Super 8

Super 8 is not a remake nor is it based on a comic book. That alone sets this film apart from most summer movies. However, it still feels very familiar. It tastes like a hearty goulash consisting of various films from the late 70s and early 80s. There's a generous helping of Close Encounters, a pinch of Jaws, a dash of ET, and even a hint of The Goonies. So it should come as no surprise that Steven Spielberg served as the producer of this JJ Abrams film. Set in 1979, the movie follows a small group of young adolescents struggling to put the finishing touches on their epic zombie movie. One night while shooting a scene, the kids witness a horrific train derailment; this sequence alone is worth the price of admission! The sudden arrival of the military is only the beginning of several strange events following the aftermath of the accident. Dogs run away, items go missing, and the town is plagued by unexplained power outages. Conspiracy theories run rampant despite the military's attempt to control the situation. Of course, having witnessed and filmed the crash, the kids have more pieces to the puzzle. What follows is an exciting, well-paced, but ultimately predictable story. The young actors really carry the film led primarily by newcomer Joel Courtney and Elle Fanning. I almost wish the train derailment never happened because a film about these kids making a zombie movie would have been good enough for me.

X-Men: First Class

This just might be the best X-Men movie yet. After feeling letdown by last two films in the franchise, I wasn’t really looking forward to this one. But to my surprise, X-Men: First Class crackles with life thanks to a smart (yet fun) script and some wonderful casting. The Cold War setting is absolutely brilliant as the script carefully weaves the history of the X-Men with the real-world events leading up to the 1962 Cuban missile crisis. Here Charles Xavier (James McAvoy) and Eric Lehnsherr (Michael Fassbender) work with the CIA to stop an evil mutant attempting to trigger a nuclear exchange between the United States and Soviet Union. McAvoy and Fassbender absolutely own these lead roles the same way Patrick Stewart and Ian McKellan did in the first three films. But even as they work together, it’s clear that Charles and Eric have divergent views of humanity, setting the stage for the inevitable X-Men vs. Brotherhood conflicts. Unfortunately, the future of X-Men movies are uncertain, largely hinging on the success of this film. Will an X-Men without Wolverine resonate with mainstream audiences? Or is this the decade of The Avengers? It’s too early to tell how this will play out. But I feel X-Men: First Class has successfully revitalized a troubled franchise and I can’t wait to see more from this cast.

The Adjustment Bureau

Ever wonder what your day would have been like if you hadn't spilled coffee on your shirt? Even the most insignificant events can have far-reaching consequences. This is the central theme behind The Adjustment Bureau, a lean and thought-provoking piece of sci-fi based on yet another Philip K. Dick short story, first published in 1954. Matt Damon plays David Norris, a loose-cannon politician seemingly destined for greatness. But his life goes off-script when he meets an up-and-coming dancer, Elise, played by Emily Blunt. That's where the adjustment team comes in, a mysterious team of hat-wearing agents. It's unclear who these agents are or who they work for. But they seem to have a vested interest in humanity's development, and David Norris' political career is integral to their plan. Unfortunately for David, Elise isn't part of that plan. The agents work tirelessly to separate the two, but David never gives up on Elise, despite dire threats. There are elements of North by Northwest, Wings of Desire and even The Matrix at play here as David races to outwit the agents trying to keep him away from Elise. The film does a great job of establishing a set of rules and following them throughout the duration. But much credit must go to Matt Damon and Emily Blunt for fleshing out two characters that are meant to be together. If their chemistry didn't work, the whole story would have fallen apart. While I can't totally get behind the film's conclusion, getting there was a whole lot of fun. But even better, this is one of those movies that really makes you think long after the credits roll. Films with big ideas are such a rarity these days that it's so refreshing to breath one in from time to time. I think I even like this one better than Inception.

True Grit

Remakes are not new. Hollywood has been raiding their vaults for tried-and-proven scripts for the better part of a century now. While some recent remakes have been questionable, Joel and Ethan Coen's take on True Grit is a shining example of what can happen when contemporary directors tackle a classic story. Based on the 1968 Charles Portis novel, this isn't a complex narrative. It's about Mattie Ross, a young girl seeking justice for her murdered father. In this role, Hailee Steinfeld is a true standout, holding her own against her veteran co-stars, effortlessly maneuvering through several snappy, intricate sequences of dialogue. Equally impressive is Jeff Bridges' interpretation of Rooster Cogburn, the role made famous by none other than John Wayne in the original 1969 film and the 1975 sequel. This is one of those larger-than-life characters, but Bridges shows no fear, depicting the one-eyed, world-weary marshal with a sense of grounded bravado and pragmatic humanity. Matt Damon plays the role of LaBoeuf, a Texas Ranger hunting the same man who killed Mattie's father. Together, the trio trek deep into Choctaw territory in their attempt to track down the murderous Tom Chaney, played by Josh Brolin. In classic Coen fashion, the script sparks with quick wit punctuated by moments of abrupt, brutal violence. So even if you're familiar with the original novel or John Wayne film, True Grit is still a story well-worth revisiting.

