Saving the best for last: Rachel’s fav, ‘Stand By Me’ (5/5)

“Stand By Me”

Starring: Wil Wheaton, River Phoenix, Corey Feldman
Directed by: Rob Reiner. Based on the short story “The Body” by Stephen King.
Rating: R
Running time: 1 hour, 29 minutes

We’ve all had them, some perhaps more than others — the times in your life when you realize that everything’s about to change.

I’ve got one of those coming up myself. Come the end of September, I’ll be living minutes from the Atlantic in suburban, southeastern North Carolina — a bit of an about-face from the rolling hills and beautiful lakes of upstate New York that I’ve lived among my whole life.

So for my final review, I wanted to leave you with my favorite movie, “Stand By Me,” in the hopes of winning it over a few new fans, or rekindling an old love (save the best for last, right?).

Made in 1986 (what I like to think of as a twist of fate as I was born that same year), “Stand By Me” has the reputation of a cult classic that, despite the incredible amount of positive reviews, has not quite broken into the mainstream.

For those unaware, take a seat — the immensely powerful and dramatic “Stand By Me” is based on the short story “The Body” written by the Master of Horror Stephen King — but in an extremely uncharacteristic style (think more “Shawshank Redemption” than “Pet Sematary”).

This is one of the only times that I would choose a film adaptation over the written version, but even so, King’s generally morbid and terrifying methods of storytelling are nigh nonexistent in “The Body.”
Instead he relies on his sharp memory and keen perception of psychology to tell the tale of four 12-year-old boys on a journey to see a dead body.

OK, I’ll admit, it sounds gruesome. But this unsettling plot is actually the gateway to a beautiful and dramatic reflection on youth, friendship and the first painful awareness of mortality and the knowledge that everything changes.

And while King’s version naturally leans toward the more cynical side of the spectrum, director Rob Reiner’s “Stand By Me” will leave you with an immense sense of melancholy tinged with a nearly imperceptible feeling of promise.

The film starts with a very understated title scene followed by a shot of a reflective Gordie Lachance (played here in the adult/narrator role by Richard Dreyfuss, who brings a wonderful balance of whimsy and rumination to his mostly voice-over role). We then see the reason for Gordie’s musing — a newspaper article headlined “Attorney Christopher Chambers fatally stabbed in restaurant.”

The audience is then transported back to 1959 as Gordie (here played by Wil Wheaton) tells of the first time he saw a dead body at the age of 12 along with his friends Chris Chambers (River Phoenix), Teddy Duchamp (Corey Feldman) and Vern Tessio (Jerry O’Connell).

A local kid, Ray Browers, had disappeared several days before. Vern overheard his older brother discussing the accidental finding of the body near the railroad tracks with another gang member while they had been joyriding with a stolen car. The teens decide to keep their mouths shut to avoid getting in trouble for stealing the car.

With dreams of becoming heroes, the four younger boys start on a trek along the rail to find and hopefully recover the body.

While the movie is full of 12-year-old-boy antics (breaking into the town junkyard and a memorably disgusting story from young Gordie involving how Davie Hogan gets revenge for his cruel nickname), it mostly centers around the more intense, dramatic moments. Each of the boys are coming to terms with who they are and what their place is in the world in different, and often painful, ways.

Gordie’s older brother has recently passed away and he is now largely ignored by his parents. Chris’ father is abusive and his brother a no-good gang member, and he fears his family will keep him from living any sort of decent life.

Even if you haven’t experienced exactly what any of the characters have, King and Reiner make it easy to be able to connect and relate with them regardless. Who hasn’t experienced being bullied, albeit perhaps not with one so vicious as Ace Merrill (a young and decidedly tough Keifer Sutherland).

And who hasn’t felt worthless (Chris) or in need of extreme danger to make them feel alive (Teddy)?
Simply put, “Stand By Me” is a beautiful movie from beginning to end. From the music to the cinematography to the script and the absolutely incredible job done by the young cast, the film was made with deliberate care and expertise, and it shows.

River Phoenix’s untimely death in 1993 makes his role as the troubled but loyal Chris Chambers that much more poignant. His performance is a large part of what makes “Stand By Me” so incredible.

And while this is my favorite movie and I started watching it at a young age, keep in mind that it is a very emotional movie with adult themes that may disturb young viewers (it is rated R). There’s also an immense amount of vulgarity from the kids and the older gang.

As the running time is relatively short at an hour and a half, I would highly recommend taking a look at the featurette “Walking the Tracks: The Summer of ‘Stand By Me’” in the special features. It includes interviews with Stephen King, Rob Reiner and most of the main cast  in 2002 (it’s interesting to see how much the young boys have grown, especially Jerry O’Connell).

In the featurette, King describes the story as being that of “kids who are discovering the world.”
“Stand By Me” shows that not all journeys have to be physical (though mine decidedly is) — often, the mental journeys are the ones that make the biggest difference.

5 of 5 stars

Dark, violent and funny, ‘Defendor’ has surprises (4/5)

“Defendor”

Starring: Woody Harrelson, Elias Koteas, Kat Dennings
Directed by: Peter Stebbings
Rating: R for drug use and language throughout, violence and sexual content.
Running time: 1 hour, 41 minutes

It’s a maniac with marbles, it’s Woody Harrelson in a funny costume, both, it’s DEFENDOR!

Rarely does a movie transcend the boundaries of a genre well. But “Defendor” is a comedy, action flick and drama rolled up into one pretty good film.

The emotional aspects of this movie were relatively surprising. I was expecting an off-beat comedy, but instead got a more realistic version of “Kick-Ass” complete with the mental turmoil of being a superhero-sans-powers.

Woody Harrelson stars as Arthur Poppington, a mentally challenged city man who is tired of the drug kings running his shattered home. Rather than the honest working man, the streets are full of corrupt cops and prostitutes enslaved to the drug pushers. Arthur creates the alter-ego Defendor (complete with duct-tape logo and black face paint) to protect the city and fight back against the drug runners.

By day, Arthur works as a road crewman under Paul Carter (Michael Kelly), who has taken Arthur under his wing. But the independent Arthur wants no handouts and instead lives in an abandoned warehouse by himself, unbeknownst to Paul.

In his search for his arch nemesis Captain Industry, Arthur happens upon the bought-out undercover policeman Chuck Dooney (Elias Koteas) and the young streetwalker Kat Debrofkowitz (Kat Dennings of “Nick and Norah’s Infinite Playlist”). Kat “befriends” Arthur and tells him she knows the identity of Captain Industry — mob boss Kristic (Alan C. Peterson), who Kat wants taken out for her own selfish motives.

“Defendor” is an unexpectedly dark movie with comedic undertones. The tough themes circling the devastated city and Arthur himself are balanced by Arthur’s marble throwing, “Oh no, not the lime juice!,” and random labels (“Defendoor” over the warehouse entrance, for instance). This sort of humorous melancholy brings an immense feel of realism to “Defendor” that makes its points strike home all the harder.

Although “Defendor” can be seen on the surface as a superhero parody, it becomes blatantly clear that it’s more of a reflection on society and one man’s drive to fix it. Our laughter is hardly a mockery of Arthur and his intelligence level but rather we laugh at the brutal silliness of it all, and by extension the crazy lifestyles inherent with drug abuse and prostitution. “Defendor” takes backroom conversation and thrusts it into the limelight of humor while forcing it to maintain its dangerous vibe.

“Defendor” manages to be an honest movie in the realm of the fantastical. Woody Harrelson’s performance is impeccable as he flawlessly switches between animated and spirited to dejected and grim and Elias Koteas is a superb bad guy. Kat Dennings does a suitable job as Kat Debrofkowitz but I feel that her limited range just can’t hold a candle to Harrelson’s.

This movie isn’t suitable for all viewers, largely due to the themes of drugs and prostitution itself. But there are also scenes of violence and language — it’s rated “R” for a reason.

This is the writing and directorial debut of Canadian Peter Stebbings, and I think it’s safe to say he has a long career ahead of him in the movie industry.

4 of 5 stars

‘Invictus’ conveys important message for America (4/5)

Invictus

Starring: Morgan Freeman, Matt Damon and Tony Kgoroge
Directed by: Clint Eastwood
Rating: PG-13.
Running time: 2 hours, 14 minutes

Invictus
Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.

In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.

Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid

It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
— William Ernest Henley

From the eloquent directorial mind of Clint Eastwood comes one of the most inspirational films of the past year — “Invictus,” based on the true story of South African President Nelson Mandela’s venture to unite his apartheid-torn land by way of the national rugby team.

The premise itself seems contrary — the notably physical, aggressive game of rugby promoting peace and fellowship. But many sports fans will agree that there’s hardly a more unifying experience than cheering for the same team, especially on the national level (ask any soccer fan how they felt after the U.S. pulled out a narrow tie with England last World Cup, or when Landon Donovan scored the overtime goal that catapulted America into the second round).

“Invictus” begins with the induction of Nelson Mandela (Morgan Freeman) as the first black president of South Africa. He arrives at his office to find all Caucasians packing their things with the assumption that Mandela will hire only black South Africans.

Cue Mandela’s first speech of inspiration, in which he assures the staff that “What’s past is past. We look to the future now.”

But Mandela realizes that he cannot bind a country with what many bitter whites would perceive as empty, lofty words — he must find a way to unite them on their own level. He expresses this in his first meeting with François Pienaar (Matt Damon), the captain of the South African rugby team, the Springboks:

“But how do we get them to be better than they think they can be? That is very difficult, I find. Inspiration, perhaps. How do we inspire ourselves to greatness when nothing less will do? How do we inspire everyone around us? I sometimes think it is by using the work of others.”

Although the Springboks are, frankly, not very good, Mandela sees an opportunity to join South Africa together in cheering for their national team in the 1995 Rugby World Cup hosted by South Africa.

Pienaar is faced with the difficult task of motivating his own team to greatness — personally and professionally. They are assigned to give black village children rugby lessons, a project first viewed with scorn. But when the players see the children and realize the effect they are having, their level of pride in themselves and their country begins to increase.

The rugby team is also given a tour of the prison that Mandela was held in for 27 years, an emotional experience for Pienaar. Mandela had given him a copy of the poem that had kept his heart, soul and mind afloat throughout the dark periods of hard labor and imprisonment — “Invictus,” a Latin word meaning “unconquered,” a poem written by Englishman William Ernest Henley in 1875.

