The plot is largely flat and humble, and shows a disjointed family simply trying to get by, together. It's accessible material, to be sure, and portrayed in the most artful of ways, but some may still find Sunshine Cleaning too overly dramatic and dreary a stroll.

Amy Adams and Emily Blunt purchase cleaning supplies in a scene from Sunshine Cleaning.

Amy Adams, as Rose, is a single mother living in the same small town in which she grew up. While time has moved on, Rose hasn't progressed much past her glory days as the high school head cheerleader. Instead of a dynamic career and relationship, Rose gets by cleaning the houses of the friends who used to look up to her in school and sleeping with a married cop (Steve Zahn). When her son, Oscar, is threatened with being placed in a "special" program at school due to his outburst and misbehavior, Rose decides to send him to a private school. Paying for this private education is what moves the main plot. By way of her affair with Mac, Rose discovers that plying her mop and sponge to cleaning up crime scenes is a far more lucrative track than cleaning houses. Rose enlists the help of her wayward sister, Norah (Blunt), and the two awkwardly set off to start a new business, leaving Oscar with their father, Joe (Arkin), during the day.

Obviously, details around the crimes and the resulting mess can be pretty juicy and interesting plot points. However, Sunshine Cleaning spends little time on the finer points of Rose and Norah's profession and shies away from any gratuity. However, it is fun to see the two awkwardly carry a bloodstained mattress to the dumpster. Their new business is largely the jumping off point to other storylines in the film. For instance, when cleaning up a suicide, Norah discovers photos of the dead woman's daughter, who has seemingly been estranged for some time. Norah sets out to find the girl, Lynn (Mary Lynn Rajskub), which manifests Norah's own struggles and challenges in life. Blunt has a particular presentation that exudes a genuine nonchalant attitude - that she's simply following life's current - which serves her well in this role. Yet when Norah accidentally sets fire to a client's house, Blunt's emotional range comes out in full force.

Alan Arkin as Joe Lorkowski joins his two daughters in a family meal during Sunshine Cleaning.

Rose, on the other hand, is far more motivated. Throughout the film she struggles to turn "Sunshine Cleaning" into a respectable business and eventually confronts her unhealthy, longstanding affair. As films of this ilk are wont to do, Rose suffers a variety of setbacks, which gives Adams' talent plenty of time to shine. Just as she did in Doubt, Adams has a remarkable and humble talent for exuding visceral nervousness and dejection that makes you really feel for her. Rose's life is wrought with struggle and sadness, and Adams pulls you in right there with her.

If the present-day events weren't depressive enough, an especially dramatic event underlines (and I suppose helps to explain) the story: their mother committed suicide. The sisters struggle with that formative event every day, as does their father, Joe, who relegates his time to get-rich-quick schemes, which all fail, naturally. When Joe can no longer watch Oscar, Rose quickly befriends the store clerk from whom she buys her chemicals, one-arm Winston (Clifton Collins Jr.). The man's handicap is never explained, and is one of the more contrived elements of the film. Two arms wouldn't have been dark enough, I suppose.

While Sunshine Cleaning is mostly dimly lit, there are hints of light. Rose's struggle to keep her family together and manage her past and present baggage is, in aggregate, an optimistic and poetic journey. If not for the moving performances from Adams and Blunt, who imbue the film with tasteful and needed hope, Sunshine Cleaning would, indeed, be a mess of a film, impervious to any solvent.

Discover More: Movie Reviews

Watchmen was originally published in the late '80s and for the longest time was passed around in hopes of a big-screen adaptation. The story's nuance, complexity and span earned it the long-held title of "unfilmable." It's a common claim as of late, therefore, that director Zack Snyder has done the impossible and successfully brought to life "the greatest superhero story ever told." While Snyder's film is remarkable on many levels, the weight of the novel's acclaim is a polarizing blessing and curse. Most die-hard fans of the printed story will claim it doesn't measure up and is sorely a breezy, faint impression of the original. Virgins of the story will furrow their brow at the odd costumes, the naked blue guy and the eccentric '80s landscape, which seem out of place in these times of Iron Man and The Dark Knight. But for all its unique and adapted flavor, Watchmen is still a wonderful cinematic accomplishment with depths and tones rarely seen in this genre.

Nite Owl and Silk Spectre break into a prison to help free Rorschach in a scene from Watchmen.

Part of what makes Watchmen so intriguing is the parallel universe it portrays wherein these characters play key roles in our own history. The Comedian (Jeffrey Dean Morgan) assassinates JFK, Dr. Manhattan (Billy Crudup) helps end the Vietnam War, and everyone is in fear of an escalating nuclear arms race with Russia. The subtle weaving of fact and fiction proves smart and far more grounded than most comic-based tales we've seen. The '80s setting, however, might throw some off. For instance, the costumes are pretty homely and the soundtrack is a veritable 'Hits of the '80s,' the likes of which would cost you $19.99 by calling a toll-free number. It's not exactly what you would expect, but it's faithful to the source material. There's no way around the "period-ness" of Watchmen, so you just have to accept it and move on.

The themes of the film, however, aren't restricted to a specific period of time. Rorschach (Jackie Earle Haley) is disillusioned, cynical and has found the only way to really stop bad guys is to kill them. The Comedian is selfish and a moral relativist that has no qualms bullying those around him, while Nite Owl (Patrick Wilson) is the exact opposite. And Dr. Manhattan has so much power that he's losing his connection to humanity and begins to see people and life around him in purely objective terms. The struggles and identities of the six characters come to life by way of Rorschach's investigation into The Comedian's death, which proves the proverbial tip of the iceberg to the story. Haley as Rorschach delivers the one true standout performance.

The Comedian jumps down from the Owl Ship during a riot in Watchmen.

How The Comedian is killed represents the aspect of Watchmen that everyone should enjoy. Snyder does a magnificent job in these fight sequences, slowing down the camera for us to witness every little ass-kicking detail. These scenes are a bit sparse during the first part of the film, but be patient and you'll be pleased. For those just looking for this kind of eye-candy, you'll also enjoy the fairly gratuitous gore. Sure, Steven Segal patented the backwards arm break, but I've never seen the move in such gory detail as when the Nite Owl does it. And don't expect Dr. Manhattan's omnipotent power to be particularly tidy; in lieu of simply making someone disappear, he splatters them like they left the top of a blender.

Some have argued (and will continue to argue) that Watchmen should never have been made into a movie. In fact, the writer of the original comics, Alan Moore, reportedly cursed the production because he was so incensed by the thought of an adaptation. Admittedly, I'm not a huge follower of the source material, but I am exceptionally grateful for Snyder bringing the story to the cinema. The movie is truly one of the most visually unique and unabashedly epic superhero tales I've had the pleasure to witness. It isn't perfect and ultimately may buckle under its own weight, but you should nevertheless head out to watch the Watchmen.

Discover More: Hype, Movie Reviews

Estranged from his wife and daughter as a result of years spent in the CIA as a "preventer", Bryan Mills (Neeson) is trying to make up for lost time when the movie opens. He doesn't see his work buddies much anymore, opting instead to dote on this daughter, such as meticulously studying a karaoke machine he intends to give her as a gift for her 17th birthday. You wouldn't think his daughter is 17, though, since Maggie Grace, in an attempt to come off as younger than her 25 years of age, overshoots, and plays Kim more as a goofy 13-year-old. Her awkward running around and elation over a pony for her birthday is one of the film's weaker renderings; that, and the uber-bitchiness exuded by Famke Janssen as her mother. Thankfully, since Kim has been absconded and is held in secret, we don't have to stomach her for long.

Liam Neeson shows us his best "Have you seen my daughter?" face during Taken.

