In the Cut (2003)

Jane Campion's attempt at modern-day noir is ironically disjointed, whereas Meg Ryan's attempt at Goodbar-type bad girl equally embarrassing. But the colors look good.

Funny Games (2007)

No compelling reason to watch remake over 1997 Austrian original unless you really hate subtitles. Writer/director Michael Haneke's post-modern take on terrifying suspense and inevitable violence seems scarier and sweatier in the first.

The Crazies (2010)

In the current atmosphere of abundant conspiracy theories, government distrust, and sociopath profiling as entertainment, the accidental release of a violence-inducing virus followed by an all-out military coverup seems almost banal. What would have seemed shocking to the pre-Watgerate audience is merely fodder for plot in this remake, which contains a few great startle moments but not much else. The gradual demise of Joe Anderson's Russel Clank offers the most interesting point of view, but it's still not enough.

The Mackintosh Man (1973)

An elaborate plan to root out a spy in the British government takes Paul Newman on a wild ride from the Scrubs to Malta. Short one Australian accent, his performance is still a real cool hand. John Huston directs, which is apparent some of the time, and James Mason plays the heavy, which is apparent all of the time.

Away We Go (2009)

Surprisingly fresh take on journey to connect, Away We Go cancels out all expected hipster mid-life crisis quirkiness with unanticipated, earned sentiment thanks to the breakout performance by Maya Rudolph. Without last resort isolated Southern shore dream house, you're left to wonder, "Are WE the fuck-ups?"

Harvard Beats Yale 29-29 (2008)

On Nov. 23, 1968, underdog Harvard squeaks out a victorious tie against undefeated Yale in the final 42 seconds of the game. Despite the known outcome, Director Kevin Rafferty wrings out suspense through chockablock editing and (mis)remembrance of things past: The unlikely heroes remain humble, the villains still bitter. This dark horse of a movie is sure to take it's place among other footbal greats, such as Paper Lion (1968), the original The Longest Yard (1974), and North Dallas Forty (1979).

Happy-Go-Lucky (2008)

Poppy Cross, the quirky, upbeat protagonist of Mike Leigh's newest film, is one of those annoying people who won't let you by without a reminder that we're all in this together. Buoyed by loving, long-term friendships and a passionate interest in learning new things, Poppy's indomitable spirit stays intact throughout encouters with surly store clerks, stolen bicycles, hormonal younger sisters, and obsessive driving instructors (even a bad back is cause for a new adventure). What could easily have come off as cheap and cheerful (like her clothes) turns out to be real interest and concern for the human condition. I defy you to leave the theater in a bad mood.

Transsiberian (2008)



Finally, Brad Anderson is able to combine both the heartfelt earnestness of "Next Stop Wonderland" with the creepy otherworldliness of "The Machinist" in a single project, but without a reliance on coincidence or a secret twist ending. The tension rarely abates in this claustrophobic trek across Siberia in which the partly naive American couple find themselves in deep, deep trouble. Ben Kingsley once again transforms himself from charm personified into a heavy to be feared. The only downside is that handheld-shot footage should come with a warning for those of us with severe motion sickness.

Ratatouille (2007)

Brad Bird and Pixar's take on a rat that yearns to be a chef is more than a message on becoming more than what you are: it's proof. Its amazing animation sometimes looks like actual photography and leaves out no detail, especially in the kitchen. For me; however, the highlight of the movie — on par with the Grinch's expanding heart — is the seconds-long memory that finally cracks the dour food critic out of his lifelong cynicism.

The Umbrellas of Cherbourg (1964)

Inspired by the Hollywood musical, Jacques Demy crafted a singularly French singing fairytale that may seem more like a night at the opera than an afternoon matinee. The ingenuity of Jean Rabier's camerawork and the vibrant colors of Bernard Evein's production design are ideal matches for the unraveling of fate through love lost and gained. Regretfully, current events make this feat of cinema as relevant as ever, although regret and acceptance are apt to never go out of style.