A wonderful subplot in “Invictus” is Mandela adding four white South Africans to his team of black bodyguards. “The Rainbow Nation starts here,” he tells his angered head of security. “Reconciliation starts here.”

This inspirational and highly quotable film is something I believe everyone should watch, if only for the message of putting aside pettiness for the good of the country (something America could take a lesson in, I think).

Freeman does an absolutely incredible job as Nelson Mandela. And, really, who better to play the icon? Freeman looks born to play this role, and it’s said that Mandela himself said that Freeman is the only actor who would be able to properly portray him.

For his part, Damon does well, but his role is fairly limited to the humble captain who “leads by example.”

The rugby matches themselves are all right, but the filmography tends to cheese up a bit during the moments meant to be portrayed as suspenseful or moving — Eastwood did so well allowing the actors and the story to build its own dramatics that I wish they had left the creativity out of the games, a traditionally emotional experience in its own right. It almost seemed that though they understood and accepted the nuances and subtleties of speech, they couldn’t understand the fervor that is naturally built behind a sporting event.

But despite the few weaknesses, “Invictus” is overall a very strong movie that I think everyone, especially our politicians, should watch. I think the feel of the movie is summed up by an early discussion between Mandela and his assistant, Brenda Mazibuko:

Brenda: You’re risking your political capital, you’re risking your future as our leader.
Mandela: The day I am afraid to do that is the day I am no longer fit to lead.

4 of 5 stars

‘Cloudy’ brighter than expected (3.5/5)

Cloudy with a Chance of Meatballs

Starring: Bill Hader, Anna Faris, Bruce Campbell
Directed by: Phil Lord, Chris Miller
Rating: PG for brief, mild language.
Running time: 1 hour, 30 minutes

I wasn’t in a big hurry to see “Cloudy with a Chance of Meatballs” for a couple of reasons.

1.) I like to think that I’m open to movies, but truthfully, I’m highly biased against any recent animation that doesn’t come out of Pixar Studios (or, to a lesser extent, Pixar’s owner, The Walt Disney Co.). Before “Cloudy with a Chance,” Sony Pictures Animations has been responsible for such bombs as “Open Season” and “Surf’s Up.”

2.) It’s based on one of my all-time favorite childhood books, and the catastrophes that were “The Golden Compass” and “Where the Wild Things Are” have left me wondering why the imaginative spirit that those books inspired within me seemed to skip over anyone in the movie industry. (I refuse to watch “Bridge to Terabithia” for that very reason.)

But it’s hard to say no to 11-year-old sisters (especially when they have a vice grip on the remote and disturbing knowledge of a young adult’s pain threshold). And so I found myself last Saturday nursing a hand with a Wii-remote-shaped bruise and watching “Cloudy with a Chance.”

Thankfully, it got me laughing right away — a banana falling on the Columbia Lady was hilarious and put me in just the right mood for the film.

The charm and originality of the book are preserved in the movie, as well. Flint Lockwood (Bill Hader) is the typical socially-awkward-but-wants-to-make-a-difference nerd (he actually reminded me a bit of Hiccup from “How to Train Your Dragon”). His inventions, such as the spray-on shoes, are pretty cool, but often backfire.

Despite his father Tim’s requests for Flint to give up the science act and join his side at the local bait shop, Flint soon comes up with a way to turn the flavorless island town of Swallow Falls (where everyone eats sardines) into a regular smorgasbord — a machine that can transform water molecules into food.

When the machine is accidentally launched into the atmosphere, wonderful (and delicious) things begin to happen — mostly in the form of cheeseburgers.

Flint finds himself in the company of a junior weather reporter, the beautiful, vibrant and overly perky Sam Sparks (what a great name for a weather reporter) played by Anna Faris.

Swallow Falls used to be a pretty OK town — until the Baby Brent Sardine Canning factory closed down. Now, Mayor Shelbourne (Bruce Campbell) is determined to find a way to put Swallow Falls back on the map — and with Flint’s invention, he believes he has found a way. But the effects of gluttony catches up to him in many ways, and soon the machine becomes a danger to the town’s residents and tourists.

With the help of Sam and his pet monkey, Steve, Flint must shut off his best invention before it destroys the island.

Flint, Sam, and the formerly famous “Baby” Brent must all come to terms with who they actually are — which leads to many hilarious, heartwarming conclusions.

Flint’s pet monkey Steve (voiced by the ever-hilarious Neil Patrick Harris) is 100 percent the best part of this movie. I only wish that he was the main character — that’s one spinoff movie that I could actually get behind.

Maybe my one major complaint with “Cloudy with a Chance” is how easily it lends itself to becoming a video game — it was hard to forget that I wasn’t sitting on the couch with an X-Box remote in hand at times. The visuals and plot were great, but I wondered at the motives at times.

Overall, this is one literary adaptation that didn’t make me want to scream — an accomplishment in its own right. There’s no doubt that “Cloudy with a Chance” is aimed for the young, but I think it will also appeal to those young at heart.

3.5 of 5 stars

Hopkins can’t save ‘Wolfman’ (2.5/5)

The Wolfman

Starring: Benicio del Toro, Emily Blunt, Anthony Hopkins
Directed by: Joe Johnston
Rating: R for bloody horror violence and gore.
Running time: 1 hours, 59 minutes (unedited director’s cut)

“The Wolfman” is a series of understated sequences followed by moments of unintentional comedic effect.

Joe Johnston (“Jumanji,” “October Sky,” “Jurassic Park III,” “Hidalgo”) tries his hand at this simply adequate remake of the 1941 classic “The Wolf Man.”

The updated “Wolfman” is a dark enough production, and the style and pacing will appeal to many who love older movies, but the film’s subtleties and plot-driven manner have made it difficult for contemporary audiences to immerse themselves.

In fact, the worst parts were undoubtedly the scenes that were meant to draw in today’s audiences — they felt too contrived, too predictable, too cheesy. And that is exactly where Johnston will scare away the classical aficionados, thereby driving away any solid viewership.

There aren’t many surprises with this movie — as with many remakes, you know where it’s going when you walk in. Lawrence Talbot (Benicio del Toro) returns to England when his brother’s fiancee, Gwen Conliffe (Emily Blunt), seeks his help in finding her betrothed. The brother’s body is soon found, mauled by a savage beast, much like the bodies of other victims. Pub tales tell of werewolves, to which some scoff and others cross themselves.

While in England, Lawrence is reunited with his estranged father, Sir John Talbot (Anthony Hopkins), and finds himself falling for Gwen.

But a nighttime ride to a gypsy camp to uncover his brother’s killer ends in terror for Lawrence as the werewolf makes an unexpected appearance and Lawrence ends up being bitten.

Now Lawrence must cope with mending a broken relationship with his father, falling in love with his dead brother’s fiancee and, oh yeah, turning into a horrible monster.

The point of movies like this is not to have a flabbergasting ending but to plunge the audience into the story. Unfortunately, “Wolfman” is unable to grasp the viewer.

Having the lead role in your movie miscast, as was Benicio del Toro as the Wolfman, forces the rest of the film to rise above and beyond the call of duty to make up for such a noticeable lack — sadly, “Wolfman” fails to do this. A lesson for del Toro — being a producer does not mean that you should be the main character.

The shining beacon of this movie is undoubtedly Anthony Hopkins. He’s engaging and seems to get even creepier as he ages. (Is it even possible for him to top his role as Hannibal Lecter? Doubtful, but that doesn’t mean he’s not still scary.)

I actually was interested in this movie because of Emily Blunt (“Dan in Real Life,” “The Jane Austen Book Club,” “The Devil Wears Prada”), but this has been the first movie in which she has not totally captured me.

This movie does have some pretty interesting parts. I especially enjoyed the transformation sequences, but could have lived without most of the overdone fighting scenes. The atmospheric night scenes in the woods, however, were fairly frightening.

And they should have kept the viewers guessing [an engaged watcher’s imagination is all it takes to scare the wits out of someone, trust me] — because once you start getting some good, up-close-and-personal looks at the Wolfman, he’s not quite so scary anymore. More like Chewbacca with indigestion.

If you’re a fan of werewolves or of classic storytelling, “Wolfman” may be a movie worth watching.
But if you’re looking for a terrifying, action-packed gore-fest, this isn’t it (even the unedited version was tame enough for me to watch without covering my eyes).

2.5 of 5 stars

Jolie makes ‘Salt’ a tasty flick (4/5)

Salt

Starring: Angelina Jolie, Liev Schrieber, Chiwetel Ejiofor
Directed by: Phillip Noyce
Rating: PG-13 for intense sequences of violence and action.
Running time: 1 hours, 40 minutes

You may think I’m not a big fan of action movies because car chases and explosions are much more likely to put me to sleep than they are to stir me into an adrenaline-crazed frenzy. Also, I have a standing disdain for any casting director absurd enough to cast Vin Diesel or Dwayne Johnson (formerly “The Rock” — because tough nicknames make up for a lack of talent). But truthfully, I demand a certain level of intellectual integrity that most mainstream action flicks seem to sorely lack (“xXx,” anyone?).

Thankfully, there’s no need for “Salt” to be put on anyone’s “guilty pleasures” list.

CIA officer Evelyn Salt (portrayed by an exemplary Angelina Jolie) finds herself accused of being a Russian spy and detained by her coworkers.

Desperate to find her German nationalist husband, Mike Krause (August Diehl), who has gone missing in an apparent link to the accusation, Salt employs her intelligence and fighting know-how to escape from her fellow agents and track her husband down, all the while proclaiming her innocence.

With Salt’s identity in question and a mountain of evidence piling up against her, Salt is tracked by fellow agents Peabody (Chiwetel Ejiofor) and Ted Winter (Liev Schreiber), who has also grown to be a friend of Salt’s. But for a CIA agent, loyalty to country exceeds loyalty to friendship and her coworkers are forced to examine the facts.

Just as Peabody has no idea of what Evelyn Salt is capable, the audience, too, has no idea of what Phillip Noyce is capable. “Salt” is a heart-racing jaunt with fantastic action sequences and a plot that will keep you on your toes (or at least the edge of your seat) helped along by the moderately quick running time of an hour and 40 minutes.

Many reviewers have compared “Salt” to a mixture of the Bourne trilogy and the James Bond films.
But Jolie turns the action genre into her own plaything and absolutely owns every moment of her screentime.

I’ll admit that I predicted part of the ending about halfway through, but that didn’t hamper my enjoyment. I also think that most viewers will be left guessing ’til the end — there are plenty of twists to keep even the most seasoned moviegoers scratching their heads.

