Category: Theatrical Review

A space shuttle landing disaster has brought an intelligent virus to the planet. This virus mixes with human DNA and changes it’s host, going from an individual mind to a collective. It doesn’t happen all at once, but the process does spread rapidly, but at first, not overtly. A psychiatrist, Carole Bennell is treating a patient who’s husband isn’t her husband any more, and quickly, Carole discovers that the rest of the world is changing around her.

The Invasion is the fourth movie to be based around Jack Finney’s novel, Invasion of the Body Snatchers and it comes to us by way of German director Oliver Hirschbiegel, who’s given us a couple of really terrific movies in the past in The Experiment and Downfall. And The Invasion is certainly ambitious in both trying to be true to it’s source material but also find it’s own path as well. In my own opinion, out of the four movies, this is probably the least (I’d rank Philip Kaufman’s version as the very best- this one starred Donald Sutherland, Brooke Adams and Leonard Nimoy), but that’s not saying it’s a bad movie by any means.

It’s a short film, and it does feel heavily edited and that there might be a lot more to it than what’s presented theatrically. At the same time, it certainly didn’t feel like something that was missing anything real important, just details that could’ve fully realized it’s ideals. One main idea that the film presents, and I give it big credit for this, is that it would take something like an “alien invasion” like this for humans to truly come to terms and live in peace, that by our own nature, we can’t have a world peace. And on top of that, it doesn’t quite get in your face about it like so many Hollywood films would’ve. That in itself is really refreshing to see in a movie like this when so many want to fall back on some tired Hollywood cliches of the authority figures being the villains- this one gives a little more food for thought.

At the same time, this certainly gives out the homages as well- particularly to Kaufman’s movie- using names like Bennell and Bellicec, and even going so far as casting Veronica Cartwright (who was in Kaufman’s film) as Carole Bennell’s patient who’s afraid of her husband, and an inadvertent key to eliminating this virus.

What it loses though is the whole idea of plant pods growing humans out of them, and the very dark endings of the other films. This one is resolved a little more quickly and is considerably more optimistic, but still pensive about the idea that it’s in our own nature to be cruel to one another. I don’t necessarily mind that, but have very much preferred the dark endings of the other movies. This one is also more openly blatant about what’s happening to the world, whereas the other films were very much isolated events, but with the prospect of opening up further.

Hirschbiegel has a great cast at work here. Nicole Kidman carries the film as Bennell, and she looks fantastic and she does a great job with the part. She’s backed up with solid support talent with Daniel Craig (this movie was completed before he became James Bond), Jeffrey Wright and Jeremy Northam- all doing solid work here.

At the end though, and I am recommending this film, this doesn’t feel as complete as it could and one wonders if perhaps on DVD this might have a bigger cut coming down the road. I hope it does, but still I think this is worth seeing if your a fan of the other three Body Snatcher films- this probably won’t upset any of them as your favorite, but still it offers an interesting take on the idea nonetheless.

In this screen adaptation of Neil Gaiman and Charles Vess’ fairy tale/novel, we see the story of a mystical world in England called Stormhold, that’s guarded by a wall from humans from the outside coming in. A young man named Tristan, who has more to him than meets the eye, has fallen in love with a young girl who doesn’t feel the same for him, and one night, as Tristan is trying to prove his love, a falling star falls past the wall, and Tristan proclaims his love in such a way that he promised to go retrieve the star for the girl who he’s courting, and from there… Tristan enters a world unlike any he’s ever seen before and learns a few lessons along the way.

Now, right off the bat, I’m gonna tell you this sort’ve thing isn’t my normal cup of tea, but with director Matthew Vaughn behind it (Vaughn directed the remarkably cool movie Layer Cake) it got me quite a bit more interested. I certainly respect Neil Gaiman’s talent, and certainly think he’s a fine writer, though I’m mostly familiar with his comic work, his work on the whole just hasn’t grabbed me the way that it does most genre fans. This isn’t saying it’s bad at all, it’s just not my cup of tea.

But with that said, and like last year’s MirrorMask, I’ve gotta say, Stardust is still a very good movie with my only bone of contention being that it’s probably just a bit too long, but other than that, this is a very entertaining piece of work. Matthew Vaughn has perfectly realized this world of Stormhold, and it’s all out there on the screen. And though I’ve never read the actual book, the script and dialogue certainly ring true to what I know of Neil Gaiman.

