A Dangerous Method

David Cronenberg's body of work — The Fly, Dead Ringers, Eastern Promises — is fraught with the horror that comes with an obsessive and often unnatural pursuit of the flesh. So it seems only natural the director would take on the turbulent love triangle involving the sex-obsessed originators of psychoanalysis. Yet, for the most part, A Dangerous Method glosses over corporeal matters to focus on shallow expositions of psychoanalytic theory and trifling jabs at class differences.

Read the rest of the review on KCActive.com.

Extremely Loud & Incredibly Close

In Extremely Loud & Incredibly Close, Tony-award winning and Oscar-nominated director Stephen Daldry (Billy Elliot, The Hours, The Reader) displays heavy-handedness of both scenes and performances. An annoying voice-over and equally irritating expositive dialog attempt to extort pathos but instead squeeze any possible genuine emotion out of the film. Read the rest of the review here.

The Iron Lady (2012)

By interweaving the authentic facts of Thatcher's life with both speculation and artistry, screenwriters Abi Morgan and Michael Hirst, and director Phyllida Lloyd have created a depiction of power gained and then lost of Shakespearian proportion. And a well-crafted and fascinating ambivalence toward its central figure, played exceptionally well by one of America's top actresses, is to be given all the credit. Read my review here.

Joyful Noise (2012)

Joyful Noise is both hokey and uneven. Billed as a comedy centered on a rivalry for a choir director position, the film, written by Todd Graff, who also directed, loses focus in storylines more fixed on issues than story. In addition, the musical numbers are surprisingly unimpressive and sometimes downright boring. Read my review here.

Young Adult (2011)

Overall, Young Adult is bogged down with style over substance. Numerous details pull the viewer out of the story. You can read my review of the new Diablo Cody movie at About.com.

Best of 2011

I'm far from squeamish when it comes to giving low ratings to movies that deserve them. In fact, I wrapped up my last review of the year by rating it a 0. Notwithstanding this reputation as a curmudgeonly critic, I also give praise where it's due. The following list is my Top 10 of 2011. These films earned their rating of 4 or 5 stars (out of 5). Some feature great performances, such as Michelle Williams as the iconic star of the silver screen in My week With Marilyn, Elizabeth Olsen as the traumatized escapee of a cult in Martha Marcy May Marlene or Paul Giamatti and Ryan Gosling as political campaign operatives in The Ides of March. Others combine brilliant cinematography with a suspenseful or powerful narrative, such as Meek's Cutoff and Take Shelter, while some, such as Midnight in Paris are just plain fun.

10. 50/50
When Adam, given a few brownies laced with medical marijuana by fellow patient played by Philip Baker Hall, concludes his first chemotherapy session and wanders the oncology ward stifling the giggles, the film is transformed. In a genius move, Levine sets this scene to the Bee Gees. From then on, the focus of the film shifts from the supporting cast, including an overly made-up Bryce Dallas Howard as Adam's artist girlfriend, to Adam. His change from a Pollyanna people pleaser (except with his mom) to someone struggling to put his own health first makes him fascinating to watch. He's aided in this dynamic change by therapy Ph.D. candidate Katherine, portrayed charmingly by Anna Kendrick. Read more of this review here.

9. Midnight in Paris
Much more than a mere love letter to Paris, Woody Allen's latest comedy cleverly disguises a serious examination of imagination and romanticism behind its surface narrative. Under a charming love triangle subterfuge, Midnight in Paris answers questions of longing for and expectations of another time and place. You can read my review here.

8. My Week With Marilyn
Curtis makes the filming of the movie within the movie a fascinating battle between traditional and new ways of performing on screen. There's considerable talk of the craft of acting, but it's treated with an agile hand so it remains enjoyable. Very seldom does Strasberg make it onto the actual screen, but she does so here. Plus, Judi Dench as Dame Sybil Thorndike provides an additional comedic but respectful perspective. Lovers of old movies will find much to like in this new one. Read the review here.

7. The Ides of March
As a director, Clooney's visuals are ambitious. A few of the set pieces draw too much attention to themselves,but overall, he provides a format for great storytelling and keeps the pace tight but deep. His greatest strength, however, is allowing his fellow actors great performances. He lets them talk to each other without too much camera movement because what they're saying is important. Read the review here.

6. The Guard
In one particularly arresting series of scenes, the bad guys discuss their plans in an aquarium, and here director of photography Larry Smith showcases the mood and elevates the film to the status of art. Such care isn't accidental and it effortlessly transforms the experience of watching the film. Read the rest of the review here.