Angelina Jolie is the epitome of the female action star and she never ceases to amaze me. Her beauty, power and commanding aura have only grown with her.

But what was really excellent about her role as Salt is that her undeniable sex appeal is greatly toned down to a point where it’s hardly noticeable. And that allows you to focus on what’s actually going on rather than be distracted by the smoke-and-mirrors, peek-a-boo nudity that so often peppers action movies.

“Salt” isn’t entirely realistic and will leave you with a few questions when the credits start to roll. But it’s engaging and interesting and has some of the best acting so far this year.

Plus, don’t you just want to know if she’s a Russian spy or not?

4 of 5 stars

‘Inception’: Plan to see it twice (4/5)

Inception

Starring: Leonardo DiCaprio, Ellen Paige, Joseph Gordon-Levitt
Directed by: Christopher Nolan
Rating: PG-13 for sequences of violence and action throughout.
Running time: 2 hours, 28 minutes

If you’ve seen the previews, then this next point shouldn’t be much of a surprise: “Inception” is a mind-bending experience and is definitely a movie to watch twice. It’s nice to see original ideas again.

Dreams themselves are odd things to consider. They’ve long been seen as images from our subconscious — a mysterious force inside us that seems to know when we’re stressed and always conveniently knows what our biggest fears are (and, too, our deepest fantasies).

Director Christopher Nolan took the idea of random, internal thoughts and images to a new realm — a controllable arena in which your deepest secrets are vulnerable to the trained intruder.

Leonardo DiCaprio stars as the tortured Dominic Cobb with a dark past. Cobb is an expert in the art of extraction, or the ability to retrieve information out of others’ dreams. A man approaches Cobb with an offer — implant an idea into another man’s mind, and Cobb will be reunited with his children.

But implanting an idea is much harder than retrieving one — in order for an idea to stick, the dreamer must believe it is his or her own, organic thought.

Cobb assembles a team to help him break into the guarded mind of business heir Robert Fischer (Cillian Murphy, “Red Eye”). He joins together with architect Ariadne (the fantastic Ellen Page, “Juno”) and research leader Arthur (Joseph Gordon-Levitt).

A trick to Inception is to know who is dreaming and, therefore, who is in control. Also important is whose dream you are entering, because their subconscious could sense and attack you.

What makes entering Fischer’s mind so much more difficult is the use of sedation and the dream-within-a-dream stages. Also, Fischer has been trained against such interlopers, and so must be convinced to lower his guard.

The imagery of “Inception” will raise this movie above many others. Zero-gravity fights, dream building and imaginative scenarios will keep you amazed. But what will keep you invested is the story of Cobb and his wife, Mal (beautifully played by Marion Cotillard).

Leonardo DiCaprio proved long ago that he was more than just a pretty face (“Gangs of New York” and “What’s Eating Gilbert Grape” are simply fantastic films), and though he’ll always be haunted by the memory of his blockbuster role as “Titanic’s” dreamboat Jack Dawson, DiCaprio has managed time and again to pull out amazing performances. His portrayal of the tortured Cobb is worthy of admiration.

I have to commend Joseph Gorden-Levitt. I’m used to seeing his charismatic personality shine through in his early works “Third Rock from the Sun,” “10 Things I Hate About You,” and, more recently, “(500) Days of Summer.” But his restrained role as Arthur demonstrates his desire (and, more important, his ability) to build on the more serious side of human emotion (his part as Rex Lewis in “G.I. Joe: Rise of the Cobra” was a good jumping off point for him in this aspect, even if the movie itself wasn’t great).

“Inception” is wonderfully refreshing and a great example of thought-provoking film. The visuals are astonishing, the characters are memorable and the actors are superb. This is easily one of the best movies of 2010 — but looking at what’s come out so far, there hasn’t been much competition.

4 of 5 stars

‘Predators’ fun; script ‘horrific’ (3/5)

Predators

Starring: Adrian Brody, Topher Grace, Alice Braga
Directed by: Nimród Antal
Rating: R
Running time: 1 hour, 46 minutes.

When the director’s name is Nimród, maybe your expectations shouldn’t be too high.

Nimród Antal directs “Predators,” a sequel of sorts to the late ’80s, early ’90s franchise that kicked off with Arnold Schwarzenegger as his typical self being hunted by tall, ugly, dread-head aliens with superior weaponry and camouflage that would fluster a chameleon.

This time, instead of the Predators coming to Earth, a motley crew of battle-hardened soldiers, a death row inmate and a doctor are dropped onto an alien planet.

Handily, they’re all dropped with weapons intact.

The group glues itself to Royce (Adrien Brody), the tough ex-Black Op agent with the giant gun. Before long, Royce determines that the planet they’re on is a game preserve, and they’re the ones being hunted.

But it’s Isabelle (Alice Braga), the sole female representative, who realizes that they’ve been chosen because they are the “monsters” of Earth and are themselves predators, hunting other people and showing little humanity.

“Predators” is pretty solid entertainment, especially if you’re into action flicks. But if you’re looking for anything that even faintly resembles a decent attempt at characterization, this isn’t for you.

Predictably, the group is whittled down one by one. Also predictably, you don’t find yourself caring about the character’s deaths much, only waiting for the next one to occur.

The sense of isolation and despair the movie tries to get across is hampered by this lack of attachment to the characters. What personally kept me invested was the hope that every moment may be the last for the inmate Stans (Walton Goggins), who was probably thrown in for comedic effect but came across as simply shallow and obnoxious instead. And Hanzo, the Japanese Yakuza assassin, was overwhelmingly pointless save for a hokey sword duel.

Although I am an enormous Adrien Brody fan, I wish he’d stick with the more mental spectrum of films. The thought of Brody conjures up images of a thin, pale actor, not a muscular action man.
Though lately he’s been trying to change his image, as seen in his interest in playing the Joker in “The Dark Knight” and through his role in the science fiction “Splice.”
Anyway, back to “Predators,” the plotline itself is relatively interesting but the script is just horrific. As I mentioned earlier, “Predators” was made for entertainment, not to change anyone’s life.

Arguably the most engaging character is Noland, the certifiably crazy former U.S. Air Cavalry soldier, played by Laurence Fishburne. Schizophrenia and paranoia at their best.

Another notable performance is Topher Grace (Eric Forman of “That ’70s Show”) as the doc, Edwin. You’ll question this character’s reason for existence all the way to the end, and maybe even beyond it. Despite that, Edwin gives the comedic aspect somehow lacking in Stans’ role.

The Predators themselves are fun to watch and very reminiscent of the originals. There’s also a money shot of a Predator tearing out a man’s spine and skull (it’s rated R for a reason). They look cool and kick some serious butt. Not to mention their Grade A weaponry and camouflage.

Overall I’d say the Predators remain in contention for the top of seriously awesome movie monsters. Whether Hollywood can figure out how to surround these hunters with worthy prey is another matter.

• • •

Although “Inception” comes out tomorrow, it has already been getting some rave reviews. There’s a lot of hype surrounding this movie, and while I normally try to ignore that, the latest Christopher Nolan flick may actually live up to it. Are you going to see “Inception?” Send your thoughts on it to rcrofut@fltimes.com by next Tuesday and look for my review in next week’s JumpStart.

3 of 5 stars

‘Daybreakers’ definitely not for the squeamish (2.5/5)

Daybreakers

Starring: Ethan Hawke, Sam Neill, Michael Dorman
Directed by: Michael and Peter Spierig
Rating: R for strong, bloody violence, language and nudity.
Running time: 1 hour, 38 minutes.

If you’re into gore (and I mean of the head-bursting, artery-gushing, limb-tearing, blood-everywhere variety), then “Daybreakers” may be for you.

Not that the latest from the Spierig brothers is absolutely overrun with appetite-killing sequences (for the most part), but what there is of them will make those weak at stomach wish for a more tame flick — and a bucket.

“Daybreakers” has a pretty strong and interesting premise. In 2019, a disease pandemic has transformed most humans into vampires (the technicalities of this are, oddly, left fairly vague, leaving it up to the audience to simply go with it). As these vampires used to be human, their worlds and social systems remain largely familiar to us.

Less than 5 percent of the human population — the main food source for the vampires — remains, and the vampires face a total deprivation.

When left without blood for long periods, the vampires turn into “subsiders” that resemble the bat-like, degenerate, wild creatures featured in many horror films.

Ethan Hawke (“Staten Island,” “Lord of War,” “Snow Falling on Cedars”) stars as Edward Dalton, lead hematologist at blood production company Bromley Marks run by Charles Bromley (Sam Neill, who will forever remain to me as Dr. Grant from “Jurassic Park”). Edward is tasked with finding a blood substitute to amend for the loss of humans.

Although Edward works for a company that hunts and “farms” humans, he refuses to drink human blood himself and offers to aid the stray human he comes across; however, Edward’s brother, Frankie (Michael Dorman), is a human hunter who doesn’t understand his brother’s unvampiric ways.

Edward is sought out by Lionel “Elvis” Cormac (a traditionally salty Willem Dafoe) who has discovered something better than a simple blood substitute — he has discovered a cure for vampirism.

The plot itself is freshly exciting and holds undertones of our country’s oil dependency. And the scenes that demonstrated the vampire’s seamless maintenance of our current necessities and enjoyments are wonderful and engaging.

I really loved the idea of this movie, and for the first half, it seemed like the directors did, too. But then they decide that having a good plot wasn’t adequate — they needed to show the audience exactly how much blood is in the human body and how crazy of a mess it can leave when it’s all over the place. In the meantime, they completely forget everything that made the first half an actual decent movie.

Other than the disease’s origin, another overlooked plot point is how the vampires initially took to killing and, in a sense, eating humans. After all, they had been humans, too. Edward’s attitudes hint at this type of remorse, but there’s hardly any philosophical undertones akin to Louis’ in “Interview with the Vampire.”

“Daybreakers” is a promising movie that sadly devolves into a typical gore fest. It’s good for cheap thrills and quick entertainment, but doesn’t hold much lasting potential.

2.5 of 5 stars

Puzzling, cliché ‘Legion’ a letdown (1.5/5)

Legion

Starring: Paul Bettany, Lucas Black, Adrianne Palicki
Directed by: Scott Stewart
Rating: R for strong, bloody violence and language.
Running time: 1 hour, 40 minutes.

“Legion” is one of the biggest disappointments this year — and that’s saying a lot.

