Tarantino is often touted as a filmic sensation, a director who understands film and the art of storytelling and despite the backlash he gets from some, the man simply knows how to tell a damn story. In a world where blockbusters and animated films shake us down for cash in exchange for a movie that only acts as an amusement park ride (experienced now, easily forgotten later), Tarantino opts instead to give us bang for our buck with films that surpass their genres and provide us with the old fashioned art of storytelling. With his flair for dialogue and his mastery of the film camera, Tarantino is always performing at his best regardless of his film’s quality (erm–“Death Proof”) and “Inglourious Basterds” is one of his best works yet.
Julie & Julia (2009)
Based on true stories, Nora Ephron’s dramedy is actually based on two novels. This allows Ephron and co. to take parallel storylines and turn “Julie and Julia” in to a bonding ground for a lost woman and a budding chef, both of whom are starting their lives out in new places when we first meet them, and are about to embark on a rather interesting adventure involving food, changing the way they and others think, and fulfilling ambitions regardless of how grand or minute it may seem. Julie is a woman just starting out in her new job as a woman who takes complaints involving 9/11 in Queens. After days of listening to people’s problems, she decides to emulate her hero Julia Child pursuing a different kind of natural high after realizing her life hasn’t been taken advantage of after a meeting with her high powered best friends. Back in the forties we meet a young Julia Child who is just beginning to follow her dreams as a professional chef in Le Cordon Bleu.
Fast & Furious (2009)
I want to live in the world that Justin Lin has created in the fourth film of the “Fast and the Furious” franchise. In it people can smash through windows like they’re cutting through paper, bullets don’t necessarily harm them, racers can speed through city streets without being pulled over or tracked by traffic cops, and they’re able to fly in stealth mode evading authorities in the loudest most conspicuous cars imaginable. That’s the world I want to be in. Probably the biggest turd of the series, “Fast and Furious” presents us with four actors with no other option than to sleepwalk through a hundred minutes of explosions, car chases and the prerequisite bad acting. Particularly from Rodriguez and Diesel whose chemistry is still there and seems to amplify their horrible acting abilities.
Fantastic Mr. Fox (2009)
In the various trailers for director Wes Anderson’s animated film, the narrator claims that “Fantastic Mr. Fox” is open to everyone of all ages. But let’s face it here Wes, kids aren’t going to want to see this. In fact whether intentionally or not, “Fantastic Mr. Fox” is so mature that you’ll be hard pressed to find anyone under eleven who would sit through this movie without falling or sleep or focusing on something completely disconnected. “Fantastic Mr. Fox” is strictly for Anderson fans. It’s something that goes unsaid but is quite obvious if you really see what Anderson tries to do for the animation genre this year. He goes for fluid and often stunning stop motion technology and tells a story that features so many back and forth moments of pure dialogue that will go over the heads of most people.
H2: Halloween II (2009)
In Rob Zombie’s first bastardization of the Halloween franchise, we’re told that Michael is so intent on going home that he’s willing to do anything to get there and is perfectly willing to remain unresponsive to psychological help. We’re also told that he’s completely emotionless and cold to just about everyone. And yet here we are with “Halloween II” where we get to see how cute and affectionate he is with his mother. This is further proof that Zombie just doesn’t know what the hell he’s doing ninety percent of the time. How can we ever expect to see a good movie from this man again if the story he’s telling is inconsistent? Seeming to have no other option these days, Zombie continues chucking rotten eggs our way from the contrived “Halloween II” (I refuse to call it H2) right down to the awful animated mess that was “El Superbeasto.”
9 (2009)
One thing Acker has going for him is the animation. I haven’t seen a movie filled with such fluid motion and sheer detail outside of a Pixar film, and Acker seems to challenge “Wall-E’s” apocalyptic wasteland with his own that sparks on facets like steam punk and whimsical quite often. The burlap dolls are magnificent and make for some appealing heroes and heroines because their designs are so fantastic. From their glass eyes, right down to their wooden hands, these pint sized heroes are such a sight upon their introduction. Beyond their personalities, it’s easy to know which character is which and what they’re meant for as bits of their master’s soul. The wonderful technology keeps the terrain and lands looking like steaming piles of rubble where artifacts are left behind and humans have been all but decimated at the claws of their war machines.
My Sister's Keeper (2009)
We’re told from the very beginning that young Kate has Leukemia and yes, she’s dying. This presents with it a domino effect on the family, all of whom are still in denial that she’ll be taken away from them so deep in to her childhood. Why? Because she has a sister named Anna who was genetically designed to serve as a matching donor for her. This denial has led to no sense of happiness for everyone. Mom Sara and dad Brian are basically closed off from their emotions as resentment builds, brother Jesse has basically been pushed to the wayside in spite of his reckless habit of staying out at all nights, and most surprising, sister Anna is hazy on her purpose in life and among her family.