Kim and her best friend Amanda, through lies and suck-upage, manage to get permission to head to Paris for a European vacation, sans supervision. The cockiness and deceit the two dole out doesn't exactly elicit a lot of sympathy for the pair. Witnessing Amanda's obnoxious dancing interrupted by burly intruders, Kim frantically listens to her father's advice over the phone, culminating in an ominous declaration, "Now they're going to take you." It's the most chilling moment of the film, and one that solidly shifts the pace up a few gears into a hair-blowing 90mph from there on out.

But the swift speed plays for and against Taken. While avoiding stalling is favorable to Mills in finding the next bad guy and kicking kidnapper ass, you do sometimes wonder how the discovery went so quickly. Mills manages to uncover a complex web of political corruption and high-end sex slavery in shorter time than a "Law and Order" episode. If the film had taken (pun intended) a bit more time in surfacing the smaller details, we could have been privy to a much richer experience.

Even though it's lean on brains, Taken has plenty of brawn. Neeson is quite possibly the deadliest retiree on screen. More often than not, he relies on hand-to-hand combat, which of course affords him major ass-kicker points. In the instances when he uses a gun, director Pierre Morel thankfully takes a cue from the real world and only allows him so many bullets. It wouldn't be much of challenge, after all, if Mills had unlimited ammo. But in the times he uses a gun, Mills means it. Like in one rather shocking instance that manifests the cold, forceful loyalty he has as a father and damn near anything that gets in his way.

Taken may not be as sexy or studied a film as anything Bond or Bourne, respectively, but the capable and cheer-worthy character that Liam Neeson has created should rightfully have a seat alongside those great spies. The growing question then becomes — who would win in a fight between the three of them?

Discover More: Movie Reviews

From the outset, you get the impression that the film is one to hunker down with — to study the elements and appreciate the slow-paced storytelling and the careful framing. Casey (Yustman) is quietly out for a jog when she notices a solitary blue glove laying in her path. Picking it up, she then encounters a young boy with similarly blue eyes, who in a blink turns into an ominous dog donning a mask. It's creepy imagery and appropriately paced, but the reverence for Goyer's style quickly falls away as the director shows all of his cards, revealing his reliance on trite tactics of the genre. A bevy of useless scenes come at you, literally, in order to incite a scare. The screeching brakes of a subway train suddenly come into frame; the ghostly child's face lunges at your view for no reason at all. And when the chips are down, Goyer sloppily hurries through scenes seemingly violating his own rules of the story. If the dybbuk, the evil spirit following Casey, wants to be reborn through her, why is it violently attacking her? And if it can inhabit anyone's body, what's with all the foreplay?

Casey and her boyfriend Mark in a scene from The Unborn.

Titillating the audience is clearly on Goyer's mind, considering his brazen use of sex-selling in the film. Can you recall a hotter horror couple than Casey and Mark (Cam Gigandet)? As Casey continues to battle her dreams and hallucinations of the dead boy, whom she soon learns is actually her fraternal twin who died in childbirth, her bathroom mirror becomes ground zero. In the story, mirrors (and twins) are gateways — "the doorway is open" is repeated numerous times — which affords many a scene of Casey waking up in the middle of the night in her taught undies to investigate. Such sequences were seemingly important enough for Goyer to even have it on the official poster for the film. Sex sells, after all. You can chalk up pointless scenes of Mark shirtless or the disconnect when Casey says she needs fresh air (and she actually goes to take a sexy shower) to sloppy convention. But the use of a glory hole as a conduit for evil is wholly unorthodox. Maybe Goyer is trying to tell us something about public sex. Doubtful. However, an intention like that would have made more sense.

As Yustman tries to manifest the needed emotion for Casey's character, it becomes clear that the actress and the film's writing has limited range. You see Casey's world collapsing around her, but you wouldn't know it by reading Yustman's face. And you would think she'd be really upset, considering that she knows so much about what afflicts her. Playing a well-worn card of genre, Goyer includes extended scenes wherein Casey recites clearly and calming what's happening and what's next. Just in case the audience wasn't keeping up. When she takes an ancient tome to Rabbi Sendak (Gary Oldman) asking for an exorcism, she confidently informs him to translate the text to perform the ceremony, despite either knowing how to read Hebrew. And when she fills her best friend in on why she broke all the mirrors in her house, you get the distinct feeling Casey is reading from the book "How-To: A Guide to Defeating the Dead Evil Twin Who Wants My Uterus."

Goyer has clearly (and disappointingly) miscarried with The Unborn. While I appreciate leveraging real folklore, creating a notable scare or two, and convincing the wonderful Gary Oldman (and Idris Elba) to join the cast, there's just so much to dislike about this film. "I want a Catholic exorcism!" Casey blandly demands, as if she's picking from a Chinese menu. Let's hope this experience will at least exercise whatever deluded demon inhabited Goyer, and convince the studio to wear protection next time. We don't need another one like this running around.

Discover More: Movie Reviews

As children, BFFs Liv and Emma come across a wedding at the famed Plaza Hotel. Instantly, the fraternal hair twins marry the idea of nuptials like that for themselves one day. Fast forward to adulthood and Liv is an effortlessly wealthy lawyer and Emma a humble elementary school teacher, each with their own uninteresting boyfriends. When Emma becomes engaged, Liv, in typical overachiever style, smells competition and corners her beau into proposing early. The two enjoy a fleeting camaraderie until it becomes clear they're both competing for the same, solitary wedding slot at the Plaza. Neither are willing to budge, and a passive aggressive battle ensues.

The two brides, Liv and Emma, take a fall in the midst of a fight during Bride Wars.

It's true that some of the stunts pulled in Wars are humorous at times, such as when Liv sabotages Emma's visit to the tanning salon or when a hasty wedding announcement is sent. Underlying this horsing-around, however, are some pretty ugly hues of jealously, greed and materialism. Emma has a modest job, but saves for 16 years for the perfect wedding. Liv picks up a Vera Wang dress as if she was buying socks. This isn't a movie to get excited about weddings, because the high-cost, altered reality here leaves little to relate. The grandeur of Sex and the City is one thing, but the glitz and obsessiveness for the perfect Plaza ceremony manifested in these quarreling kittens is quite another.

Often in a story like this there are crumbs of redemption and good feelings to leave the theater with, but not in Bride Wars. In the end, the pair's behavior and a particularly awkward turn at the end decimates any to-go feelings of love and friendship. So what you're left with his a shallow Jerry Springer-like spectacle that is quickly forgotten, but marginally enjoyed because of how distant it is from reality. That, and Anne Hathaway. I find trying to dislike Hathaway as difficult as trying to fail PE in school. I can't if I try, even if she is scaring husbands-to-be and putting dangerous thoughts into impressionable minds of young girls. Hating on Hudson is another story. Like her last few movies, Wars is another blimp on her growing, unimpressive resume. The movie as a whole obviously doesn't help, and neither does starring opposite Hathaway. In the battle between the two leads, Hathaway clearly comes out top. Fittingly, at one point in the film Emma says, "I'm literally running circles around." I couldn't have said it better.

Films about weddings are undoubtedly full of extravagance and a focus on "stuff", but many just manage to skirt around completely selling off all of their feeling. Bride Wars divorces itself from any emotional material, and is purely focused on material emotion. While the film strives for feeling and relevance on friendship and marriage, it ironically butchers both with its slimy methods.