From undeveloped characters to a predictable plot and plain bad scriptwriting, “Legion” fast became its own worst enemy.

This Scott Stewart film just couldn’t decide what it wanted to be. A horror? A drama? A thought-provoking look into human nature? A mess?

Well, it got that last one right.

I’m all for fresh writers in the caught-on-repeat Hollywood scene, but maybe Stewart’s and fellow co-writer Peter Schink’s untested writing abilities are partly to blame.

Idealistically, fresh writers bring fresh ideas. But too often, they end up falling back on awful movie clichés.

The moment any movie character threatens “the child,” I know there’s no recovery. Unfortunately for “Legion,” that’s pretty much how it opens.

Predictably, it’s all downhill from there.

It’s got an interesting premise. God is fed up with humanity, and so he sends his angels to eliminate the lying, greedy, selfish homo sapiens.

But Archangel Michael (Paul Bettany, who by himself is one of the few reasons to watch this movie) believes that God has it all wrong and that he just needs a little persuasion to see how awesome people really are. In the meantime, he must protect an unborn child from certain death at the hands of the angels.

A rundown, isolated desert diner — aptly named “Paradise Falls” — is the unlikely location for the standoff between Michael and God’s right-hand angel, Gabriel (Kevin Durand, who was incredible as the baddie in “Lost” but just lacks any depth here).

The diner is owned by Bob Hanson (Dennis Quaid, who must have been hard up for work) and his son, Jeep Hanson (a flat-as-a-pancake Lucas Black). Yes, his name is Jeep. That ought to tell you something about this film right there.

Jeep is smitten with the very pregnant and adoption-minded Charlie (Adrianne Palicki), who is staying with the father and son duo and helping out at the diner.

After Michael comes and informs Charlie that her unborn child will somehow save the world, the diner is put into lockdown (helped along with the atmospheric loss of power). The group faces several unearthly “creatures” that come to kill them, including a matronly grandmother figure who spider-crawls up the walls and the local ice cream truck driver whose jaw is bigger than John Kerry’s.

Other than the Hansons, Charlie and Michael, there are a handful of other diner fighters. But, frankly, they’re hardly worth mentioning. Except to note that there is really no reason for Audrey to exist much less to dress in the most revealing clothes that side of the Mississippi.

“Legion” is full of unanswered questions that are more the result of writers block or shoddy planning than the mayhaps hoped-for intention of intellectual design.

For one, if God wanted everyone dead, why did he have to use subterfuge to accomplish it? How do guns kill angels? And what happens to the angels when they “die?” And why couldn’t the angels enter the diner? And what happened to everyone outside the diner? And why do the angels act more like hellbound demons than messengers from God? And why did I watch this movie again?

“Legion” fails at everything it tries to accomplish. It’s not scary (and I am quite possibly the easiest person in the world to scare), it’s not insightful and it’s not interesting. Jeep, presumably the main character, has absolutely no development, an IQ of perhaps 20, and is quite frankly very obnoxious.

The ending worries me a little. Stewart and co. clearly left “Legion” open for a sequel. I’ll consider recommending Stewart to sainthood if he doesn’t try to push through a “Legion II.”

1.5 of 5 stars

‘Toy Story 3’: Pixar wins again (4.5/5)

Toy Story 3

Starring: Tom Hanks, Tim Allen, Joan Cusack
Directed by: Lee Unkrich
Rating: G
Running time: 1 hour, 43 minutes

Be prepared to be taken “to infinity and beyond” once again.

Pixar has pulled off the impossible: Meeting (and exceeding) the challenge of concluding a beloved storyline.

I have no shame in admitting that I was heavily skeptical going into the latest Pixar production. I wondered how the minds behind such groundbreaking and adored films as “Toy Story,” “A Bug’s Life,” “Monsters, Inc.,” “Finding Nemo,” “The Incredibles,” “Cars,” “Ratatouille,” “Wall•E” and “Up” could excuse this apparent slip of creativity.

But I am exorbitantly happy to say that in no way is “Toy Story 3” a mistake.

Many “kids” my age feel a certain ownership over Andy’s toys. (After all, I was only 9 when “Toy Story” came out in 1995!) Woody, Buzz and the gang were as much a part of our childhoods as they were his.

And in a hugely unanticipated way, this sense of investment is exactly what makes “Toy Story 3” spectacular.

While Andy is preparing to leave for college, he faces the heart-wrenching decision of what to do with his old toys. Through a series of mistakes and misunderstandings, rather than ending up in the attic, the whole gang finds themselves at Sunnyside Day Care.

There they are taken under the wing of Lots-O’-Huggin’ Bear (who is animated so wonderfully you just want to pick him out of the screen and squeeze him). Lots-O’ turns the toys’ feelings of abandonment into joy as he explains that at the day care, they will always be played with and never be outgrown.

The ever-loyal Woody (Tom Hanks) insists that they belong to Andy and that it was a mistake that brought them to Sunnyside, but the other toys quickly fall in love with their new surroundings.

Woody sets out on his own to return to Andy and runs into a handful of others who inform him that Sunnyside is no place for a toy, a fact that Buzz (Tim Allen), Jessie, Hamm, Rex, Slinky Dog, the Potato Heads and the rest soon discover.

“Toy Story 3” is full of hilarious antics, from Barbie and Ken to Buzz’s Spanish mode and the aliens’ continuing obsession with “the claw.” The script is wonderfully clever and overflowing with quotable lines. Director Lee Unkrich walks the fine line between heartwarming and corny with ease, never for a moment slipping into the “groan zone.”

Having watched (thousands of times) and loved the first two “Toy Stories” only made the third that much more meaningful. I felt a real connection with Andy’s poignant decision that transformed “Toy Story 3” from just another installment into a bittersweet conclusion (be sure to take some tissues; I certainly needed them).

Although this movie is absolutely appropriate for all ages and should be enjoyed by those 2 to 102, timid children may be frightened by a few of the new characters (namely a freaky baby doll and a terrifying cymbal monkey).

The 3-D aspect is a nice complement to the latest adventure (save the obnoxious glasses) and ties in nicely with the always impeccable animation of which Pixar is constantly capable. But if you have to wait for the film to come out on DVD, the loss of 3-D will not impede on this incredible film in the slightest.

Pixar has absolutely outdone itself again. “Toy Story 3” is a wonderful sendoff for our small, plastic friends and a loving gift from Pixar to its loyal audience. From beautiful animation to a captivating story, “Toy Story 3” is superb from beginning to end and is a lesson in the magic of moviemaking.

4.5 of 5 stars

‘A-Team’ better than expected (3.5/5)

The A-Team

Starring: Liam Neeson, Bradley Cooper, Quinton Jackson, Sharlto Copley
Directed by: Joe Carnahan
Rating: PG-13 for intense sequences of action and violence throughout, language and smoking.
Running time: 1 hour, 57 minutes.

“The A-Team” was actually pretty exciting.

But that’s what you get for going in with low expectations.

I never watched the old TV show, but I know a lot of people who have, and, therefore, I know a lot of people who were dreading this movie.

Maybe you just need a clear perspective. Or, maybe, it simply wasn’t that bad.

Part of what makes “The A-Team” so watchable is the characters. Each member of the team is awesome in his own respects and brings his own charm to the screen.

Heading the crew is the aging but able John “Hannibal” Smith (Liam Neeson). Sadly, it’s difficult to watch Neeson without turning your thoughts to the tragic loss of his wife, Natasha Richardson, last March. But Neeson pulls through as the glue holding the team together.

Next is the handsome, winning Templeton “Faceman” Peck (Bradley Cooper), known more simply as “Face.” You may recognize Cooper as the devil-may-care leader of “The Hangover” gang.

The rough and tough B.A. “Bad Attitude” Baracus (Quinton Jackson), and his over-the-top fear of flying, adds his own spice to the group. The UFC-fighting Jackson is certainly no Mr. T, but he’ll do.
(Spoiler alert: “Pity the fool” was never uttered, though B.A. did make it a point to call just about anything a “fool.”)

Rounding out the motley quartet is the certifiably insane helicopter pilot H.M. “Howling Mad” Murdock (Sharlto Copley). Copley, who got his acting debut in last year’s “District 9,” is amazingly hilarious here. You’d never know he wasn’t a professional actor.

After a glimpse at the U.S. Army Special Forces team formation, you’re quickly ushered dozens of missions later to near-present-day Iraq.

Turns out some Saddam loyalists have gotten their hands on special plates that will allow them to counterfeit billions of dollars of U.S. currency.

The A-Team is ordered (covertly, of course) to get these plates before the loyalists can escape Baghdad with them.

But, inevitably, things go horribly, terribly wrong. And the members of the A-Team are framed for a crime they didn’t commit.

They also discover that the people truly responsible may be from their side of the Atlantic.

Complicating matters is the beautiful Captain Carissa Sosa (Jessica Biel), Face’s former girlfriend and a general subscriber to the “I blame the A-Team” philosophy,  the slippery CIA Agent Colonel Lynch (Patrick Wilson) and the shifty black operative leader Pike (Brian Bloom).

As Hannibal says, “Overkill is underrated,” a phrase that writer/director Joe Carnahan may have had taped over his glasses. Carnahan definitely went crazy with some of the action sequences, but they were all really, really fun to watch — take the thrilling plane shootout where the A-Team tries to escape with the aid of a tank falling thousands of feet from the air.

“The A-Team” is at its best during its lighthearted, humorous sequences. The few “tender” moments that there are (which are thankfully minimized) make you want to groan. Sorry, Jessica Biel, but Captain Sosa’s love affair with Face just never made a connection with me.

In my mere 23 years, I’ve noticed that America has quite the obsession with tales of government corruption and rogue vigilantes. Let us hope that no such heroics are needed. If they are, we can always call in the A-Team.

3.5 of 5 stars

‘Men Who Stare’ worth a look (3.5/5)

The Men Who Stare At Goats

Starring: George Clooney, Ewan McGregor, Jeff Bridges and Goat
Directed by: Grant Heslov
Rating: R for language, some drug content and brief nudity.
Running time: 1 hour, 34 minutes.

I’m a little behind on this one, but I swear, I’ve wanted to see “The Men Who Stare at Goats” since its November release.

I didn’t really know what to expect — something offbeat and quirky, certainly (I mean, just look at that title).

But perhaps the most shocking part for me is that it’s based in fact.

Obviously, I can’t vouch for the accuracy. But just the simple idea that any of this film is based in reality walks a fine line between hilarious and just plain scary.