It’s really a beautiful film to watch, with a lot of great visual effects. My favorite of these being a flying pirate ship that catches lightning from the skies. there’s one scene involving this ship where it’s attempting to “land” in the water that’s just very cool to watch. There’s a lot of great set pieces in the film as well, one of the first that really impressed me was watching a witch (played by Michelle Pfeiffer) setting up a roadside inn and planning to use that to catch the star that Tristan has gone after. There’s a real nice convergence of visual effects, editing, and sound and music that really gives that scene quite a charge.

Good performances around in this film. Charlie Cox plays Tristan, and though I’m not that familiar with this guy, he’s certainly a very engaging personality in this film. Claire Danes plays the “star” that Tristan goes after, Evaine and she does a pretty nice job with the part. I already mentioned Michelle Pfeiffer above, and she’s certainly having fun chewing the scenery here. And Robert DeNiro plays the captain of the pirate ship, who has his “softer” side that’s the sort’ve of thing that I don’t know really works on him that well, considering who he is, but I still give him credit for going all out with it. Look for Peter O’Toole near the start of the film and there’s a great little part that Ricky Gervais has here as well.

We saw a late show of this last night, and honestly I was surprised to see more people in the audience than just the crew I was with. This is a very odd film to picture a mass audience going to, just because it’s different from other fantasy movies in that there’s nothing that’s real kid-centric here (though nothing objectionable as well)- but I don’t know, I’d like to see this do well, but could certainly see it get lost real easily out there too. While it’s subject matter, being this fantasy/fairy tale isn’t exactly my bag, I still honestly think it’s a terrific movie and wouldn’t hesitate in the slightest to recommend it. It’s been tossed out this past week that Matthew Vaughn’s next big project will be a film version of Marvel Comic’s Thor– seeing what Vaughn did here, I really do hope this happens…

In what seems to be right on the heels of The Bourne Supremacy, Jason Bourne is still on the run in Russia and now having flashbacks to his early indoctrination. A British reporter gets wind of everything going on with everything with the CIA and the program that gave us Bourne and is trying to uncover everything, leading to a new category of covert ops called Blackbriar within the CIA, but the CIA is on to that as well and thus begins the cat-and-mouse chase with The Bourne Ultimatum.

Paul Greengrass is back at the helm for this movie after handling the last film in the series. Greengrass gave us what I thought was last years best movie of the year with United 93. For the most part, I think he’s in fine form here, particularly with many of the film’s set pieces. The chases and fight scenes in this movie are absolutely convincing as hell, filmed in Greengrass’ shaky handheld camera style, they’re just a lot of fun to watch.

Unfortunately, there are some points in the movie where it just falls on tired Hollywood cliches- particularly that the people in charge of the CIA are, of course, older white men, that any of the women involved here are automatically good, and that the project that created Jason Bourne is intrinsically wrong by the fact of the remorse that he’s suffering from all of the killing that he’s done.

I look at the creation of Jason Bourne to have a lot of similarities with a comic book character, Captain America, except that Cap’s missions have always been portrayed as noble, whereas in the space of the Bourne films, there’s nothing that shows that any of the missions that Bourne performed before his memory loss had any good to them at all. Now for these movies, and Bourne’s state of mind within these films, that’s fine, but to just leave it at that to me anyway falls into a cliche (and make no mistake, the third film leaves it at that). The end result could still be the same, but ignoring the fact that under this project that Bourne may have indeed done good for the country, just seems to push an idea of governmental pessimism that’s certainly popular for the time, but still becoming now an endlessly tired cliche. Personally, I feel that as a citizen of this country, I want agents like Jason Bourne out there in the world.

No fault at all of the cast, all of whom are very good here. Matt Damon continues to show why he’s as good as he is with his earnest portrayal of Bourne and watching him in the action scenes he’s totally convincing that he can do all of the stuff that he’s doing. Joan Allen and Julia Stiles are back from the previous film and joining in with this film are actors David Strathairn, Albert Finney and Scott Glenn, all of course playing the “bad guys” of the piece, and I think doing a great job, but that little bit of balance that I mentioned above just isn’t present.