Discover More: Movie Reviews

At the end of WWI, a shriveled, crippled infant is born to a mother that died in labor and a well-to-do father who owns a button factory in New Orleans. Overcome, the father abandons the child at an old folks' home, at which point a caring housemaid name Queenie (Taraji P. Henson) takes him in as her own. The child, Benjamin (Brad Pitt), is born with a catalog of infirmities one usually only exhibits at the end of their life, not at the beginning. To no explanation, Benjamin continues to grow, loosing his ailments and gaining energy with each passing year. Eventually, his curiosity and vigor gets the best of him, and he leaves Queenie and his aged friends to see the world by way of a tugboat and its surly captain (Jared Harris).

David Fincher's technical achievements with Benjamin are unquestionably one of a few highlights from The Curious Case of Benjamin Button.

Fincher's rendering of Benjamin's early (or late) life is nothing short of remarkable. The physical presentation will leave you stunned, as you can clearly discern Pitt's features and expressions through the wrinkles and glasses, but it's certainly not the actor's body. As Benjamin's mind grows, too, Fincher explores what someone with an 80-year-old body and a 10-year-old mind might get into. And that's part of makes Button so accessible: the humor. The film's comedy comes across deftly authentic and never artificial.

Underpinning Button is Benjamin's love for Daisy (Cate Blanchett). They meet while Benjamin is in Queenie's care, a friendship which proves complicated considering the tangible difference in age. Throughout their respective lives, the two manage to stay in each others' thoughts and eventually meet at a time where both are nearly the same age. The push and pull, distance and closeness between Benjamin and Daisy is a weathered and touching relationship that comes appropriately full-circle, with, thankfully, little triteness of cliché. Even I can appreciate when the two "meet in the middle."

Benjamin's one true life-long love, Daisy, confronts him in a scene from The Curious Case of Benjamin Button.

While I would positively consider Button a classic, I can't say that all of its elements are wholly original. Screenwriter Eric Roth also wrote for Forrest Gump, influences from which you'll readily feel in the film. Equally familiar is the framing device for the story. We learn of Benjamin's life by way of an old, hospitalized Daisy and her daughter, who is reading to her from Benjamin's diary. This smells a bit like Titanic, if you ask me. And you might even detect a scent of Interview with the Vampire by way of Pitt narrating his life, the same as he did in Anne Rice's story. These recognizable characteristics don't mitigate Button in any material sense, they just aren't on the level of originality as Fincher's visuals.

Pitt and Blanchett, too, aren't particularly remarkable in their performances. For a film that left me so inspired and awed, I was surprised to realize that none of the actors really stood out, save for Tilda Swinton as Benjamin's first great love. In any other movie a lackluster lead might prove fatal. But for Fincher's film, the story and emotional spectrum of the film is enough to buoy Button into the halls of classic storytelling. Like life, the film isn't perfect. But as the sum is usually greater than its parts, and a life should be judged on its entirety, Fincher's Button is a moving experience not to be missed. Especially at this time of year.

Discover More: Hype, Movie Reviews

It's no question that Rourke is a weathered, eccentric Hollywood anti-hero. What other gravely-voiced badass do you know that carts around a chihuahua? Rourke gained prominence in the '80s (with films like Rumble Fish and Pope of Greenwich Village), only to squander those achievements before dropping out of acting in the '90s to pursue a career in boxing (at 35 years old, no less). Returning to film has been a long, uphill battle for the man, but I'd venture to say he's scaled his Everest with the performance here. The Ram is such a rare fusion of person and character that it's almost impossible to tell where Rourke begins and ends. But it's not just a case of perfect casting. The depth and expanse of pain, love and hope in The Wrestler, manifested largely through Rourke's character, is something of a marvel.

The Ram struggles to stay in pristine physical condition while fighting in Darren Aronofsky's The Wrestler.

The Ram is a washed-up professional wrestler who, in his older age, rations out scraps of fame collected from a high-profile career years ago. The man is tired, tortured by old injuries, and poor, but despite it all maintains a Labrador-like enthusiasm for and loyalty to wrestling. So when the chance to fight again in a rematch with one of his greatest bouts, The Ayatollah (Ernest Miller), The Ram can't say no. As the trailer-living old pro starts on his return to greatness, Aronofsky gives us a brutally honest look at what a life like this must be, from maintaining the showmanship blonde mane to the episodes of tanning and shaving to the drug use that both hurts and helps to the loneliness of the gym. The depictions have an incredible authenticity and humbleness to them. Aronofsky bolsters this through his documentary-style filming, following behind Rourke much of the time. It's a wonderfully effective technique, and gives you a real sense for The Ram's existence as you follow his routine through his sore, groaning lumber.

This atmosphere made one short scene especially touching to me - a brief moment where Aronofsky shows The Ram sleeping in his trailer, snoring heavily. In actuality, Rourke wasn't acting in this scene and the cameras just happened to be available to capture the moment. Seeing his character at a point of plain rest and stillness was truly startling, considering the constant, tortured air of the film. Though fleeting, the scene highlights the realness of Aronofsky's work and when juxtaposed against the rest of the film, gives the emotional and physical turmoils an even greater hue.

The Ram and his stripper friend Cassidy share an intimate moment in Darren Aronofsky's The Wrestler.

While The Ram prepares for the biggest battle of his career, he ultimately faces one that is not only unexpected but more difficult: a heart attack. This event opens up the other half of the film, which surrounds his personal relationships, both with his favorite stripper, Cassidy (Marisa Tomei), and his estranged daughter, Stephanie (Evan Rachel Wood). Cassidy and The Ram step past their patron-performer arrangement and become something more. In the process, we're presented with yet another outstanding performance by way of Tomei. Her character is in many ways a parallel to Rourke's and even though we're not afforded the same studied look at Cassidy as we are The Ram, Tomei delivers a heartfelt, breasts-out performance that is equally stirring. Wood manages to pack a similarly moving execution into an even shorter time on screen, which helps opens up Ram's failed-father side. The scenes of Ram and Cassidy shopping for a birthday present for Stephanie provide a heady look at these relationships. The scene on the boardwalk is a remarkable one, as well.

There's just so much to like about Aronofsky's Wrestler. While small in domain, the film is miles long in feeling. From the struggle against irrelevance to the difficulty in reaching out and making amends to following one's passion, The Wrestler is a heavy-weight film that wrenches more emotional touch-points than any other this year. I doubt anyone would have thought that a film based on a profession of illusions could be so real. Rourke has won the biggest match of his career and I, for one, can't stop cheering.

Discover More: Movie Reviews

While Reeves' abilities can often be described as wooden, he makes a perfect Klaatu - emotionless, plain-faced, with a shell of a personality. And even though one of his greatest moments was all the way back in 1991's Point Break when he shot his gun in the air and screamed "AHHHHH!", Reeves manages to deliver the alien's message with an enviable degree of detachment. His range is short, but in the right role it works. Jennifer Connelly as the scientist Helen Benson who befriends (or, more appropriately, spends time with) Klaatu is equally cast; her worried antics and "I'm the only one that can reach him" approach is a near carbon-copy of her role as Betty Ross in 2003's Hulk.

Jennifer Connelly as Helen Benson and Keanu Reeves as Klaatu form a bond in The Day the Earth Stood Still.

It's a pleasure to see Kathy Bates, as well, even if she did play an out-of-her-league politico. I can't really say the same for Jaden Smith, who plays Jacob, Helen's adopted son. Aside from the annoying adolescent acting-out trying to get Klaatu caught, I can't shake the idea that some of his scenes are embellished because he's Will Smith's son. All of the kid's emoting and extended lines have a nepotistic taint to it. Call me crazy.

As the original and remake go, Klaatu comes to earth via a massive swirling orb. As humans don't know what to do in this type of situation, the military is called out in full force. Klaatu is eventually taken to a holding facility for observation and questioning, at which time he reveals that he represents a group of civilizations, and that Earth shouldn't be considered human's domain. We soon learn Klaatu and those he represents feel humans are a detriment to the planet. Guess what happens at that point?