Ewan McGregor stars as reporter Bob Wilton who is searching for the story that will make his career, and therefore his life, worthwhile.

But when Bob comes across Lyn Cassady (a prime George Clooney), he trips into something unexpected and unbelievable.

Lyn is part of a covert U.S. Army Special Forces operation (the “New Earth Army”) that trains psychic spies in an effort to fight wars with alternative combat tactics — or with the least amount of violence possible.

Among the force’s talents are “cloud bursting,” “remote viewing,” invisibility and the old stand-by, walking through walls (which is hilariously depicted at the very beginning and ending of the film).

Lyn also demonstrates the hilarious “star gazing” to Bob, a move that would make me severely uncomfortable to be riding in any kind of vehicle with Lyn behind the wheel.

During Lyn’s training, the New Earth Army is headed by Vietnam veteran Bill Django (a wonderful Jeff Bridges), a stereotypical “peace, love and long braids” hippie. Django hopes to be the “first superpower to create superpowers.”

Lyn’s aptitude causes a rivalry with fellow recruit Larry Hooper (Kevin Spacey), who attacks Lyn with a “death touch” (the scare behind the death touch is that it can take you out at any time — even 18 years later!)

Despite Larry Hooper, the New Earth Army is mostly a force of good, even calling themselves the Jedi (highly appropriate since Ewan McGregor played Obi-Wan Kenobi in the most recent three “Star Wars” films).

So when Lyn is taken to the Goat Lab, he finds himself at a fork.

The goats are the Army’s test subjects — atomic bombs, field dressings, wounds, etc. So when the Army wants to see what the New Earth Army can bring to the table, Lyn, being the top of the class, is taken to the lab.

His mission? To cause the goat’s heart to stop simply by staring at it.

“What had that goat ever done to me? It’s completely against the way of the Jedi,” Lyn says. “But some dark part of me wanted to see if I could do it.”

“The Men Who Stare At Goats” is one of those films that gives you faith in humanity. It sees the weirdness going on in the world and is a lens for laughter. A film like “Goats” could quickly turn conspiratorial or melodramatic, but instead leads you down the path of self-discovery, hope and enlightenment.

“Goats” encourages fresh possibilities and thinking outside the box. It examines the scope of human potential and the reach of the mind. As Lyn says to Bob Wilton, “Find out what your destiny is, and the river will carry you.”

Rather than being a criticism of the Army and of war, “Goats” is surprisingly upbeat and inspirational. It follows the stories of lost, confused men as they try to make a difference in their worlds and shows that unconventional methods can lead to lofty results.

“Goats” isn’t the best movie you’ll see, but it’ll make you laugh and may just leave you feeling a little light-hearted (and who couldn’t use that these days?).

If you rent the DVD, be sure to check out the special featurette “Psychic Spies” to get the “true” account of the New Earth Army.

3.5 of 5 stars

Gilliam stretches ‘Imaginarium’ (3/5)

The Imaginarium of Doctor Parnassus

Starring: Heath Ledger, Christopher Plummer, Lily Cole
Directed by: Terry Gilliam
Rating: PG-13 for violent images, some sensuality, language and smoking.
Running time: 2 hours, 3 minutes.

Terry Gilliam does not make things easy for his audience (“Fear and Loathing in Las Vegas,” anyone?). You have to work at watching his films. “The Imaginarium of Doctor Parnassus” is no different.

Gilliam’s visionary scope is at its best here. But when the burden of accessibility is put on the viewer, the visual splendor can be overlooked.

“Parnassus” is the kind of film that may require multiple viewings. But with an over-two-hour running time, if it doesn’t grab you the first time, you won’t feel motivated to watch it again.

The title character, Doctor Parnassus (Christopher Plummer), has made a deal with the devil, Mr. Nick (musician Tom Waits). The contract? Immortality for the ownership of any child Parnassus sires at the child’s 16th birthday. Unlucky Valentina (a wonderful Lily Cole) becomes the object of attention as her fateful age draws near.

Parnassus and Valentina are part of a traveling troupe that encourages story and the use of imagination (with the help of a very special mirror). Completing their motley ensemble is the youthful Anton (Andrew Garfield) and the impertinent Percy (a hilarious Verne Troyer).

After another unsuccessful venture into the depths of London, the group comes upon a man hanging from a bridge and rescues him. It is Tony (Heath Ledger), a man claiming amnesia but who is actually harboring a dark past. Much to Anton’s dismay, Tony and Valentina are quickly drawn to each other and Tony joins Parnassus’ traveling troupe, promising bigger audiences and a richer payout.

Regretting his previous agreement, Parnassus agrees to a wager — if he can win over five souls to the power of good and imagination before Mr. Nick can claim five souls to impulse and want, Parnassus can win back the claim to his daughter.

Tony discovers that by inviting people into the mirror he can sway their decision toward Parnassus in the hopes of saving Valentina. Each trip into the mirror is a foray into another person’s very visual imagination and gives the audience a dip into Gilliam’s rich creativity.

Sadly, I don’t think “The Imaginarium of Doctor Parnassus” would have the same undercurrent of viewers without Heath Ledger’s tragic death in the midst of shooting the film. To account for the loss of Ledger, actors Johnny Depp, Jude Law and Colin Farrell agreed to each take on the role of Tony during the character’s trips into the mirror. The actors all pooled the money they made from “Parnassus” and donated it to Ledger’s young daughter, now 5-year-old Matilda.

“Parnassus” will entrance some and bore others. Though this film is desperately in need of a second viewing by its audience, I’m not sure I would watch it again. Gilliam’s movies require you to suspend all belief and allow yourself to be immersed in his vision. It’s hard to connect with a movie touting freedom of imagination when Gilliam’s is so overpowering. However, all of the actors’ performances are very worthy of watching (especially Ledger and Troyer). If you’re prepared to hang up your own mind for a time and allow Gilliam to take you over, “Parnassus” may just be a movie for you.

3 of 5 stars

‘Lost’ will continue to unfold (5/5)

"LOST"

Starring: Matthew Fox, Evangeline Lilly, Terry O’Quinn
Created by: J.J. Abrams, Damon Lindelof, Carlton Cuse
Series length: 6 seasons (2004-2010), 121 episodes

Spoiler alert! This column reveals plot points of the “Lost” series finale.

John Locke says it better than anyone: “We’re gonna need to watch that again.”

No, not just the emotional and, to some, potentially disappointing finale (more on that later), but all six seasons.

I knew about “Lost” before a lot of others. I was coming off a “Lord of the Rings” high that reached its peak for the December 2003 release of “Return of the King.” Still needing my fix, I often checked up on what some of my favorite actors from the films were doing, including Dominic Monaghan – LOTR hobbit turned “Lost” rockstar has-been.

But when Oceanic Airlines Flight 815 crashed into a mysterious island Sept. 22, 2004, I was hooked.

The “Lost” series premiere was arguably one of the best pilots in television history. From the beginning, “Lost” was more of a novel played out in hour-long live action segments than a resemblance of anything I personally had seen on TV before.

And for six years, creators J.J. Abrams, Damon Lindelof and Carlton Cuse took us on quite a turbulent ride.

There were moments of pure shock (finding out John Locke used to be in a wheelchair prior to the crash), pure emotion (Desmond’s tear-laden phone call to Penny), perfect humor (anytime Hurley was on screen) and sacrifice (Charlie’s heart-breaking decision).

The mysteries of the island are what fueled the show. But what truly guided its direction were the characters. And bringing those characters to life was the unbelievably engaging cast, composed of mostly unknown actors. “Lost” introduced us to the nuanced Terry O’Quinn (John Locke) and boosted the precise Michael Emerson (Ben Linus) as well as Matthew Fox (Jack Shephard), Evangeline Lilly (Kate Austen) and Josh Holloway (James “Sawyer” Ford).

A complaint I’ve heard most about the finale is that it left unanswered many of the biggest questions surrounding the show: What’s up with Walt? Why did the Dharma food drops continue after the Purge? What is life like post-Island for the survivors? How did the Losties “create” this alternate-reality meet-up place? What is the Man in Black’s name?

But “Lost” was always about the characters. It was about their stories, their struggles, their sacrifices and their redemptions. That’s exactly how it ended, and, I think, the character-based finale was much more satisfying than any overlong, over-explanatory monologue by the Man in Black could be. Too, whether we wanted it to be or not, “Lost” was always Jack’s story, and so the ending of the series finale was perfectly fitting. Whether we ever discover the answer to Charlie’s question in the premiere (“Guys, where are we?”), the show leaves itself open to dissection and discussion for years to come.

I won’t give you my theory on the ending, mostly because I haven’t quite come to terms with it all as of yet, but also because “Lost” was left heavily up to interpretation. I fully intend on watching all six seasons again, and maybe then I’ll have changed my mind on a lot of the theories I hold now, but isn’t that part of “Lost’s” appeal? Like a good book, you can delve into “Lost’s” mysteries again and again, picking up on new clues and coming to new conclusions.

I don’t believe “Lost” ever had the most viewers. But it did have a very large, heavily devoted fanbase (possibly more than any other show at the moment). “Lost” proved that it’s OK and possibly even needed to have a show that is intellectually challenging. Steeped in mythology, literature, spirituality and sociology, the show not only leaves you thinking after the TV set has been turned off, but has also sparked new interests in aspects of life beyond television. Although “Lost” flew unexpected into many lives, it has quickly become the new standard of television.

5 of 5 stars

'Robin Hood' misses the mark

"Robin Hood"

Starring: Russell Crowe, Cate Blanchett, Mark Strong
Directed by: Ridley Scott
Rating: PG-13 for violence including intense sequences of warfare, and some sexual content.
Running time: 2 hours, 20 minutes.

“Robin Hood” is like the Little Engine that Can’t.

When you’re not struggling to understand the marbles-in-their-mouths accents, you’re wading through endless scenes of swordplay in the hopes that you might find something to connect with.

It tries to be an epic masterpiece. Kind of. I mean, it has all the fixin’s for a truly delectable experience.
So what’s lacking?

Heart, for one. If you’re any sort of a “Braveheart” watcher you’ll know at once what I mean by being moved by and invested in a story.

Characterization, for another. How is it possible to have a 2 1/2 hour movie and only really know about a handful of characters? And even of those handful, little justice is given to any.

It’s simply impossible (for me, anyway) to not compare this movie to “Braveheart.” It’s a medieval piece starring a scruffy vigilante who rebels against authority for the greater good. But where “Braveheart” was a drama first and an action movie second, “Robin Hood” spins the genres around — to its misfortune.