This is fine as it is, I know with the exception of a particularly bad audience that we had, I had a pretty good time overall with the film. But one wonders just how much more meaty this could’ve been had there been a little more balance shown to the ideas and execution of the ideas that created the project that created Bourne. This is a good series and it wouldn’t hurt it at all to do that, to gray the line more than to draw it out in pure black and white.

It’s approximately 50 years in the future and scientists on Earth have discovered that soon the sun will burn itself out. Seven years prior to the start of the film, the Icarus project was initiated with the plan being to deliver a tremendous nuclear payload into the heart of the sun and hopefully re-igniting it. Something went wrong though and Icarus I wasn’t heard from again. As the movie starts, Icarus II is in the midst of trying again, closing in on the planet Mercury, when they start to receive a distress signal… from Icarus I.

And in a nutshell that’s the basic premise of Danny Boyle’s newest movie, Sunshine a hard science fiction film that’s in the vein of movies like Solaris, 2001: A Space Odyssey and it’s sequel 2010. And I think it’s a damn fine piece of work.

Boyle’s film, is not only a bit of a thematic throwback, but a technical one as well. It’s beautiful to look at, but it’s not at all a heavily CGI-rendered piece. If CGI is used, it’s in more subtle effects, but nothing as sweeping as you’ve seen in other films.

Now I’m no science whiz, and don’t pretend to be one. I bought into it’s premise though, Boyle and his excellent cast sold it well to me. I’ve read criticisms where people think that this is two thirds a great movie and that it falls a part for them in the third act. I’ve avoided reading why it falls apart, but I think I’ve got a good idea why now after seeing the film. The third act, featuring the discovery of Icarus I also has another event that I think is the one that’s hard for some to swallow, and yet I think there’s enough of a set-up there that it certainly rang true for me. It all builds to nice, if somewhat ambiguous, ending that I think again is true for the type of films that Boyle makes and is also very much in keeping with things like the above-mentioned Solaris (and I’m talking about the Soderbergh/Clooney Solaris, not the Tartovsky original) and 2001: A Space Odyssey) Boyle even goes further in his salutes to these films, even throwing in a nice one to John Carpenter’s first film Dark Star.

He’s got a great cast at work for him here… Rose Byrne, Cillian Murphy, Michelle Yeoh, Cliff Curtis are amongst others in the cast, but I think the real standout here is Chris Evans, who we know best as playing the Human Torch in the Fantastic Four movies. All of the characters feel like fully developed individuals, and Evans gets a very nice character arc in the film that lets him display some acting muscles that I haven’t really seen him display before. It’s a great ensemble all around, but Evans really does do a nice job here, making me look forward to more serious acting roles from him.

I really enjoyed this, this is the type of science fiction film that really speaks to me, and I applaud Danny Boyle for doing this type of film and adding another genre to his impressive list of credits. We had four of us together on this last night, all of us genre film fans and we all came out really enjoying the film, and I know for two of us, even enjoying it more after the fact, as we talked deeper about it. Very much looking forward to owning this one on DVD and watching it again and again, this one’s up there as one of the best of the summer for me (Ratatouille is still my big favorite though), and it will certainly be one that I’ll be considering as one of the best of the year as well. Highly, highly recommended…

Once again, in the town of Springfield, things are happening for the Simpsons family, Bart’s feeling neglected by his father, Lisa’s found a new love, and Homer has too, in the form of a new pet pig. It all culminates to yet another point where Homer does something that makes the town of Springfield declared a disaster are from the EPA, and encased in clear dome that there is no escape from, and yet the Simpsons find their escape only after the townsfolk come after them yet again… only to have the Simpsons being the one hope to save the day in the end.

And that’s the premise of The Simpsons Movie an event that Fox bills as 18 years in the making. This one’s been talked about for a long time, and finally it’s come to fruition and I gotta say, it’s a hell of a lot of fun, especially if you’re a Simpsons fan (which of course I am big time- I own all of the DVD sets and there’s many bits that I can quote you chapter and verse on).

Now the thing is, this does play out as though it’s one very extended episode of the show, and for me anyway, I think that’s just fine. I know some criticisms that it gets is that people think it should be more than the show, and it is in some ways (mostly technical), but that thematically it needs to go a bit beyond. I don’t know if it necessarily needs to do that, I could see it trying to stretch it’s boundaries and be an even bigger disappointment. What it does is give you what you know and love and presents it in a way that’s more extravagant and beautiful than it’s ever been done before.