The story is wholly predictable yet it surprisingly manages to hold your attention. And thankfully, Derrickson avoids any undue wandering or sequences that might make you think he's trying too hard. This temperament carries over into the director's use of CGI as well. Considering the apocalyptic nature of the tale, Derrickson could have had innumerable scenes of glossy, scaled destruction. As it stands, the special effects feel not only well-done, but well-placed. That goes for Gort as well, the towering sentinel of unmatched power. Dressed in a brushed gunmetal finish with a pulsing slit for an eye, the cosmic bodyguard's appearance is a nice update to the original rendering.

Considering the original film is 57 years old, I'd venture to say that much of the audience for Derrickson's take haven't seen it. So by itself, the remake is a fine sci-fi excursion that while predictable, still manages to be enjoyable and ever so thought provoking. Compared to the original - well, I won't go there like Alex already did. Derrickson obviously hasn't necessarily made another classic here, but at the same time I don't think he's committed any cardinal sins to the genre. To my mind, that's a fine accomplishment.

Discover More: Movie Reviews

Sister Aloysius (Streep) is principal of the school and all-around "dragon lady", protector of tradition and opponent of gum chewing and ballpoint pens. Father Flynn (Hoffman) on the other hand favors modernization of the church and a closeness with the students. The two are at odds when Sister James (Adams) confesses that she observed her student, Donald, return upset from a mid-class visit to Father Flynn. Little further evidence is needed for Sister Aloysius to proclaim, "it has happened." Though it's 1964 and pedophilia cases within the church weren't as well known, Sister Aloysius has experience with the type of man she believes Father Flynn to be. And as she proceeds to investigate, her stance that it is her job "to outshine the fox in cleverness" brings forth a marveling storm of emotion and conflict.

Meryl Streep and Phillip Seymour Hoffman discuss matters in a scene from Doubt.

Streep proves just as fierce and powerful in a habit as she did in Hermes (in Devil Wears Prada), while Hoffman serves as the worthiest of adversaries. At one point Father Flynn states he can fight her, to which Sister Aloysius replies in the most fantastic disinterested yet confident manner, "you will loose" - a simple statement that embodies the convinced, opposing forces.

Cast any other way, the film might have been a dull, frustrating game of ping-pong given the film's slow-boil pacing and lack of outright answers. Doubt's value is to be found in the interchange between characters. Witnessing the conversations between Streep and Hoffman or the exceptional confession of Mrs. Muller (Davis), the boy-in-question's mother, or Sister James professing her fondness for Frosty the Snowman, prove just as explosive and engrossing as any special effects sequence. If you prize artful conversations and intricate deliveries, then Doubt might very well be the best film of 2008. Personally, I could watch this cast go on for days, and found Streep vs Hoffman near the equivalent of a UFC title fight.

Doubt's other elements, however, prove less intriguing. While I can't speak to Shanely's stage execution of the story, his treatment of the film here is pretty unremarkable. The pacing, cinematography and direction, for instance, are all pretty ordinary. That isn't wholly surprising, since there's not a lot of activity in the film to stylistically render, but you do get the sense that the film is a tad lopsided. Virtually all of Doubt takes place in a handful of locations in the school, wherein characters simply talk. There are no scandalous scenes between Father Flynn and the boy, accessory sequences to bolster the feeling of environment, or physical altercations that might raise you out of your seat.

Doubt is a subtle battle that pivots on the lips of its cast; this is probably why it's done so well as a play. If you can appreciate the power behind a Streep stare or the dexterity it takes Hoffman to meet her head on, then there's little uncertainty in its value. And despite holding back answers, which some moviegoers might find frustrating, the film is a rich and thought-provoking experience that nevertheless feels complete.

Discover More: Movie Reviews

At the height of WWII, a group of high-ranking German officers hatched a plot to assassinate Adolf Hitler and seize power of the military command in order to end the war. This secret organization came to be lead by Colonel Claus von Stauffenberg (Tom Cruise) and on July 20th, 1944, they finally carried out the plan. Thanks to the assistance of General Olbricht (Bill Nighy), General von Tresckow (Kenneth Branagh), General Fellgiebel (Eddie Izzard), and Ludwig Beck (Terence Stamp), they almost achieved victory. Valkyrie is a retelling of this little known dramatic event in World War II history that shows us first hand how von Stauffenberg nearly succeeded in bringing down both Adolf Hitler and Nazi Germany.

Colonel Claus von Stauffenberg (left - Tom Cruise), Lieutenant Werner von Haeften (middle - Jamie Parker) and Colonel Mertz von Quirnheim (right - Christian Berkel) attend a secret meeting in Valkyrie.

The first thing that Bryan Singer lets the audience know stepping into Valkyrie is that certain aspects, like language, aren't going to get in the way of good storytelling. We're quickly introduced to Tom Cruise's von Stauffenberg and shown that he does indeed speak in German, with a German accent, but that this isn't how we're going to hear him in the film. Instead, we're going to see it in the way that we're all most comfortable with - by hearing Cruise's own voice. This shouldn't be more of an issue to audiences than that, and it wasn't for me after that moment. Thankfully Singer's film has such great storytelling, fantastic production design, gorgeous cinematography, a wonderful score, and a damn good script by Christopher McQuarrie and Nathan Alexander, that a lack of German accents was the least of my concerns.

The acting is one of the most important elements of Valkyrie, and it had both its positives and negatives. Tom Cruise lead the film with a certain amount of gravitas, but didn't step out of his normal bounds. And as much as I love Tom Wilkinson, he also felt completely out of place in Nazi Germany. But on the good side, Kenneth Branagh gives one hell of a great supporting performance, as do Eddie Izzard and Christian Berkel. And I've got to mention Jamie Parker, who even as an assistant to Cruise's character, gave the best performance in the whole film, which is an achievement second to none with this cast. Overall, the good performances outweigh the bad, but some might not be able to forgive as easily as I can.

Tom Cruise takes command of the story in an attempt to assassinate Adolf Hitler and overthrow Nazi Germany in Valkyrie.

While we could spend days arguing about Tom Cruise's accent, what's actually more important to discuss is the story. Before this film, I wasn't particularly familiar with Operation Valkyrie, but knew that, of course, Hitler didn't die until 1945 when he killed himself. Where McQuarrie and Alexander's script is weakest is in exploring the character of von Stauffenberg, as I never understood why he commanded so much respect. But where their script is strongest is in the suspense of the moment, because once von Stauffenberg joins the organization and starts putting together the plan, my heart was racing. I was truly hoping that he'd pull it off and kill Hitler and overthrow Nazi Germany even though I knew that obviously wasn't the case.

While other good WWII films have come and gone this year, Valkyrie is the one that has stood out the most to me and delivered an engrossing experience that even I was not expecting. I'm not sure why I even doubted Bryan Singer to begin with, but I couldn't be more thrilled to say that in the end, Valkyrie is another fantastic film from one of my favorite directors. Even the score by John Ottman is of notable excellence, although I'm worried it won't get the Oscar nod that it deserves. While I'm still a bit confused by some of the character development issues in the film, the intensity that Singer and his team brought to a story that we already knew the outcome to was what impressed me the most. As long as audiences try hard enough to forget about Cruise's (lack of) accent, they might enjoy Valkyrie nearly as much as I did.

Discover More: Hype, Movie Reviews

War Zone goes exactly where I wanted a Punisher movie to go. It's gritty and violent and at times it feels like it jumped straight off the page of the Punisher MAX comic. Ray Stevenson is the Punisher. He looks almost exactly how every comic book reader would envision him on screen. While the story wasn't award worthy and at times was campy (okay, at times it was very campy), I still thoroughly enjoyed the movie.