Director Ridley Scott must have been aware that such comparisons would be made by the general audience. And though it’s expected, it is a bit unfair. “Robin Hood” is a perfectly decent movie with an adequate plot and plenty of (albeit not excessively gory) action.

Russell Crowe stars as Robin Longstride, an archer in King Richard the Lionheart’s army who is caught up in wars of which he wants no part. Robin and some friends (including Little John) sneak away soon after the king’s death on the battlefield in the hopes of returning to normal lives in England, but a promise made to a dying knight sends Robin on a quest that will lead him to Nottingham where he meets the Lady Marion Loxley (a great performance by Cate Blanchett).

And while Robin would like nothing more than to enjoy a quiet life with Marion, death and mayhem come to him in the form of Godfrey (an oh-so-good-at-being-bad Mark Strong), who is threatening all of England with his aggressive methods of tax collection and a subtle threat of French invasion.
The English may have no problem repelling the French if they were united, but Richard the Lionheart’s brother, King John (Oscar Isaac), is a greedy, power-hungry dictator who excels at isolating his angry subjects.

It’s very sad to see this movie not be what it so badly wants to be. Scott should have loosened up on the reins, cut back most of the pointless action sequences and allowed “Robin Hood” to be what it is at its core — a character-driven tale.

The few performances that were actually given a decent amount of screen time were done expertly by the actors. Mark Strong is simply amazing, and Max von Sydow is one of the more stirring as Sir Walter Loxley.

As for Robin Hood’s band of Merry Men, their superficial personas and scant screentime left little the actors could build on. Too, the Sheriff of Nottingham (Matthew Macfadyen) is a mere nod to the legend and his character has little involvement in the film — a shame.

Scott tries to throw emotional viewers like me a bone with Robin discovering who is father was with the help of a “rise and rise again until lambs become lions” inscription — but the “revelation” isn’t at all surprising and you never really feel that empathy with Robin because you were never allowed the chance to connect with him.

It’s not a bad movie. But with a high budget, a respected director, a renowned cast and a storyline that just begs to be great, “Robin Hood” just never seems to hit its target.

Send movie suggestions or comments to rcrofut@fltimes.com.

3 of 5 stars

* * *

All good things must come to an end.

And so it is that LOST, the best television show ever (yes, I did just use a sweeping generality that most people won’t agree with), is wrapping up its entire series from 9 to 11:30 p.m. Sunday on ABC.

Personally, I have no idea how they’re going to do it. It seems like too much is left to be answered. And I’m more than a little sad that this is the end, but I’m also very excited to see what J.J. Abrams and Damon Lindelof have thought up.

So check in next week to see my thoughts on the finale and on the series as a whole.

Also, if you’re a humongous LOST fan like me, we’d like you to contact our reporter Amanda Folts at afolts@fltimes.com or 789-3333 ext. 257 to talk about the finale.

‘Iron Man 2’ above average as far as sequels go (3.5/5)

Iron Man 2

Starring: Robert Downey Jr., Gwyneth Paltrow, Mickey Rourke
Directed by: Jon Favreau
Rating: PG-13 for sequences of intense sci-fi action and violence, and some language.
Running time: 2 hour, 4 minutes.

After an elaborate and highly immodest entrance, Iron Man proclaims that “it’s good to be back.”
It’s good to have you back, Mr. Stark.

As far as sequels go, “Iron Man 2” ranks above average. It has enough plot and substance to stand on its own merits but also ties in nicely with the storyline of the original.
Months after Tony Stark admits to being Iron Man, he is challenged by Ivan Vanko (a Russian-accented Mickey Rourke), a physicist in a WWE wrestler’s body and the son of Stark’s father’s former partner.

After an exhilarating unveiling that proves Stark vulnerable and results in Vanko’s arrest, competing weapons manufacturer Justin Hammer (Sam Rockwell) arranges for Vanko’s breakout in return for the Russian’s knowledge and expertise in creating suits much like Iron Man’s. Hammer’s suits are meant to prove Iron Man obsolete and to sell the technology to the United States government — a business venture that Stark has repeatedly refused.

Don Cheadle picks up the role of Stark’s friend Lt. Col. James “Rhodey” Rhodes from Terrence Howard in the original. I’m not sure I love the change, but Cheadle does an adequate job in a role the writer and director tried to expand.

Robert Downey Jr.’s charm and confidence lead the way once again as the understated actor heads a star-studded cast.

But, as is often the case in these situations, a big-name actor may not command the amount of screentime you may expect — case in point: Scarlett Johansson.

Scarlett’s role as sexy secretary/sultry superhero is offendably shallow. There are only two highly transparent reasons for this role: To make the audience drool and to provide yet another stepping stone to the upcoming Avengers film. Sorry Scarlett, but “Iron Man 2” would have been much better without you strutting off with its precious screen time.

And rather than focus on fully developing Vanko’s character (and, dare I say, make the “climactic” ending not such a dud), director Jon Favreau and writer Justin Thereoux decide to turn Tony Stark into a metaphorical brooding teenager.

It worries me that the catastrophe that was the angst-ridden “Spiderman 3” didn’t seem to teach anyone anything ...

Emotional subplots abound, from the electromagnetic chest device slowly threatening Tony’s life to Tony trying to come to terms with his unsentimental father to a suited-up duel between pals.

In the midst of all this, Tony names Pepper the new CEO of Stark Industries, leaving him free to angst away.

When “Iron Man 2” isn’t laying on the heavy stuff, it’s pretty darn funny. A plus for the original was that it never took itself too seriously — a line the sequel is dangerously close to crossing. But Tony’s birthday party is a wonderfully hilarious scene, and the early senate hearing possibly trumps any act from the original. Downey truly lights up the film whenever he’s given the chance, and the chemistry between him and Paltrow is organic and palpable.

Also, Sam Rockwell is an incredible addition as the weaselly Hammer. I really hope his character is in the third as he brought such conniving humor to the mix.

What’s that? “Third,” did I say? That’s right, “Iron Man 3” is currently in the works and is slated to come out sometime after the 2012 release of “The Avengers” (which will feature Robert Downey Jr., Scarlett Johansson, Samuel L. Jackson, and, rumored, Edward Norton).

As I mentioned, I just hope the production crew recognizes the errors made in “Spiderman 3” and don’t disappoint “Iron Man” fans in a similar fashion.

3.5 of 5 stars

Great music in ‘Pirate Radio’ (4/5)

Pirate Radio

Starring: Philip Seymour Hoffman, Nick Frost, Tom Sturridge
Directed by: Richard Curtis
Rating: R for language, and some sexual content including brief nudity.
Running time: 1 hour, 56 minutes.

Although they forego the eyepatches and parrots, the DJs of Radio Rock are every bit the devil-may-care protagonists as the swashbuckling pirates of yore (or of “Pirates of the Caribbean”).

In 1966, the Radio Rock ship floats anchored off the British shore in the North Sea. Known as “The Boat That Rocked” in England, “Pirate Radio” tells the tale of the off-beat station’s quirky DJs and their love affairs with the frowned-upon music genre known as rock.

“Pirate Radio” is loosely based off of similar situations that occurred in the late ’60s, but is mostly a fictional tale. Something to be understood up front is that the movie is not historically accurate. Writer/director Richard Curtis took liberty with some names, events and music chronology in order to (in his eyes) properly tailor the film into its overall feel.

“Pirate Radio” is a comedic tribute to the revolutionary sounds of rock at a time and place where that very genre is being threatened.

Rock music has been seen as an expression of instincts — of sex and drugs and, well, rock and roll. Of man’s wild and uninhibited side that some revel in while others fear.

That fear is portrayed magnificently by the austere, classical-music-loving duo British Government Minister Dormandy (a magnificently stodgy Kenneth Branagh) and his subordinate (Jack Davenport). With the endorsement of the Prime Minister, the pair work to shut down Radio Rock and all other rock-broadcasting ships.

The DJs of Radio Rock not only live for the music, but also to share it (as said in a deleted scene, “we’re only fans.”) Their eccentricities are manifestations of the ’60s rebellion of thought and lifestyle. The DJs, led by Quentin (Bill Nighy in a comfortable role), include:

• The Count (Philip Seymour Hoffman), the uncouth American Airwave King.

• Gavin (Rhys Ifans), the haughty star DJ.

• Simple Simon (Chris O’Dowd), the naive nice guy (who just may be my favorite of the lot).

• Dr. Dave (Nick Frost), the big and “beautiful.” A note about this particular character: Dr. Dave perfectly exemplifies the type of men I would see on TV shows and old photographs and look at my mother (with a little bit of fear and a lotta bit of disgust) — “Mom, you found that attractive?”

But, despite his sloppy appearance and vulgar demeanor, Dr. Dave is quite the lothario — somehow.
To be fair, I can imagine 40 years from now a young upstart such as myself looking with disdain from a photo of Brad Pitt in “Fight Club” to my wrinkled face and saying “You found that attractive?”

OK, well perhaps not Brad Pitt, but you get the point.

Other notable “crew members” of Radio Rock are Young Carl (Tom Sturridge), Quentin’s godson — whose role seems major at first but, compared to the engaging DJs, he never is able to steal the show — and his roommate, the dim-witted Thick Kevin (Tom Brooke).

These characters absolutely make this movie. They are hilarious and captivating; however, the downside to such a star-studded ensemble is that some characters get short shrift. Too, the film seems to drag at times and appears to be trying too hard to focus on too many characters.

And though “Pirate Radio” does run a bit long (but, come on, many of those old rock songs are three times the length of the current tracks on the radio), I would definitely recommend checking out some of the deleted scenes. If you have the patience for only one, be sure to check out Gavin’s background tale.

If you’re a fan of the music, I think you’ll also be a fan of the film. Luckily, my mother has wonderful taste (apart from her love for The Bee Gees which I try to ignore) and brought me up to appreciate these awesome bands. The soundtrack is, by its very nature, rockin’. With tracks from Jimi Hendrix, Cat Stevens, The Beach Boys, The Kinks and so on, “Pirate Radio” will have you in the classic rock groove for days.

4 of 5 stars

‘Splinterheads’ a carnival of laughs (3.5/5)

Splinterheads

Starring: Thomas Middleditch, Rachael Taylor, Dean Winters
Directed by: Brant Sersen
Rating: R for language including sexual references, and brief drug use.
Running time: 1 hour, 34 minutes.