And beautiful it is, it’s extremely well animated display an extensively greater dimensionality than what it does on TV. It’s a terrific blend of both 2D and 3D animation that really makes it beautiful to behold. And I got to see this in digital projection as well, even adding more to it’s presentation.

All of the voice cast are still there, Dan Castellanata, Julie Kavner, Yeardley Smith, Angela Cartwright, Hank Azaria and Harry Shearer all do their usual wonderful jobs and this time they’re joined by Albert Brooks (who has also done an episode of the show), playing Russ Cargill, the EPA agent who’s out to impress President Schwarzenegger with his plans for Springfield.

Like I said, if you’re a fan of the show, you’ll definitely have a good time here. And they do, in some small ways, take advantage that they’re not on TV for this film (and there’s an extremely funny bit at the start of the film about why you’d go and pay to see something on the big screen taht you can see n TV for free). I know I laughed very hard during this film and that’s the best sign in the world that it’s working. If you’re a Simpsons fan, I can’t recommend it enough. If you’re not at all familiar with them, well then get familiar with them and then see this movie… great stuff here.

Paprika is the story of a device called the DC Mini. What the DC Mini does is allow someone to walk through another person’s dream and it’s use is for deep psychotherapy. At the start of the film, we’re given a glimpse into the dreams of a police detective, Konokawa and how he’s suffering from a trauma caused by a murder he can’t solve. This therapy is being directed by a young woman named Paprika who gives Konokawa much comfort. As we shift to the center where the DC Mini is used, we’re introduced to more characters: Chiba, the doctor in charge of the use of the DC Mini, Shima, her direct superior and Takita, the largely overweight and nerdish inventor of the DC Mini, and we also discover that a DC Mini has been stolen, and with it’s theft and unauthorized use, it’s starting to affect those that come into contact with it, and this builds to the point of the dreamworld starting to bleed over into the real world.

Paprika is an epic Japanese anime from director Satoshi Kon who’s best known for his previous work Tokyo Godfathers and it’s quite the thought-provoking film, which after seeing something like Transformers seems like just the thing that I was in the mood for. What this first brought to mind for me anyway was an American film called Dreamscape that starred Dennis Quaid. Paprika is Dreamscape taken to a degree that it probably never could’ve been taken to if made either as live action or as an American movie. It’s a serious story that really does delve into the psyche of it’s characters, primarily Chiba, Konokawa and Takita in ways that seem, at least to me, very right on how dreams work.

The animation is wonderful and there’s a lot of great imagery at work here. The style of the film sort of reminds me of a cross of what you’d get if you took American comic artist Jim Starlin and had his work interpreted as Japanese anime. But being anime, don’t exactly expect it to have the same vibrancy that you might get from American animation, it works on it’s own level and that level basically treats this just the same as a live action film might be treated, which what I mean by that is that human characters here are very human in expression and action and not at all over-the-top in portrayal.

There’s a lot to chew on here as far as it’s story goes taking some twists and turns that absolutely demands your full attention- i.e. this ain’t exactly the sort of movie that you watch and turn your brain off to. Yes, there’s plenty of twists and there’s certainly a few things that directly owe to Japanese culture, but if you’re paying close attention, you won’t have any trouble following this whatsoever.

Paprika is an absolutely wonderful film and if you’re a fan of anime, you already no doubt know about the film. Most who want to see this will probably have to wait for a domestic DVD release, but if so it’s worth the wait. We were fortunate and it opened here at St. Louis’ premiere art house theatre, the Tivoli and we got to see it in the theatre’s main auditorium on it’s biggest screen, and it was certainly a wonderful experience. Very much recommended.

Deep in outer space, war has ravaged a planet inhabited by mechanical creatures called the Autobots and the Decepticons, and now the object of their origin has been ripped from their planet and heads on a direct course to Earth- leading both packs of mechanical beings on a search of the planet- the Autobots attempting to save the Earth and the Decpticons ready to unleash what happened to their world on our world. And a handful of humans are ready to stand in the way and ally with the Autobots.