Frank Castle takes on some thugs in a scene from Punisher: War Zone.

By now most of you know what the story is about. The Punisher (Stevenson) begins the film by "punishing" a New York mob boss along with his family and friends at their mob mansion. As the Punisher kills anyone and everyone there, he receives a tip that some of the men have escaped. The Punisher of course follows and cleans up the rest of the mess, or so he thinks. One of the mob leaders by the name of Billy Russoti (played by Dominic West of "The Wire" and 300) becomes horribly disfigured by the Punisher's antics, and swears revenge on the Punisher and all that stand in his way. He calls himself Jigsaw and with the help of his demented brother "Loony Bin Jim" they become a menace to the people of New York City.

As I said before, the story here is not a phenomenal story. It is very predictable and it's definitely something we've all seen before. Many critics would immediately write off this movie at this point. George Roush over at Latino Review recently said this: "Movies are story driven works of art. If the story is shit, the film is shit." There is no way that, as a writer and a moviegoer, I can agree with that statement. I can understand and respect what he is saying, and agree that movies are a work of art, but to say that the value of each and every film rides on whether or not the story is well done, is a bit extreme. War Zone's story is not very well done, but it is still a very likeable movie. I was very entertained from start to finish.

Another aspect of War Zone that can't be overlooked is the violence. I felt confident that no matter how good (or bad) I thought War Zone was in the end, director Lexi Alexander would do a good job with the violence. I absolutely love Green Street Hooligans and what she did in that film felt very real. While at times things got over the top in War Zone, I still enjoyed every last blood-splattering kill. And the answer is yes, the Punisher can punch a hole in a man's head. I hope you were asking that question!

All in all, War Zone was good for what is was. If you go in expecting anything like The Dark Knight or Iron Man, you will be thoroughly disappointed. However, if you walk into the theater to see a fierce and graphic look at the Punisher, than you should enjoy every minute of this. Hardcore comic enthusiasts shouldn't be disappointed either, as there are plenty of lines that come right from the comics. From exploding heads to point blank executions, Punisher: War Zone was a decent film with a decent story, and an excess of violent eye candy. I was never bored, and I know that with the right expectations, you won't be either.

Discover More: Movie Reviews

Louis Letterier was recently able to reboot Marvel's Hulk, following Ang Lee's lackluster attempt in 2003. Here, Alexander sought a similar goal, considering the humdrum Thomas Jane Punisher in 2004 (which you might consider a reboot to the Dolph Lundgren version of 1990). The previous flick, while arguably smelling of a Sunday afternoon TNT movie, at least contained balanced amounts of plot, action and character performances. Jane surfaced the pain motivating the Punisher well enough, and proved a nimble and capable vigilante. Even John Travolta, as the #1 bad guy, was a solid fit.

Frank Castle and a few of his helpful friends in a scene from Punisher: War Zone.

In War Zone, on the other hand, Ray Stevenson is a clunky and dull Punisher, who is perfectly suited portraying the character in posters or other static moments that require little emotion or movement. He's got the aesthetic down, but at 6'4", Stevenson inspires little confidence in the belief that he can move about unnoticed or make a spirited getaway. His emotional range seems similarly slowed. Obviously the Punisher is quite the stoic fella, but Stevenson could have done so much more with the turmoil and pain considering his admirable performances in HBO's "Rome."

Speaking of HBO, fellow channel brethren, Dominic West (of "The Wire") joins Stevenson in War Zone as the disfigured Jigsaw (seen snapping an innocent neck below), who is certainly short a few pieces of a whole puzzle. Before being thrown into a giant blender by the Punisher, West plays Bill Russoti, an up-and-comer in the mafia who has caught the ire of the evening executor. Russoti manages to survive in ways only a comic villain can - with enough injuries to inspire a newly demented persona. Jigsaw then seeks revenge.

War Zone is actually promising for about the first twenty minutes or so. Stevenson looks like a great Punisher, Alexander has some nicely colored scenes and the violence is what we'd expect, if not gleefully over-the-top. Once Russoti turns to Jigsaw, however, the film takes a campy turn and never looks back. West's performance comes off as more slapstick than insane, and once he's joined by his brother, Looney Bin Jim (Doug Hutchison), who is equal parts cannibal and karate, the pair look like laughable evil misfit toys that the likes of Tim Burton might've dreamed up.

The villain Jigsaw may as well be snapping Frank Castle's neck in this scene from Punisher: War Zone.

And let's talk about the blood. Alexander certainly must have found some extra supplies on sale, because War Zone has more blood in it than moody lighting. Heads explode in fantastic thick splashes, skin is pierced like a knife through a napkin and gratuitous fatalities are delivered just for the hell of it. As the movie wears on, you're in a much different place than when you started. Any sense of story or seriousness is shed in favor of the next messy kill. By itself, overdosing on bullets, blood and dimwitted dialogue isn't unwelcome - and it can be fun - but the Punisher story is (and should be) much more than that. Any chance of the brooding vigilante rising to the heights of Hulk, much less Iron Man, is pretty much lost. The Punisher can now, sadly, be buried alongside other fallen favorites like Daredevil and Ghost Rider. RIP.

Discover More: Movie Reviews

In part, current events are what makes Gus Van Sant's Milk such a chilling and timely tale, that while at once beautiful and tragic, leaves one with a half-empty perspective on how short society has really come. But from the inspiring man that was Harvey Milk to the incredible performance by Sean Penn to the shocking murder of a rising community leader to Van Sant's intimate framing and treatment, Milk is a gallon's worth of rightfully deserved superlatives that make it one of the best movies of 2008.

As has been printed and described to me, Harvey Milk was an ordinary man by most accounts, but one with an impressive degree of empathy, optimism and passion. Sean Penn as Milk embodies these characteristics so deftly that's hard to imagine him ever having played a hardened character before (e.g. the detective in The Interpreter). As Penn recites Milk's move to California and his political pursuits, his impassioned expressions and bouncy intonation has a dedication and complexity that borders on career-worthy. You get a sense that Milk really was as charismatic and everyday as Penn describes, and that it's no wonder he was able to galvanize a community out of a plain sense for what was right. Might Penn secure another Academy Award for his performance? I certainly hope so.

Cleve Jones and Harvey Milk attend a rally in a scene from Milk.

In the film, Milk (in his early 40s) moves from New York City to The Castro area of San Fransisco with his boyfriend Scott (James Franco). The two open up a small business, Castro Camera, which quickly gives way to Milk becoming involved in the neighborhood merchant association and by extension the fight for equal treatment. Milk's fight for his and the community's equality continues to grow, eventually leading to him running for political office and securing the city supervisor seat. Along the way, Milk amasses a rag-tag group of activists and campaigners, most notably Cleve Jones (Emile Hirsch). Both Franco and Hirsch hold their own alongside Penn, delivering affectionate, genuine performances to be proud of.

Franco pulls off the intimacy in his relationship with Penn, while Hirsch nails the bubbly impatient activist. Probably the only brand-name in Milk that didn't deliver was Josh Brolin, quite sadly, as the murderer Dan White. Despite the guy's recently rise to stardom, he sits firmly as the odd man out among the other three leads. I know Brolin plays the troubled fellow city supervisor who does the unthinkable, but his performance comes off as incomplete rather than complex. Van Sant and screenwriter Dustin Lance Black share some of the blame here as you never get the sense that Brolin's character really develops.

