steal even the most minor scene from her.

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Black Snake Moan

Black Snake Moan
Black Snake Moan is designed to look and sound like a B-grade exploitation flick. It opens with a hot sex scene followed shortly thereafter by the sight of a girl writhing on the ground in apparent sexual frustration. Later, there's booze and blues and black-and-blue marks. There's a (white) girl in chains and a (black) man holding the key. The film pushes more buttons than an elevator operator but, in the end, Black Snake Moan works to turn expectations upside down. The movie has things to say about race and religion and the pain of loneliness, and it does so with considerable offbeat wit. It introduces three broken people and shows how a little understanding can salve wounds, if not completely heal them.

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Catch Me if You Can

Catch Me if You Can
Catch Me if You Can is the closest director Steven Spielberg has come to making a comedy since 1979, when his 1941 bombed at the box office. A jaunty caper movie inspired by real-life events, Catch Me if You Can never takes itself or its subjects too seriously, and contains more genuinely funny material than about 90% of the so-called "comedies" found in multiplexes these days. It also helps that in his two leads, Leonardo DiCaprio and Tom Hanks, Spielberg has actors who are capable of switching effortlessly between drama and comedy. The result is an enjoyable, although not ambitious, holiday outing.

Catch Me if You Can details the somewhat fictionalized tale of Frank Abagnale Jr. (Leonardo DiCaprio), who, between the ages of 16 and 21, was the world's most successful con artist. Not only did he successfully pose as an airplane pilot, a doctor, and a lawyer, but he cashed more than $2.5 million worth of fraudulent checks. Now, nearly four decades after being brought down, Abagnale is one of the foremost authorities on corporate security.

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Prom Night

Prom Night
Sony is releasing Prom Night under their "Screen Gems" imprint. Gems? More like turds. By its nature, the slasher film is not a terribly deep or complicated effort. To be successful, all such a movie needs is a sympathetic victim/protagonist, an implacable killer, a suspenseful buildup, and (most importantly) a cornucopia of blood and gore. The 2008 version of Prom Night misses on all four counts, making it virtually worthless by any measure of the genre. Despite having the same title and a similar premise to a 1980 Jamie Lee Curtis flick (kids getting slaughtered on prom night), this is not a remake. In fact, it really doesn't have much of a plot. It's basically The O.C. with a body count.

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Riff-Raff

Riff-Raff
Stevie (Robert Carlyle) is an ex-con from Scotland struggling to start anew. In an attempt to change his life, he takes a construction job in North London where he meets an assortment of others who, in one way or another, are just like him. He has no place to live, and doesn't make enough to rent a flat, so his co-workers happily appropriate a "squat" for him. Soon after, he meets Susan (Emer McCourt), an aspiring singer with a lot of heart but very little talent. The narrative moves on from there, detailing a short period in the lives of Stevie, Susan, and the workers on the construction site.

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Reckless

Reckless
Reckless is a Christmas story for all of us who like our holiday fare spiced with bizarre characters and strange plot twists. This black comedy, directed by Norman Rene (Longtime Companion, Prelude to a Kiss) and written by his frequent collaborator, Craig Lucas, takes good cheer and Seasons' Greetings and turns them upside down. Insightful and very funny, this film sails through a wonderful seventy minutes before slipping slightly off-track as it slides into its denouement.

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My Best Friend's Wedding

My Best Friend's Wedding
My Best Friend's Wedding is the estrogen alternative to the vast quantity of testosterone being pumped out by the other major June releases: Con Air, Speed 2, Batman and Robin, and Face/Off. As the summer's centerpiece romantic comedy, My Best Friend's Wedding boasts a pair of A-line actresses, Julia Roberts and Cameron Diaz, dueling for the affections of the unprepossessing Dermot Mulroney (the guy from Copycat and The Trigger Effect, who is frequently confused with the equally low-key and same-initialed Dylan McDermott). Fortunately, this film doesn't fall into the overcrowded category of the traditional frothy romance. In fact, My Best Friend's Wedding has a bit of an edge and enough intelligence to keep it from drowning in the kind of mawkish sentimentality that often makes this sort of movie hard-to-swallow.

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Hard Eight

Hard Eight
Inertia. The dictionary defines it as "a property of matter by which it remains at rest or in uniform motion," and this is an apt descriptor for Paul Thomas Anderson's debut feature, Hard Eight. During the first half, virtually nothing happens -- the characters are stuck in a stasis from which escape seems impossible. Then, during the second half, momentum carries the story to its inescapable conclusion. The dualistic nature of Hard Eight makes it a difficult picture to size up. At times, it's engrossing, but, on other occasions, it's a lesson in frustration.

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Runaway Train

Runaway Train
Long before Keanu Reeves was stuck on board a speeding bus, Jon Voight, Eric Roberts, and Rebecca De Mornay were trapped on a runaway train. And, while there are significant differences between Jan De Bont's Speed and Andrei Konchalovsky's 1985 thriller, Runaway Train, the films share two fundamental similarities: ferocious pacing and white-knuckle excitement. Each picture features its own take on an unstoppable, high-velocity vehicle racing towards its doom.

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Lamb
Lamb tells the story of a young priest, Brother Sebastian, who works in a Roman Catholic institution for troubled boys on the Atlantic coast of Ireland, referred to as "a finishing school for the sons of the Idle Poor" by its head, Brother Benedict. There, the Brothers teach boys to conform in a harsh, uncompromising regime which Brother Sebastian, whose real name is Michael Lamb, finds deeply distasteful. The Brothers teach the boys "a little of God and a lot of fear."

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