That’s the nutshell description of Transformers the latest movie from director Michael Bay that owes it’s origins to a toy line created by Hasbro back in the day. I’ve got to admit I don’t have the connection to this that others do. When the Transformers were big, that was also around the same time of He-Man and the Masters of the Universe and G.I. Joe and I sided with the critics of those that the cartoons were just overblown commercials for toys more than anything else, they just didn’t grab me. Well, that was snobbish then, and now I’ve got a little more respect for the properties, but I still wouldn’t call me a convert. The trailers for this movie looked incredibly impressive, and so that got me really interested. Plus, I’m not exactly Michael Bay’s biggest fan, but at the same time, I don’t exactly look at his movies with the same disdain that others do either… he makes big-ass spectacle popcorn films, and things like The Rock, Armageddon, Pearl Harbor and The Island all work for me on some level or another (Personally, I think The Island is his best film). So really, I was looking forward to seeing this.

When he’s dealing with the big-ass action and the various robots themselves, I think this movie really excels… it’s just that when he deals with the people, this movie falls apart (with one exception- I’ll get to that in a moment). The people in this film are cartoony sit-com, almost like what you’d expect to see on ABC’s comedy shows and really they garner no sympathy from me whatsoever. There’s a point in the end where Optimus Prime, the leader of the Autobots, talks about this thing in humanity that he sees that makes them worth saving, and I only saw that with the military special forces that first come into contact with a Decepticon in the film- all of the rest of the people are spending all of their time doing snarky comedy bits in the midst of the action.

Michael Bay has said in a recent interview in Wizard magazine that he was going for total realism in this movie- he succeeds with the Transformers themselves, I’ll certainly give him that, but with the exception of the military force that I mentioned above, fails on any of the other human reaction, like I said devolving it to TV sit-com situations. As I’m watching people like Shia LeBouef, Megan Fox, Anthony Anderson and John Tuturro in this, it almost becomes cringeworthy in seeing their reactions to situations, not so much with LeBouef and Fox, but incredibly so with guys like Anderson and Tuturro. Anderson in particular is almost painful to watch especially considering that he’s made some real dramatic strides on shows like The Shield here he just resorts back to type, or in his case, stereotype. And Tuturro plays this total cartoon character in charge of a super-secret organization that keeps their knowledge of these beings from everyone else, and he just falls into a basic Hollywood cliche of yet again being this authority figure that’s just made to look silly against the man on the street. The first tip-off that everything is going to go into a cliche comes during a meeting of top minds called by the Secretary of Defense (played by Jon Voight) and we focus on a group of geeks recruited fresh from school who are bound to be the ones that find out more than anyone else does at the start (oddly enough, these geeks have within them, their hot chick, who’s more wish-fulfillment fantasy on-screen than anything that might approach reality– but Megan Fox is also that same way).

There’s a scene in the film where Shia LeBouef, playing a character named Sam Witwicky who has ties to the robots, first gains their confidence and decides to throw in. He then begins to sneak around his house trying to find the object that they need, only to arouse his parents suspicions, and this whole scene just plays out as a big joke- an excuse to have a person who’d be the most uptight in the scene say the word masturbation and get a cheap laugh from the audience… it’s just embarrassing to watch.

The saving grace in the acting department goes to Josh Duhamel, Tyrese Gibson and the other actors playing the Special Forces unit that first comes into contact with the Decepticons. These guys I totally buy here, they don’t treat the situation like a big joke and they’re good at what they do. I could’ve just watched a movie based around these guys and come away much more pleased.

This gets a very mixed review here, but more going to the thumbs down side of things. On the positive side, you could just look at this as this huge fireworks type of Fourth of July spectacle and probably have a pretty good time with it (and again, I certainly give it points for it’s last half hour which is just pure action and a lot of fun to watch), the robots are the star of the show, that’s for sure. But the people are who they’re fighting for, and Bay just doesn’t even for a moment want to give the common guy a moment of sincerity in the film and as such ultimately fails in delivering to me a movie that I could give a damn about.

A plot has been hatched to take down the United States from it’s very infrastructure, by disabling communications and utilities, the United States has become gripped in a very real terror of just not being able to go about their everyday lives… all of this at the will of a former NSA security specialist who seeks revenge on the USA for shutting him down. NYPD Detective John McClane has been dispatched to retrieve a hacker that unwillingly participated in this scheme and from there, finds himself in a situation where again, he must stop terrorists from completing their acts, and saving family along the way.