An obvious aspect that may make Milk a hard sell is it's squarely gay perspective. And while there isn't a Brokeback Mountain terrain of intimacy, there certainly is a lot of affection between Franco and Penn - very well-placed and executed, I might add. And sure, you can abstract the fight for equality as a civil rights issue that touches everyone, but as you'll see in the movie, Milk's fight never hid the gay angle behind more general, albeit safer messages. Appreciating Milk and the life of Harvey Milk is to truly understand what he and his supporters fought for. Some may not understand it completely or can't relate to it personally, but they can certainly appreciate the man's accomplishments. Generalizing Milk's message and legacy wouldn't be a just treatment of the man.

Gay himself, director Gus Van Sant recognizes this very importance and tells Milk's story in a surprisingly authentic manner. You don't get the sense that the film has been white-washed or "blockbustered" in any way at all, and that Focus Features is putting themselves out there again as honestly as they did with Brokeback. At a reported budget of around $20 million, Van Sant was able to transform The Castro back to its '70s look, but he let his talent shape the movie. Milk will go down not only as a hallmark film for the gay community, but also a piece of cinema that everyone should remember for its timeliness, its hero, its cast, and its emotional intricacy that simultaneously inspires feelings of joy, sadness and anger.

Discover More: Movie Reviews

For those girls (or guys) that nevertheless want to belly up to Statham's, feel free. But know that you'll probably want to kill Valentina's character yourself before the movie is done. I would give the film a few more stars if only Martin had delivered a solid backhand at least once. (If you've seen the film, you know there is more than one deserving occasion.) Instead, he somehow falls for the freckles and broken English, resulting in some truly tiresome scenes. Eye candy on either side isn't unwelcome, but these scenes are really just awkward flirtation, which even goes beyond the stunted and lame attempts in Twilight.

Frank Martin and the annoyingly awful Valentina embrace in the heat of a moment during Transporter 3.

Martin meets Valentina as a result of a job gone wrong by one of Martin's criminal peers. Swarthy crime boss Johnson (Robert Knepper) convinces Martin to complete the job, using distance-triggered explosive bracelets as insurance. Meanwhile, Knepper is blackmailing the head of the Environmental Protection Agency into allowing suspect ships to dock in his port; it's a sub-plot with environmental overtones that never really develops, nor seems necessary. As Martin transports "the package" around Eastern Europe, an expected high-speed chases ensue, and an unusual amount of time is spent on Martin and Valentina learning to like each other. Statham has a few noteworthy hand-to-hand fight scenes, which oddly all involve bad guys forming a circle around him. It's all show for sure, lacking any real suspense.

The automobile antics this time around stretch the realm of reality too far, even by Transporter standards. Sure, in the second film Martin was able to flip the car laterally to knock off an explosive attached to the car's underbelly, but the manner in which he escapes a particularly wet situation here is just ludicrous. Transporter 3 is a stunt man's dream, because that's pretty much all you're watching - well-crafted action, void of any tension or excitement. The film is apparently also one step up from the neighborhood theater (and maybe even that's generous) considering Rudakova and other cast-mates' abilities.

Beyond Statham's baseline appeal, the only other factor that makes Transporter 3 worthwhile is the lead villain, played by the devilish Robert Knepper. Most might remember him from TV's "Prison Break" as the Southern sadist T-Bag. While his accent is gone, his predatory stare and cold demeanor remains. With Knepper's appeal and the lacking state of other characters in Transporter 3, I found myself really hoping the bad guy would win. I doubt I spoiled much by saying that; it seems hard to spoil something that's stale and stalled to begin with. Some may still want to see it "just because" (as I did), but know what kind of a ride you're in for before getting into this car.

Discover More: Movie Reviews

If you abstract the central story of Twilight, it's actually not a bad tale. A young girl named Bella (Kristen Stewart) falls in love with the dreamy, mysterious guy at her high school named Edward (Robert Pattinson), who turns out to be a near-century-old vampire. Going a layer deeper, Edward must battle his animalistic instinct to feed on the girl, because against all odds, he cares for her and she, knowing who he truly is, isn't afraid of him. Other layers to the story that also prove interesting include Edward's vampire-vegetarian family who exist out in the open; the small band of roaming predatory vampires; and the long history between the vampires and their American Indian neighbors, who just might be werewolves. As a package, this definitely isn't a bad story. Twilight is just executed in a way that muddles the intrigue and fun, and relegates the story to squarely a female, teenage romance and not much more.

Edward and Bella spend some sentimental time together down by the lake in Twilight.

And this what I was afraid of before even seeing the film. Obviously the books are targeted at this young adult, female crowd and perhaps, given that books leave some elements to interpretation (and you can skip pages ahead if things slow down), the romantic, sappy nature of the story doesn't come across as heavy-handed in print. But in the film, I don't know how any guy or girl above sixteen (and that may be generous) can stand the extended fumbling between Edward and Bella and the longing virginal stares. Sadly, this dance occupies about 75% of the film. When you hear Edward say things like, "and so the lamb fell in love with the lion," and Bella replies, "what a stupid lamb," you really are reminded of how unsophisticated and awkward these scenes really are.

Stewart and Pattinson seem so much better than this stilted dialogue. It's almost a blessing when they actually stop talking, but not by much. The looks and wooing body language are nauseating, especially one long scene where they're laying in the grass staring at each other. Or the odd scene of Edward playing a piano in a dark room that's lit like something out of a music video. Many viewers in the audience - yes, girls in their early teens and younger - seem to positively swoon at every move Edward makes. It started to feel like director Catherine Hardwicke knew the exact strings of these young adolescent hearts to pluck.

Before suffocating in the thick fog of flirtation (not unlike the fog that allows Edward to go out in the daytime), a group of three vampires come into the story motivated by the need to feed and cause trouble. This definitely upped Twilight's tempo, but how this plays out is another reason why the movie falls short. In the span of two minutes (maybe) following this troupe's introduction to the main plot, the film does a 180 degree turn and goes an entirely different direction, literally. Decisions are made, realizations come to light and acceptance of the new state of affairs all happens quicker than Edward can run.

Edward ends up in one hell of a fight with the ruthless vampire James in Twilight.

Equally sloppy are various parts of the film's editing. In one frame Edward takes a mouthful of neck, and in an immediate other his face is clean of blood. In another, Edward and Bella are talking and in the course of a short conversation they go from dry to wet to dry again. Edward apparently can't go out in direct sunlight because a vampire's skin sparkles "like diamonds" (according to Bella), but there are clearly scenes when his character is galavanting around under clear skies. I ordinarily wouldn't point out instances like this because all films have them, but in Twilight they're painfully conspicuous. And don't get me started on the "special" effects - defintiely not special by any stretch of the imagination.

If Twilight were a series on the CW, I think it would be a fine, if not good, production. Like I said, the premise (at least) has bite, and Pattinson actually edges into supernatural believability (thankfully outpacing his hair). But as a full-fledged, two-hour movie, the stakes are much higher, and Twilight simply comes across as amateurish, laden with eye-rolling tedium. Not that my criticism really matters, mind you. Fans will still flock to see the film, and I'm sure a good majority will somehow enjoy it. Meyer's franchise is as impervious to critiques as Edward is to dying. However good the books may be and however deep the fan-base may go, Twilight the movie is nevertheless a disappointing experience.

Note: To confess, I actually went into this film with an open mind and even a bit of excitement, despite earlier misgivings. And even though a fellow critic who joined me for the screening walked out after 20 minutes, I continued to give it a fair shot. In the end… well, you can see what I think about it.