“Splinterheads” is a quirky, indie romantic comedy without a lot of recognition.

As the trailer proclaims, it’s a simple story. Justin Frost (Thomas Middleditch in his first feature film performance), who mows lawns with his best friend and lives with his mother, has no direction and no ambition. That is, until he meets Galaxy (an awesome Rachael Taylor), a girl who is just as interesting as her name would suggest. She is a splinterhead who works for a traveling carnival that has set up in Justin’s town.

What is a splinterhead, you may be wondering? Galaxy explains that they’re the hard workers of the carnival biz. The ones who don’t make a cent unless they can wheedle you into spending your money on trifles and games. And boy, is she good at it.

Galaxy is a girl of adventure, and Justin gets a firsthand taste of that when he gets stuck going on a geocaching hike with her. Unlike Justin, Galaxy has many directions — helped along by her GPS system that leads her to geocaches, small containers that hold personal items. She’s fun. She’s independent. She’s everything Justin is not. And, as with any romantic comedy, Justin finds himself falling for Galaxy only to be thwarted along the way.

One of his biggest obstacles is Reggie, Galaxy’s uncouth, splinterhead boyfriend. Played by the oddly-good-at-being-a-bully Dean Winters, Reggie’s role in the carnival is the mean clown of “Dunk the Punk” who baits sad saps like Justin into spending their money in an attempt to, well, dunk the punk. And this clown doesn’t take very kindly to Justin warming up to his girlfriend.

There’s no doubt that the offbeat characters are what make this movie so funny. Spend five minutes in the motor home with the carnival’s magician, The Amazing Steve, and his assistant, Wyoming, and you may not stop laughing (in fact, any scene with these two is simply hilarious).

Other notable performances include Lea Thompson (of “Back to the Future” fame) as Justin’s mother Susan; Pamela Shaw as Justin’s aunt, the lust-driven Betty Frost; Brendan McFeat Burke as Reggie’s bald, mean-spirited sidekick, Thad; Jason Rogel as Justin’s best friend, Wayne Chung (yes, you read that right); and Romulus’ own Christopher McDonald as Susan’s love-sick, on-again-off-again boyfriend, Sergeant Bruce Mancuso.

But with so many interesting and funny cast members, it’s hard just to focus on a few, so most of them end up being shells of what they could be under a more capable directorial staff or with a longer running time. The movie tries to pass off this underdevelopment as the kind of single-aspect mockeries that other comedies use, but it never really feels right.

It doesn’t help that Galaxy tells Justin that he doesn’t know her, and he doesn’t know Reggie. But then the opportunity is dropped. No, we don’t know her, and no, we don’t really understand why she was attracted to Reggie. The movie’s job is to explain that to us, but they focus more on individual antics that are borne of each characters’ “stereotypical” role than in trying to connect the audience to the characters.

With its language and fairly shallow plot, this movie is geared more toward teenagers and those in their early- to mid-20s, but any who can appreciate “Splinterhead’s” bizarre, and at times crass, humor will walk away happy to have found this indie flick. Don’t expect something deep, but do go in expecting to laugh.

I’m kind of in the mood to go to a carnival now.

3.5 of 5 stars

Brace Yourself for 'Kick-Ass' (3.5/5)

Kick-Ass

Starring: Aaron Johnson, Chloe Moretz, Nicolas Cage
Directed by: Matthew Vaughn
Rating: R for strong brutal violence throughout, pervasive language, sexual content, nudity and some drug use.
Running time: 1 hours, 57 minutes.

“Kick-Ass” has been getting a lot of hype lately, especially for its loss then come-from-behind win of the box office to the 3-D sensation “How to Train Your Dragon.”

Though I enjoyed “Dragon” more than “Kick-Ass,” the latest film in a growing field of superhero movies’ vast appeal (especially to teenage boys) is very understandable.

But, this probably isn’t the movie you’re expecting.

The job of a movie trailer is to make you want to see the film. But it should also reflect the mood and plot of the movie without giving it all away.

And in this, the advertising company truly failed.

You may be anticipating an offbeat comedy about a group of teenagers who decide to become superheroes and save the world. They may even be pitted against a truly “bad guy” and through comedic measures and their learned skills/friendships must find a way to come out victorious.

In short, maybe the sarcastic humor of “Superbad” meets the regular-guy feel of “Spiderman.”
(And since Christopher Mintz-Plasse, one of the stars of “Superbad,” takes a lead in “Kick-Ass” as well, it’s not hard to make that comparison.)

And, really, with a few give-and-takes, that assumption isn’t completely off base.
But the violence. Oh, the violence.

Despite the “R” rating, I wasn’t expecting a throat-cutting, knife-throwing, foul-mouthed 11-year-old girl.

Which isn’t to say that young Chloe Moretz (Mindy Macredie a.k.a. Hit Girl) isn’t one of the best parts of the whole movie. In fact, this role may just catapult her career. I just wish I had known what I was stepping into.

Unsurprisingly, “Kick-Ass” is based off a 2008 comic of the same title. But it feels fresh and is a funny take on this superhero-saturated decade.

Dave Lizewski (Aaron Johnson) is no stand out. Not even among his obscure friends. He’s out of the minds of thugs and bullies as soon as they steal his phone and cash, and he’s certainly not floating about in the thoughts of any girls.

Lizewski decides to take a stand for the little guy and sets out to defend the world under the name of Kick-Ass with a scuba suit and absolutely no idea.

Luckily, before Lizewski can do major harm to himself, he is rescued by the young Hit Girl and her father Big Daddy (a perfect role for Nicolas Cage), two other vigilantes of the city.

But, unlike Lizewski, these masked allies have a specific target, and Kick-Ass soon finds himself in the middle of a mission that is much bigger than him.

Mintz-Plasse plays fellow teen-turned-faux-superhero Red Mist, who teaches Kick-Ass that you can’t trust just anyone...

But Moretz’ portrayal of “Hit Girl” will be what keeps you watching. This mouthy little tween is both unbelievable and highly entertaining (it’s just amazing her parents allowed her to do such a role).

“Kick-Ass” doesn’t fit neatly into any specific category, which is at once its appeal and its downfall. It’s a comedy. It’s an action movie. It’s a teen flick. It’s for adults.

Who knows.

And the people who enjoy it (and there will be many) won’t really care. It has a very strong and growing fanbase.

“Kick-Ass” isn’t for everybody, but for those select few who it is for, they’re in for quite a treat.

3.5 of 5 stars

Downey perfect for ‘Holmes’ (3.5/5)

 Sherlock Holmes

Starring: Robert Downey Jr., Jude Law, Rachel McAdams
Directed by: Guy Ritchie
Rating: PG-13 for intense sequences of violence and action, some startling images and a scene of suggestive material.
Running time: 2 hours, 8 minutes.

Guy Ritchie’s take on “Sherlock Holmes” is anything but elementary, my dear movie viewer.

It’s a twisted plot with twisted characters, and who better to take on the icon than Robert Downey Jr.? Answer: Nobody. His cavalier attitude and scruffy appearance lend a distinctly street-wise and clever aura to the traditionally stodgy character.

Holmes’ notorious quick-thinking analytical sense is well demonstrated in an early fight scene (which reminded me of the present-day UFC).

Hans Zimmer’s score is often upbeat and unexpected, the fiddles complementing Holmes’ cheeky ways.

As to the second half of the detective duo, Jude Law is a stellar Watson. Patient but commanding, Law’s Watson is anything but a simple sidekick. The banter between the two is hilarious and will make you want to keep watching.

The pair are in for the puzzle of their lives when the frightening, vampiric, murderous Lord Blackwood (Mark Strong) seemingly rises from the dead.

The only thing more horrifying than the pale aristocrat is what he plans to do next.

Ritchie’s method of storyline is highly essential here, allowing the audience to see things that they might not even notice and then later showing them again, highlighting its importance.

Speaking of importance, it saddened me to see such weak female roles. Holmes’ famed escapee Irene Adler (Rachel McAdams) and Watson’s fiancee Mary Morstan (Kelly Reilly) both seemed secondary and very nonessential. Morstan seemed involved only to throw a wrench between Watson and Holmes, and Adler only to introduce a love interest for Holmes.

True, Adler was used to further the plot at times, but this never seemed to be her real reason for being in the movie. It is mentioned that she has been the only one to outsmart Holmes, but her character seems too superficial for us to really believe that.

And I wish we had seen more of Morstan — more of who she was, how she met Watson, why they love each other, and even more of her interactions with Holmes.

Another aspect shoddily done is the threat made to the United States, which appeared very out of context and made me wonder if it was only to bring relevancy to the American audience.

But, “Sherlock Holmes” is a great, fresh take on the famed character and is certainly a movie worth watching twice, if only to fully understand all of what you saw the first time.

And, as with any movie that does moderately well these days, we need only wait for the sequel. Ritchie is currently in pre-production for another “Holmes,” and it is rumored that Brad Pitt will star as the nemesis. According to imdb.com, Robert Downey Jr. is listed to star again as the charming but oft impossible detective.

* * *

There was some concern over the fate of a certain little dog in last week’s movie review of “The Proposal.”

Fear not, fellow puppy lovers, the dog was returned safe and sound to the earth and not sentenced to be the dinner of an Alaskan eagle.

I would also like to emphasize that “The Proposal” is, in fact, a movie and a comedy (though whether one actually finds it funny or not is another matter) and no slight toward our four-legged friends was intended by my amusement.

I am not, by any means, an animal hater. I have volunteered my time at several animal shelters and any who know me also know my affection for man’s (or woman’s) best friend.

Too, I cry every single time I watch “Homeward Bound.”

But I will stand by my previous analysis of the scene — it’s funny. You don’t have to agree, but maybe you should watch it before you disagree.

I do thoroughly appreciate any and all comments and suggestions, however, and may be reached at rcrofut@fltimes.com.

3 1/2 of 5 stars

Consider turning down this ‘Proposal’ (3/5)

The Proposal

Starring: Sandra Bullock, Ryan Reynolds, Mary Steenburgen
Directed by: Anne Fletcher.
Rating: PG-13 for sexual content, nudity and language.
Running time: 1 hour, 48 minutes.

“The Proposal” isn’t as bad as you might expect.

Not to say that this romantic comedy will top your (or anyone else’s) favorites list. It is predictable. But it’s entertaining enough and will make you laugh.