And that’s the premise to Live Free or Die Hard, the fourth film in the Die Hard series featuring Bruce Willis as John McClane. This time around, director Len Wiseman (Underworld) is at the helm of the film and what they deliver here is for the most part a very entertaining thrill ride, with Bruce Willis in fine form, still quipping as McClane, but also certainly a little more weathered by time.

Wiseman moves this one at a rapid pace, and even it’s “quiet” moments feel kinetic. There’s some real nice set piece stuff at play in this movie (including one scene near the start of this film which is liable to send some fanboys in tears in regards to the what is being destroyed on screen), some of which is quite intense. To me anyway, this is better paced than either of Wiseman’s Underworld films and feels right at home with the prior Die Hard’s directed by John McTiernan and Renny Harlin. The one little misgiving I have with it, and I don’t hold this against the movie, is that some of the action might be a little more over-the-top than some of the other films (in particular a scene near the end involving a jet plane).

Wiseman’s well aided in this movie from composer Marco Beltrami who’s music score is certainly evocative of the first two Die Hard films.

Bruce Willis is terrific, always fun to watch and even still there with his patented horse-eye look when firing his guns at the bad guys. Justin Long (who you know as Mac in the Apple computer commercials) is really good here as the young hacker that’s forced to team up with McClane and he really holds his own with Willis. Timothy Olyphant is Gabriel, the mastermind behind this plot, and he’s also magnetic to watch and just as much a threat as Alan Rickman or Jeremy Irons was in the other movies. And look out, even Kevin Smith is in the film, maybe giving the most animated performance that he’s ever given as a cohort of Long’s.

This is the very definition of a popcorn movie, and yet I tend to think that its scheme is maybe one of the scariest that I’ve seen in a movie in awhile. Having gone through almost two full weeks in the last year without power in my home, I know just how helpless that makes a person feels. There’s just a couple of niggling points in the film as far as consistency of action goes, but easily forgivable as far as I’m concerned. It’s a fun movie as it is, though, and I’d certainly recommend it, as long as you’re a little willing to just give it a few points.

Remy is a rat, but a rat that’s quite a bit different than his family- Remy likes the finer things, he doesn’t eat garbage and he has a palette and a sense of smell for gourmet cuisine. Remy idolizes a human French chef named Gusteau, who has one of the finest five-star restaurants in all of Paris, but that restaurant has been brought down to a three-star restaurant thanks to a food critic named Anton Ego. Now, through a series of events, Remy has found himself allied with a young man named Linguini, as they both seek to find themselves in worlds totally unfamiliar to both: Linguini in trying to belong in a restaurant and Remy, in the world of humans.

And that’s the basic premise in a nutshell to Ratatouille the newest film from Pixar studios and the follow-up to the previous collaboration between Pixar and writer/director Brad Bird’s, The Incredibles and it is quite simply one of the best movies of the year, easily something that will make it near the top of my Top 10 list for 2007. There is of course, way more to this story than I’m telling you above, but really to say any more would be to deny you the pleasure of watching this unfold for yourself.

The credit for just how fantastic this film is is primarily Brad Bird’s who has certainly demonstrated in both The Iron Giant and The Incredibles a need to advance the animation artform in this country. Both of those movies are high watermarks for both 2D and 3D animation, and Ratatouille raises that bar even higher… not just with it’s beautifully stunning 3D animation, but also with it’s story, a story that is certainly universal for all audiences, but really having a way more pleasant appeal, at least in my eyes, for a more mature crowd. Bird, in his previous films, has had a bit of a retro feel to those movies as well, and he does it here too. Ratatouille at times feels like the sort of movie that Blake Edwards would’ve made back in his heyday.

Pixar’s animation makes something like Shrek The Third look like it was done by amateurs, that’s just how advanced this looks. Camera angles, lighting, attention to detail and above all, characterization is just a step beyond what we’ve been seeing in computer animation, and you just want to bask in this over and over again. The thing is, Pixar does this well enough on their own, but when working with Bird, their game is stepped up, and Bird’s mind takes their tools and works them in directions that’s just not typical for these films. The combination of these talents, and their willingness to work with some more uncoventional story elements is what makes movies like The Incredibles and Ratatouille not just great animated films, but great movies beyond the form.