Discover More: Movie Reviews

As the film begins, Zack (Seth Rogen) and Miri (Elizabeth Banks) are platonic lifelong friends and roommates who are stupidly poor. Their one car is a rolling, frozen POS, while their apartment is besieged by a lack of water and electricity since the two can't seem to make ends meet. Following an enlightening high school reunion and a drive-by YouTube-ing, Zack and Miri figure having sex on tape isn't such a bad idea to righting their financial situation. The two set out to craft a hip, marketable storyline and settle on "Star Whores." From there, they begin to write the script and recruit the rest of the cast, which includes Kevin Smith-fave Jason Mewes as Lester and Traci Lords as Bubbles (named for her trademark talent).

Zack and Miri and Brandon, played by Justin Long, at their high school reunion in Zack and Miri Make a Porno.

Underlying Zack and Miri's pursuit into porn is the two friends coming to terms with their own feelings. Even though they say it's just sex, both know venturing down that path will change things. The push and pull that ensues is as predictable as a money shot. Nevertheless, Smith manages to keep the tempo and lewdness up so as to avoid the story from going limp. It's a decent balance between tenderness and nakedness, though obviously the latter gets the most laughs and attention.

While the film is obviously not porno-grade, Zack and Miri definitely takes the idea of softcore up a few notches. You see more of Mewes than you probably would ever want to, and there's a particularly disturbing scene highlighting the perils of one sexual position. Equally educational is a technique Lester imparts to Zack that allows for two guys to "mess around," but not in a truly homosexual way. Just like actual porn, Zack and Miri might actually teach you a thing or two.

Rogen and Banks are obviously the featured duo in the film, but the couple that stole the movie was Justin Long and Brandon Routh as the gay pair Zack and Miri encounter at their high school reunion. Long is richly hysterical as a throaty gay porn star, especially when he makes a scene professing his love for Routh's character (and his ass). If you stay through the end of the credits, there's an additional scene with the pair that is just about the best punctuation you could hope for. Zack and Miri gets a lot of things right and proves versatile with both love and sex, but it isn't remarkable by any stretch. But just as if you were evaluating real porn, do really you care about the particular degrees of good or bad? It's meant to be a fun time, plain and simple. And under that rubric, Zack and Miri Make a Porno is a fine piece of porn.

Discover More: Movie Reviews

But that's not a bad bar to fall short of, considering the impressiveness of Eastwood's former feature - it won four Oscars, after all. For her spotlight role, no emoting on Jolie's part could dare challenge the heights of drama, turmoil and outrage reached independently by the events of the film. So does this mean Changeling is an amazing movie simply because of its subject matter? Of course not. Saying so would mean that A&E specials should be counted as cinematic masterpieces. While Changeling is a painting with compelling outlines and structure, the coloring between the lines borders on ordinary. It's like walking up to a Van Gogh and discovering that it's actually a lithograph - from a distance it seems wonderful and impressive, but upon examination lacks the depth and texture you expect. Still, Changeling is something you might consider hanging on your wall.

Angelina Jolie as distraught mother Christine Collins in a scene from Changeling.

The film begins in late-1920s Los Angeles, wherein Christine Collins' only child, 8-year-old Walter (Gattlin Griffith), mysteriously disappears from their home one weekend. After months pass with no clues, a young boy is discovered a few states over who appears to match Walter's description. He's sent to Los Angeles and is presented to Christine who immediately rejects the boy as not her own. Under intense public pressure and criticism stemming from rampant police corruption, the LAPD is desperate for some positive publicity and convinces Christine to take the boy home "on a trial basis." Captain Jones (Jeffrey Donovan) tells her that the boy has been through great trauma and she's emotional, so her memory and perspective needs time to adjust. A large portion of Changeling surrounds Christine's claims and the LAPD rationalizing her concerns away with absurd explanations - absurd both in content and delivery. Donovan is laughable - literally, the audience was laughing - when he tries to assuage Christine's evidence that the boy she has taken in is three inches shorter and circumcised when her Walter was, in fact, neither. Instead of these scenes having bite and drama, they come across as ridiculous and comical.

One element that did come across as appropriately tortured and dramatic was the performances by Jolie and John Malkovich. Malkovich stars as Reverend Gustav Briegleb, a community activist who helps Christine in her search. Malkvovich does a superb job in the role, probably because his performance is skillfully inconspicuous. Jolie, on the other hand, is a caricature of emotion. To a degree this suits her, considering the content of Changeling, especially when she is thrown into a mental institution (she channels A Girl Interrupted perfectly). Yet while her presentation and Eastwood's rhythm is noteworthy, you may find yourself impatient in the long, calculated scenes that aim to show Jolie release a tear or deliver a stare of mental collapse. We're more interested in what happened to her son and the creation and resolution of this web of deceit, not constantly reading Jolie's face for the next emotional breakdown.

John Malkovich as Rev. Gustav Briegleb addresses his parish in Changeling.

This distraction from Jolie as the anguished mother is also attributable to the film's runtime. At a not unreasonable 2 hours and 35 minutes, Changeling feels more like 4 hours. Just when you think the film is going to end, up pops an accessory scene of turmoil or closure. During the thick of it, as well, you get the feeling that a number of sequences are just plain gratuitous. Eastwood may be trying to imbue fine doses of drama, but it mainly comes across as unnecessary. Changeling is certainly a compelling story, but it's not a great film. Despite Eastwood's measured elements that made Million Dollar Baby exactly that, Changeling is an unbalanced drama that isn't the film we thought it to be.

Discover More: Movie Reviews

I attended Moriarty's special screening of Trick 'r Treat in Hollywood last night and really didn't know what I was walking into. I had heard a few good things and knew that it was an ensemble film, but that's about it. And that's the best way to go into this. I'm hesitant to already begin talking about it because this is a classic in the making and the only way to further progress that is to make sure audiences know as little as possible going in. With that being said, I'll introduce as little of the film as possible in order to whet everyone's appetite, otherwise no one will even give this a chance when they should be.

One of the creepy characters that keeps showing up in Trick 'r Treat.

Trick 'r Treat is a throwback to the classic Halloween horror movies of past and dwells on the holiday's age old traditions and rules that seem to have been forgotten nowadays. It features four intertwined horror stories all tied together by one creepy little villain that might as well be the next Freddy or Jason. He's so disturbing but brilliantly designed that he instantly has an unforgettable yet iconic horror look. But there's so much more than just that! From a disgruntled principal to four feisty females to a school bus disaster and teenage prank to ole Mr. Kreeg's freaky visitor, these four stories are told within just a few hours on one Halloween night. It's really a simple as that - don't break the rules of Halloween.

This is one of those movies that as soon as I walked out of it, I wanted to talk with everyone around me about every last detail. It's a fantastic film for so many reasons and I want to try and cover all of them, but that's ultimately impossible. Michael Dougherty, who wrote and directed the film, deserves so much praise for two enormous reasons: first, the writing was extraordinary for a horror film and I'm amazed that all of the stories pulled together so smoothly and the dialogue was so original; and second, his visual style was very refreshing and unique and should be an inspiration for nearly all horror directors.

Another area of Trick 'r Treat that really stood out was the acting. Dylan Baker gives one of the funniest and engaging performances in the film, although I won't reveal who his character is or what he does. Brian Cox also does a remarkable job in a role that seemed challenging to pull off as well. Additionally, I've got to mention Anna Paquin, Lauren Lee Smith, and the gorgeous Leslie Bibb, who all do a fine job as well. Just thinking about the acting, how often is it that we ever see a horror movie full of good actors? Trick 'r Treat doesn't just have good actors, it has stunning actors who really helped take this movie to the next level.

Carving pumpkins on Halloween night in Trick 'r Treat.