Margaret Tate (Sandra Bullock) is a feared editor-in-chief for Cordon Books in New York City. Her leadership skills are reminiscent of Miranda Priestly in “The Devil Wears Prada” and Andrew Paxton’s (Ryan Reynolds) intuitive assistant finesse matches that of “Prada’s” Andrea Sachs.

Andrew’s loyalty to Margaret is borne from a love of his career and the written word. As it is, he can’t stand Margaret.

But when Margaret is told that she is going to be deported back to her native Canada, she decides to force Andrew into marrying her — by threatening the future of his career.

Andrew reluctantly agrees, and in order to pass the couple test that will allow Margaret to stay in the country, they spend the weekend together at Andrew’s family’s home in Alaska.

The film is absolutely star-studded. From Bullock and Reynolds to Craig T. Nelson (Andrew’s father), Malin Akerman (Andrew’s ex-girlfriend) and Oscar Nunez (the town’s … everything) of “The Office” fame.

As for Oscar, I don’t think I can ever, ever look at him the same way again …

You’ll definitely find out what I’m talking about.

“The Proposal” does have some very hilarious scenes, including Sandra Bullock singing and dancing to the bawdy “Get Low” by Lil’ Jon and the East Side Boyz and Alexander’s parents’ small dog being swept up by a hungry Alaskan eagle.

Bullock and Reynolds make a great onscreen couple. Of course, I love Reynolds in everything, so I’ll admit my bias.

But “The Proposal” is at times very shallow and fails to recognize its own dropped plotlines, such as between Alexander and his ex-girlfriend, Gertrude. It’s never truly understood or resolved, just a little spice of “the other girl” to get a morose shot of Bullock.

Too, though the beginning kicked off with some great dialogue and snappy scenes, the writers seemed to just get bored by the end of it. Poor Reynolds had to close the film with a ridiculously cheesy line that threatened to divorce the audience from the whole movie.

Some of the more modest viewers may find themselves blushing more than enjoying the humor, which is targeted more at young adults.

“The Proposal” is funny, but I think more people will be interested in a one-night stand than a long-term relationship with this Anne Fletcher film.

3 of 5 stars

Soaring ‘Dragon’ enchants (4.5/5)

"How To Train Your Dragon"

Starring: Jay Baruchel, Gerard Butler, Craig Ferguson.
Directed by: Dean DeBlois, Chris Sanders.
Rating: PG for sequences of intense action and some scary images, and brief mild language.
Running time: 1 hour, 38 minutes.

Time to get fired up.

In an industry lately devoid of charm and originality, Dreamworks Animation pulls through with the hugely entertaining 3-D animated flick “How to Train Your Dragon.”

It’s the most fun you’ve had in the movie theater for far, far too long.

From offbeat names, hilarious dialogue, beautiful scenery and a dynamic and exciting plot, “Dragon” will leave you wanting to harness your own oversized reptile and fly off to adventure.

Forget overdrawn title sequences and pompous entry credits — “Dragon” tosses you straight into the fray of a viking town under attack by a swarm of the winged beings with unexpected humor and excitement.

It’s in the middle of this chaos that we meet Hiccup (Jay Baruchel), our young protagonist. In a town full of oversized, brash, battle-hardened vikings (not the least of whom is Hiccup’s father, Chieftan Stoick the Vast, voiced by Gerard Butler), our small, thin, sarcastic hero doesn’t quite fit the mold. The other vikings, including Stoick, doubt Hiccup’s ability to grow into a dragon-killing warrior. And with his untraditional weaponry skills, Hiccup doesn’t help himself out too much.

But when Hiccup brings down the stealthy and dangerous Night Fury, a feat no other viking has accomplished, his life changes in ways that he (and the audience) never expected.

You’ll learn all this in the first minute or two, but I hate to give away more. “Dragon” is a film best entered into with a clear mind and no expectations. It’s a movie to be enjoyed moment-by-moment (for each moment holds a treasure) instead of waiting in anticipation for that one plot point, or that one scene from the trailer.

A wonderful supplement to the already superb storyline and eye-catching graphics is the impeccable voice cast. Notable performances include Christopher Mintz-Plasse (“Superbad,” “Role Models”) as the nerdy Fishlegs, whose dragon knowledge is reflected in certain role-playing game terms; Jonah Hill (“Superbad”) as the rude Snotlout; and Craig Ferguson as Gobber, the hilariously crass trainer of dragon-killer recruits.

One of the first movies truly worthy of watching in 2010, “Dragon” is a heartwarming film that will leave you soaring long after you leave the theater. You’ll find yourself rooting for Hiccup through the very end.

It’s fun, it’s enchanting, and it was made with such obvious care that I may need to retract my previous doubts about the plummeting, money-driven industry.

The few downsides include that “Dragon” is based on a book, and so is not quite as original an idea as it may appear, and that the actors’ distinctly Scottish and American accents coupled with a soundtrack of Celtic overtones ignore the predominantly Nordic ancestry of Vikings (though the script does include lines devoted to the Norse gods).

But these meager flaws don’t even begin to hamper the beauty of “How to Train Your Dragon.”

Although parts of “Dragon” may frighten very small children, I would recommend this movie as a must-see film for adults and kids alike.

4.5 of 5 stars

‘Hunter’ won’t capture you (2/5)

Starring: Jennifer Aniston, Gerard Butler, Dorian Missick.
Directed by: Andy Tennant.
Rating: PG-13 for sexual content including suggestive comments, language and some violence.
Running time: 1 hour, 50 minutes.

“The Bounty Hunter” is fun but forgettable.

Jennifer Aniston stars as Nicole Hurley, a reporter on the verge of unearthing the secret behind a “suicide.”

Hurley is a woman of work-work-work. She even skips out on her bail hearing to meet up with a source that has some information regarding the suicide.

But when her source gets kidnapped and the judge issues a warrant for Hurley’s arrest, in steps Milo Boyd (Gerard Butler), ex-cop-turned-bounty-hunter and, oh yeah, Hurley’s ex-husband. His next assignment? Who else but (to his obvious glee) Nicole.

It’s a very fun concept that lends itself to some awkward and funny situations (the various methods Boyd uses to “arrest” Nicole and her escape attempts; a night spent at their former honeymoon bed and breakfast). But, for its “fun,” there isn’t much to say about it. It’s a pretty cookie-cutter film that you may not even remember the next day. And if you do remember it, it may be only the bad things that stand out.

One scene that did stand out was the opening sequence, but not in a positive manner. In a chase scene focusing on Boyd hunting down a stilt-walking Uncle Sam in a Fourth of July parade, someone made the poor decision to stick in Sean Kingston’s “Fire Burning,” which was totally irrelevant and distracting and didn’t set a good tone for the rest of the film.

Let’s just say that this film is not getting shining reviews. If you’re really interested in seeing this movie, I would suggest waiting for it to come out on DVD. The “theater experience” lends nothing but a good chunk of cash down the drain.

“Bounty Hunter” is entertaining, but it certainly won’t capture you.

At the beginning of the year, I did a column looking ahead at 2010 and what movies would be coming out to look forward to. Here it is, the end of March, and my hopes are dwindling. And we haven’t even come into the enormous phase of notoriously groanworthy sequels awaiting us. I’ll make my prediction now that next year’s “Best Picture” winner will be a sleeper hit similar to “The Hurt Locker.” The glitzy, star-studded, heavily advertised blockbusters are turning into nothing but disappointments, and there’s no hint of change anytime soon.

The big film companies seem to have lost their heart and are sticking with carbon copies of past successes — but they are patronizing their audiences. Most viewers can appreciate risks taken in plot, casting and direction. These risks have been sorely lacking as of late.

2 of 5 stars

‘Green Zone’ director takes brave risk (3.5/5)

Green Zone

Starring: Matt Damon, Brendan Gleeson, Khalid Abdalla
Directed by: Paul Greengrass
Rating: R for violence and language
Running time: 1 hour, 55 minutes.

“Green Zone” is an exceptionally risky film for director Paul Greengrass (“Bourne Ultimatum,” “United 93”) to take on so soon after the Iraq invasion.

Make no mistake, Greengrass doesn’t shirk from accusing the United States government of fabricating the Weapons of Mass Destruction.

In fact, that’s pretty much the point of the whole movie.

Based on the 2006 nonfiction “Imperial Life in the Emerald City” by journalist Rajiv Chandrasekaran, “Green Zone” focuses on Chief Warrant Officer Roy Miller (Matt Damon in his traditional comfort role of a butt-kicking rogue seeking the truth). Miller is getting just a little miffed that the WMDs he is searching for with the government’s intel just don’t seem to be there.

When Miller dares to voice his doubts about the questionable intel at a debriefing, much to the chagrin of his superiors, he catches the eye of CIA Baghdad Bureau Chief Martin Brown (Brendan Gleeson) who also doubts the intel and motivation of the United States.

An outstanding addition to the movie is the character of Freddy (Khalid Abdalla), an Iraqi who risks his life to aid the American soldiers and, he hopes, to save his country from sinking even further into death and despair. Freddy often serves as the voice of the film’s moral points.

An unnerved Freddy leads Miller and his team to the hideout of “Jack of Clubs” Al-Rawi, a senior Iraqi government official, and what they uncover pushes Miller’s doubts in his own government even further.

A particularly poignant moment comes when Freddy tells Miller, the traditional protagonist and character whom the audience is supposed to want to see succeed, that it is not up to Miller and the Americans to determine the fate of his country, combating our “American” drive to “fix” everything.

An important but forgettable character, Washington Post journalist Lawrie Dayne (Amy Ryan), shows the media’s role in getting caught up with the faulty intel themselves but realizing, perhaps too late, the obscene lack of evidence. Dayne consistently aggravates her government source, Pentagon Special Intelligence officer Clark Poundstone, who tells her repeatedly that access to Iraqi intel source “Magellan” won’t happen.

Another driving scene is the Iraqi’s response to “American puppet” Ahmed Zubaidi attempting to petition for the country’s leadership, and Poundstone’s realization that such a move will not be as easy as he and others had expected.

Despite its political wrappings, however, “Green Zone” is an action movie at its heart, complete with good guy vs. bad guy charisma; long, pointless chase scenes; and a very, very hefty amount of vertigo-inducing shaky camera scenes reminiscent of the “Bourne” films.

But the appeal of this movie comes from its absolute relevance to today’s world. “Green Zone” is a highly thought-provoking film that dares to thrust into the fore the nearly taboo thought (to some) of fabricated intel as a basis for a war which has cost so much.

3 1/2 of 5 stars