TRON: Legacy

When TRON was released in 1982, I didn't really get it. While the visuals were intriguing, the story just didn't hold my attention the same way the awesome arcade game did. But looking back, the first TRON really was ahead of its time, predicting the rise of an open system not unlike the internet we all use today. By the end of the movie, the Master Control Program (MCP) was defeated and the future of the grid looked promising. But TRON: Legacy has a more pessimistic view of technology, showing how good intentions can go awry. In 1989, Kevin Flynn, creator of the grid, was trapped inside the TRON world, betrayed by his own creation, Clu. Fast forward to the present day, Flynn's now grown son Sam also gets trapped in the grid, meeting his father after more than 20 years. Reunited, father and son must find a way to stop Clu and escape the system. While the stage is set of a dramatic adventure, the movie doesn't quite play out like that. There's a lot of back story to cover, most of which is accomplished through flashback sequences. While this is necessary to fill-out the story, it really slows the pacing of the film. However, there are still plenty of great action sequences, my favorite being the light cycle battle at the beginning. But even the action sequences feel a bit long and tedious as the film approaches and surpasses the two hour mark. That isn't to say this is a boring movie. Fans of the original will love diving into the deep lore of the grid. But those with shorter attention spans will probably walk out of the theater yawning, despite the impressive production values. As a casual fan of the original, I enjoyed the movie. But it wasn't the epic I hoped for.

Harry Potter and the Deathly Hallows: Part 1

The Harry Potter franchise is perhaps the finest example of serial story telling in film history. Really, can you think of anything else that comes close? This is the seventh film and there's still one left to go. While the earlier films were somewhat light and formulaic, director David Yates has done a masterful job of gradually shifting the tone since Order of the Phoenix. The bleak tone established at the end of Half-Blood Prince carries over immediately to Deathly Hollows as Harry and his friends are fugitives on the run from the usual dark forces. This is a welcome change-up from previous installments, though I sort of miss Hogwarts. One of the strongest sequences has Harry, Ron, and Hermione sneaking into the corrupt Ministry of Magic while donning some crafty disguises. The scene has all the pacing of a tense espionage film. Other parts feel more like a road movie, but without a car. Harry and friends are truly outcasts and spend most of their time in the wilderness, seeking out Voldemort's Horcruxes. Apparently these magical items must be destroyed to defeat he who must not be named. But despite the destruction of one Horcrux, the dark lord appears to be just as powerful as ever, as revealed in the final scene. For the most part, this film is a setup for the final confrontation between good and evil. But at no point does it feel like filler before the main event. There's a lot going on here, particularly when it comes to the development of the core trio the series has been following all these years. I've never read the books and have avoided spoilers as much as possible, so I really have no clue how this all will end. Looks like I'll have to wait a few more months.

Let Me In

Count me as one of the skeptics who thought this remake was totally unnecessary. Now that I've seen Let Me In, I still feel the same way...for the most part. Let the Right One In was one of the most original takes on the vampire genre ever, offering a nice break from the innocuous territory tread by the tween-friendly Twilight series. Like most foreign films, Let the Right One In never quite gained the mainstream traction or exposure it deserved upon its initial release. Instead, it was one of those word-of-mouth films that most people discovered on video. And judging by the recent box office numbers, Let Me In might follow the same pattern. As American remakes go, this one is about as good as it gets. It remains extremely faithful to the original, despite taking place in 1983 Los Alamos, New Mexico instead of Sweden. Director Matt Reeves nails the tone and avoids any major deviations from the original's story. Chloe Moretz (from Kick-Ass) is good as Abby, the mysterious girl who moves into an apartment complex. But Kodi Smit-McPhee (from The Road) is even better as Owen, a troubled 12-year-old who eventually befriends Abby. Little by little Owen discovers that Abby isn't quite what she seems. If you've seen the original, you know exactly what to expect from each scene, with only a few minor tangents. But for those who missed out on Let the Right One In or simply can't handle subtitles, Let Me In is a worthy alternative, giving English-speaking audiences no more excuses for familiarizing themselves with this great tale.