Considering all things, Trick 'r Treat might actually be a nearly perfect film. There isn't much to complain about save for some personal annoyances, particularly those surrounding some werewolves that show up - although the audience cheered in that scene during my screening, so maybe that's just a complaint only I have. Because besides that, Trick 'r Treat was pretty much a flawless horror film. So much so that I think it has the potential to be a huge hit and start a new franchise in a genre that is getting staler every year. There hasn't been a horror movie this original and this inventive since Wes Craven brought us Scream in 1996. I guess it only took twelve years to finally find the next great horror franchise.

The problem with Trick 'r Treat is that Warner Brothers, who smartly produced this in the first place, seems to have given up on it when it comes to distributing. After originally planning to release it in October of 2007, they pulled it from the schedule and cut off all promotions last minute. A year later and we haven't heard a thing and I really don't know why. What are they sacred of? I hope this screening was encouraging enough to convince them that Trick 'r Treat literally is the next big horror movie, and I mean big. It needs some strong grass roots support (like this review) and it needs to be released on Halloween. So maybe next year, if we're lucky, Warner Brothers will officially unveil Trick 'r Treat.

All that I can leave everyone with is a strong suggestion to see this movie as soon as you can. If you ever hear it mentioned again or have the opportunity to see it, don't miss it. Trick 'r Treat needs to be seen for the first time in a dark theater, with the least amount of prior knowledge, and as close to Halloween as possible. Only then will you truly be able to get the best Trick 'r Treat experience and hopefully come to love it as much as I did. I just hope Warner Brothers is smart enough to eventually provide that opportunity to moviegoers sometime in the future. It's so rare for me to find something like this, but as far as I can recall, Trick 'r Treat is the only extraordinary horror movie I've ever truly loved.

Discover More: Hype, Movie Reviews

Based on Jeanne Duprau's book, City of Ember takes place in a subterranean city built to protect people from the chaos above and house a new generation of human beings. In 200 years time, they were supposed to emerge, but the instructions on how to leave were lost over time. Now the underground city lit by thousands of glowing light bulbs, powered by an enormous generator and lead by a stubborn and selfish mayor (Bill Murray), is falling apart and doomed to darkness unless two kids, Doon Harrow (Harry Treadaway) and Lina Mayfleet (Saoirse Ronan), can solve the mystery.

Harry Treadaway and Saoirse Ronan star as Doon Harrow and Lina Mayfleet in the wonderfully entertaining City of Ember.

So why is it so good? First and foremost, a fantasy adventure flick like this needs a very distinct and original style. City of Ember's originality really shines through in Kenan's ability to create such a vivid and realistic setting in which the entire film takes place. He wonderfully crafts a world that left me so full of fascination and pure childlike joy, that I can't wait to revisit this just to search for all the small details hidden within every aspect of the production, from the set to the props to the costumes. It didn't matter how many cinematic tools (or how much money) Kenan had at his disposal, because he still created an entire world that even rivaled the one Jerry Bruckheimer funded in Pirates of the Caribbean.

All too often children's movies these days rush every last scene in order to keep the attention of today's distracted youth. City of Ember was able to still do that, but function like an evenly paced adventure story that allows us enough time to soak up the stunning surroundings without getting bored. And that's on top of giving us two of the brightest young characters to follow and a story full of enough mystery to even keep me intrigued. I honestly haven't been this wrapped up in an family adventure story like this in so long, and it was such an extraordinary experience to be able to enjoy it once again.

Beyond all of Kenan's great production work, I found myself entirely entranced by the story in City of Ember. Not only was I rooting for the two kids all the way through to the end, but it's a far more mature story than most might image. There is never any specific dialogue or mention of what happened to the world above ground, but there are enough inferences regarding the size of bugs (hint, hint) and other small details, that adults can put the pieces together anyway. And the questions I did have, like what was beyond the edges of the city, were only coming up because I was so mesmerized by the story.

Just a brief glimpse of the stunning set that makes up the underground city within City of Ember.

The only weaknesses in this entire film were those that I've heard other critics mention as well. Mainly that Bill Murray was a poor casting choice who didn't bring anything unique to the role and that a few of the scenes felt like they were cut short due to issues with its running time, but that's about it. Obviously I can't compare this to The Dark Knight, or any of my other favorite films from the past few years, but it's easy to say that it definitely surpassed any expectations I did have. It deserves more attention than it's getting and I hope those of us who do love this movie speak out about it so that others might seek it out as well.

There is so much to enjoy in City of Ember, that I'm certain most moviegoers of all ages will love it as much as I did. I'm already excited to jump into the adventure again and experience it from start to finish for a second time (and maybe a third). It's already one of my favorite movies that I will revisit often over the next few years. Gil Kenan deserves great praise for creating such a wonderfully imaginative and hugely entertaining family adventure movie. Just don't forget to actually go see City of Ember!

Discover More: Movie Reviews

DiCaprio stars as cold, calculating CIA Operative Roger Ferris who maintains surprising capability and leadership in-country, despite his young appearance. As the film starts, Ferris is undercover in the Middle East working an asset that he feels can lead him to the big fish, Al-Saleem. Committed to his trade, Ferris deceives his informant in an impressively emotionless way — a sacrifice that doesn't bear as much fruit as he hoped. These upfront sequences set a base temperature for Ferris' character, which is probably best described as a pragmatically frigid. (I even wonder if Scott purposefully made DiCaprio wear dark contacts as a device to show how truly vacant the guy is.) Eventually, the well-worn agent finds his way to Jordan and continues his white-whale pursuit of Al-Saleem, making deals left, right and backwards.

CIA operative Roger Ferris' risks being caught every day in Body of Lies.

Though lacking in emotion, Ferris overflows with loyalty. His boss, Ed Hoffman (Russell Crowe) is your conventional senior CIA shot-caller, who sits comfortably in his home in Virginia, while his men are on the ground doing the real dirty work. Crowe's character is particularly despicable, because not only does he lead from the comfort of the US, but from the routine of his mini-van. Hoffman's character is actually a bit poorly exaggerated as simultaneously (and unflinchingly) tucking his kid in and directing a kill is just a bit hard to believe. Hoffman becomes increasingly unlikable throughout the film, double-crossing Ferris for what he perceives as the best course of action. His response when confronted by Ferris is a good-ole-boy chortle that manages to wipe the slate clean. Ferris is loyal to a fault - many, in fact.

As Ferris continues to pursue Al-Saleem on the ground, Hoffman furthers his own agenda, which results in a stomach-tightening collision about mid-way through. Action and drama up to this point is pretty solid, especially an early sequence involving two helicopters; but the film ups the suspense a few decibels, setting the stage for an exciting second half. One bit of static that does pervade this portion of the film, however, surrounds Ferris' love interest. It's a plot device that I guess is unavoidable; it's also a tad contrived, seeing as how detached Ferris has been up until this point.

Ed Hoffman watches over the battlefield in the comfort of the CIA offices in Body of Lies.

Though Body of Lies does have the intense and sophisticated polish of Ridley Scott, the film does ever-so-slightly stretch the bounds of the believable, both in technology and the acquisition of intelligence - one feeds the other, I suppose. Equally improbable (and frustratingly limp) is the film's last ten minutes. However, despite lofty maneuvers and far-fetched double-crosses, the film stays grounded enough to not only keep you believably at the edge of your seat, but also to instill a bit of actual fear.

By now most of us have heard of the perception that no party is truly innocent in a war, and that, in a way, the US can be seen as just as fanatical in battling the fanatics. This idea is nailed home with Hoffman saying on more than one occasion that "no one is innocent." Scott imbues this idea with such taut, rope-walking suspense that the concept is escalated to a new emotional level. While Scott might take some liberties this time around, he creates a world that is just legitimate enough so show us that true fear isn't to be found in the lies, but in the truth.

Discover More: Movie Reviews