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.
The Hurt Locker (2008)
I honestly think that given enough time, Hollywood is going to understand how to create a great film about the Iraq War. In the eighties we observed the sixties and its impact on society and given another five or six years we’ll get the right film about the Iraq war that chronicles its impact on civilization. Few movies have done it successfully (“In the Valley of Elah” was excellent, though). That is until now where Kathryn Bigelow has managed to capture the chaotic fervor and flat out insanity of the occupation of a foreign land told through the eyes of three soldiers, one of whom happens to be a bomb specialist who takes risks time and again to ensure the safety of his platoon.
Where the Wild Things Are (2009)
2009 saw an unusual change in the status quo. What were once edgy indie filmmakers soon turned to directors aiming for children’s entertainment that was raucous and quite unusual. First Wes Anderson and then Spike Jonze. That’s no caveat though as Jonze takes his knack for the surreal and the unusual and makes a family film that’s quite edgy. Never shying away from mild violence and scary images, Jonze adapts a famous children’s book in to one of the most fantastic piece of family filmmaking ever made. Displaying hints of danger, Jonze’s film is about unbridled childhood fun and the innocence that’s lost once confronted with the prospect of growing up. Do we all have to lose our imagination from a world that demands even children to leave childish things behind?