There’s some really fine voice acting at work here too… Patton Oswalt is the voice of Remy and he’s just terrific here, bringing a real earnestness to the part that sort of reminds me of a Michael J. Fox back in his better days. Ian Holm is the voice of Skinner, the chef who’s taken over Gusteau’s and his just might be the best voice work in the film, very emotive, but also totally filled with character. Peter O’Toole is the voice of Anton Ego and as with anything Peter O’Toole ever says on screen, you’re just totally enthralled when he speaks. The whole film has been voice-casted with careful attention, and these aren’t just computer animation models on screen, but totally feel like living, breathing characters.

This was another film that I got to see in digital projection and that was just icing on the cake on a truly fantastic film experience. For a film that has food as one of it’s centerpieces, it actually makes that computer generated food look luscious and succulent and leaves you wanting to eat at the end of the film… and I’ve never seen an animated movie that has done that before. Do not miss this movie, like I said above, easily one of the very best movies of the year…

Mike Enslin is a writer who’s sort’ve at a crossroads in his life. He currently writes books based around haunted locations across the country and his current book is about haunted hotels. He gets a mysterious tip in the mail about a hotel in New York City called The Dolphin and not to stay in room 1408. Obviously this piques his interest and he does what he can to get a reservation in the room, even with all sorts of warnings not to do so, with some of the most convincing coming from the hotel manager himself, basically telling Mike that nobody usually lasts for the first hour, telling him that it is an evil room. Mike of course is insistent on staying there, and he checks in, and within minutes, the terror does indeed begin.

And that’s trying to be as vague as I can be about the new horror/suspense movie 1408 from director Mikael Hafstrom. This is adapted from a story by Stephen King and while I’ve never read the story, it sure feels like it has all the hallmarks of his work- the slant on writing, the creepiness of hotels and the dark personal secrets that we all have that sometimes lead to the greatest horrors of all. This is an extremely well-made film, very well paced and certainly well-performed. It has a great look to it, with one of the stars of the movie just being the room itself, which at times seems to me to carry some sort of similarities to how David Lynch lights rooms that he films in. Most of the visual effects in this film don’t have that CGI “flash” to them and instead almost feel more theatrical or somewhat “cheap” but that hardly meaning that it looks bad, on the contrary, I think the effects work quite well here.

1408 stars John Cusack as Enslin and this is really a tour-de-force for Cusack, especially for the period that he’s in the room because for the most part, he’s the only one there and he has to sell this well in order for you to buy into it, and he does. He’s perfectly cast for this, with both his cynical wit and an everyman quality, he brings this home very well. Samuel L. Jackson is the manager of the Dolphin, and he’s great too, though don’t go expecting this to be one of his showier roles. The interplay between Cusack and Jackson before Cusack enters the room is really entertaining to watch, these guys play off of each other quite well. Mary McCormack is also in the film playing Enslin’s estranged wife, and she does a fine job too, with a great scene especially at the end of the film.

What you have here is really, really good stuff, and just when you think the film might fall into a trap that you don’t want it to fall into, it rebounds back and gets itself back on the track that it needs to be on. Now with that said though, one has to wonder about certain things: It’s a PG-13 film, and really for what you have here, that’s fine, there’s nothing in the world that says that you can’t make a good effective horror film with a PG-13 rating (last year’s The Exorcism of Emily Rose worked the same way)- but how would it have fared had a less known actor been cast in the lead? Again, don’t get me wrong, John Cusack is absolutely terrific here, but at the core, we know it’s John Cusack performing a role- wouldn’t it’s horror seem a little more extreme if the actor in front of the camera was someone you didn’t readily know? Probably… and as far as I know that could also affect the rating (although there’s multiple factors that go into that as well, more than likely this was contracted to come in at PG-13) Also, Like I said above, I haven’t read the original story, and as is the case with most movies, one wonders if multiple endings weren’t filmed for this. The ending that this film has is, again terrific and horrifying in it’s own way, but one wonders if it could’ve been darker and even more extreme than what it was. I know for a movie like this, I tend to want to want it to go as dark as it can, but that’s just me, and again, don’t get me wrong, this is good stuff… this is just stuff that I think about with a movie like this.

In the end though, 1408 is a great ride with a terrific tour guide in the form of Cusack. Our audience seemed to react to this the way it should, with over to one side of us being a guy who brought in five little kids with him, with most of them being quite scared by the film (and of course causing a disturbance, but nowhere near as bad as it could’ve been). This is good stuff and of course, highly, highly recommended.