5. Certified Copy
Through the careful skill of cinematographer Luca Bigazzi, the Tuscan scenery is at once full of ancient wonder as well as claustrophobic exhaustion. As the pair sets out on their adventure, full of pep and certain of themselves, the countryside is fresh and new. However, as the afternoon wears on, and they transform into conspirators, acting out hurt and bitterness, the quaintness wears into claustrophobia. In the end, you feel, like the characters, as if you've been somewhere. Read the review here.

4. Take Shelter
Without exposition or other common movie-making crutches, Nichols creates a realistic view of the modern Midwestern world. Through authentic details, he portrays the anxiety and frustration of medical bureaucracy, environmental concerns, and economic uncertainty. Although the black clouds on the horizon and the swooping birds are CGI, they too look real and seem menacing. Whether in Curtis' ill imagination or part of an apocalyptic incoming storm, they create an actual tension that propels the movie toward the penultimate scene. Read the rest of the review here.

3.Martha Marcy May Marlene
As Martha/Marcy May, Elizabeth Olsen provides a much-needed emotional focal point for the film. As the two story lines reveal more about the character and her fractured identity, Olsen intensifies her performance. She broods with a fierce artistry but also exudes contentment with the smallest of gestures. Olsen easily vacillates between being vulnerable and lashing out. Read the review here.

2. Meek's Cutoff
Meek's Cutoff quietly yet assuredly casts its spell of contained suspense and wild, rugged beauty. Read the rest of the review here.

1. Another Earth
In their screenplay, co-writers Mike Cahill and Brit Marling have layered heart-breaking human drama with the dark, moody side of science fiction. Read the rest of the review here.

Le Havre (2011)

Finnish screenwriter/director Aki Kaurismäki laboriously blends French New Wave styling and contemporary political issues to create a sort of modern-day fable in Le Havre. However, the amalgam of overt stylization and a labored plot leads to tedious scenes full of anachronistic affectation and unmerited sentimentality.

Read my review on KCActive.com.

The Swell Season (2011)

Billed as a sequel of sorts to the 2007 indie hit Once, the black-and-white documentary The Swell Season might fare better as a bonus special feature on the DVD release of that film than as an independent theatrical release. Only die-hard fans of the musical drama starring Glen Hansard and Markéta Irglová will have much interest in the contrived portrayal of the demise of the couple's real-life romance. A cynical viewer may even go so far as to think the entire film is a stunt staged specifically for promoting the duo's musical enterprise, also called “The Swell Season.”

Read my review on KCActive.com.

My Week with Marilyn (2011)

In 1956, Colin Clark, 23, camped out in Laurence Olivier's production offices until he was given a position as third assistant director on Olivier's attempt at reinventing himself as a Hollywood film star in The Prince and the Showgirl. On set, Clark caught the eye of Marilyn Monroe, well on her way to becoming an icon of the silver screen, and quickly became her confidant and handler. My Week with Marilyn, adapted to film by screenwriter Adrian Hodges, is based on Clark's account of their relationship.

Read my review here.

Jack and Jill (2011)

In Jack and Jill, Adam Sandler takes on dual roles to play fraternal but look-alike twins. In the role of the female counterpart, Sandler creates a disparaging drag act that is crude and unkind. He relies on clichéd gags about masculine women for cheap laughs and risks nothing of himself or an actual feminine side to make the character believable. Notwithstanding the veiled misogyny and labored gags; however, Sandler's softer side — laid bare by Al Pacino, of all people — gives the film heart, despite its best efforts to remain rude and vulgar. Read my review here.

Anonymous (2011)

In Anonymous, screenwriter John Orloff presents the theory that Edward de Vere, 17th Earl of Oxford, wrote the plays and poems attributed to William Shakespeare. Yet, this speculation, as thin as it is on which to hang an entire movie, is the least outrageous of Orloff's claims, which include over-the-top political intrigue, including illegitimate heirs to the English throne, unknowing incest and a creative rivalry. Read my review here.

Like Crazy (2011)

Mumblecore director Drake Doremus takes on young love and a long-distance relationship in his latest film, Like Crazy. British coed Anna ( Felicity Jones) and American classmate Jacob (Anton Yelchin) fall in love their senior year. They have a whirlwind courtship. They drink whiskey. He meets her parents (Alex Kingston and Oliver Muirhead). They're soul mates. But Anna's student visa is set to expire upon graduation, and she overstays her American welcome. When she returns from a trip back to London for a wedding, customs officials at LAX won't let her out of the airport. They put her on a plane headed back to London. Read my review here.