We've been seeing some great movies this year and so far this one is my favorite. For those of you who haven't heard of it, The Namesake is the story of a family of Indian immigrants. Kal Penn plays the title role, a second generation Indian-American who struggles to figure out how to reconcile his parents' culture with the one he's grown up with. Despite the fact that I'm quite a bit more removed from the country of my ancestors (even by the shortest route, I'm still third generation), Penn's identity crisis still struck a chord with me and I recognized a lot of his issues as familiar. On the other hand, as Juliette and I discussed afterwards, a lot of it would be familiar to anyone because, in a way, every family has its own separate culture. In any case, I absolutely loved this movie. Those of you used to thinking of Kal Penn in movies like Van Wilder and Harold and Kumar Go to White Castle may be surprised by how good a dramatic actor he is. His performance in this film is a little rough at first but he eventually finds his groove and does some really amazing work. Even better were Irfan Khan and Tabu, who played Penn's parents. I was just blown away by how beautiful their relationship was, by the quiet love that they shared both for each other and for their children. I really can't praise this movie enough.

Viewed: 2007-03-22 | Released: 2007-03-08 | Score: A

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It seems pretty clear that writer-director Mike Binder is having some sort of mid-life crisis. Why else would his recent work feature so many male characters who feel stifled by their marriages? Still, he does at least seem to realize that he shouldn't be feeling that way, which I guess sort of makes it better. I found this one to be a good deal more mature on that front than I was expecting, actually. Add in Adam Sandler's best dramatic performance to date and Don Cheadle—who is always good—and you have quite a good film. It's not without its flaws—the female characters are notably one-dimensional—but I think it's worth it for what it does right.

Viewed: 2007-03-24 | Released: 2007-03-22 | Score: B+

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I first read this book the summer before my freshman year of high school—it was our summer reading assignment. I ended up waiting until the last week before school started because, well, it was summer and I wanted to have fun, not do homework. Fortunately, I liked it so much that I tore through the book in about two days and was prepared for the test when I got to class on the first day. Coming back to it as an adult, I have to say that it holds up pretty well, although it does now feel strongly like a children's book. That's what it is, of course—the only reason I bring it up is that Watership Down is so often compared to The Lord of the Rings and while I can see the similarities, The Lord of the Rings brings me something new every time I read it, whereas this one is appealing more for the childlike point of view and the associated feelings of nostalgia.

Started: 2007-02-03 | Finished: 2007-03-12

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One problem with waiting a long time to see such a highly acclaimed movie is that it gives you time to hear and absorb the hype. I really liked Pan's Labyrinth, but unfortunately I didn't like it as much as I thought I would. It's not that the film wasn't brilliant. It was. I'm just not sure that any film could really live up to the kind of hype I'd been hearing for months before I finally got around to seeing it. But enough negativity—what was good about the movie? Well, the obvious thing is that the production design was nothing short of amazing. Tim Burton at his best manages a similar sort of dark weirdness, but where Burton—even in his good moments—usually feels a little cartoonish, this one really felt more like a fairy tale come to life. Which is, of course, what they were going for. There were also some very good performances—Maribel Verdú springs to mind in her role as Mercedes. My one complaint about the movie was that there were some violent scenes that I thought could have been less graphic.

Viewed: 2007-03-03 | Released: 2006-12-28 | Score: A

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Juliette made an observation as we were leaving this movie that I think sums up the experience pretty well: she said that it was pretty slow, but that it was still tense and she was interested the whole time. Lack of action is a common problem for any psychological thriller but the good ones—and this is a good one—manage to maintain the tension somehow. Good performances are crucial, and that's where actors like Chris Cooper come in handy. I've liked Cooper since the first time I saw him (I believe it was in the '98 version of Great Expectations) and this one definitely continues that trend. Ryan Philippe also did a very good job as the young operative assigned to uncover Cooper's espionage. The only blip for me was Laura Linney's performance. When she's good she's really good, but at other times she can come off as a little too needy and "actorish" in her performances. Anyway, this was the first film we've seen that was released in 2007 and I'd say it's an auspicious beginning.

Viewed: 2007-03-17 | Released: 2007-02-11 | Score: B

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Heavily theme-oriented movies tend to be problematic. Either they focus too much on the theme at the expense of plot and character or they develop the film well but fail to really delve into the theme. Babel, fortunately, manages to do both very nicely. The central idea of the film is human communication—or, more accurately, miscommunication—and what really impressed me about the movie was how when I thought back over it, nearly every single interaction between any of the characters involved miscommunication in some way. But rather than getting lost in mere ideas, the writer managed to construct a very compelling set of intertwining storylines, which were brought to life by some very skillful performances. My one complaint would be Brad Pitt. Not to say he did a bad job, it's just that I don't understand why they would pick such an iconically young and virile actor for a role and then age him with makeup. For one thing, there are plenty of older-looking actors out there who could have carried off the role as well or better, and, for another, there didn't seem to be any particular reason for his character to look old. It's a pretty minor criticism, though, and I'd definitely recommend this one.

Viewed: 2007-02-08 | Released: 2006-10-26 | Score: A

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Let me preface this review with the statement that I have little to no interest in the British monarchy. Oh, I do find the institution to be somewhat intriguing from a historical standpoint, but I have no real interest in the actual individuals as celebrities. Despite that, I found this movie to be quite compelling. To begin with, the acting was simply flawless across the board—Helen Mirren definitely deserves all the attention she's been getting this year on the awards circuit. The film documents the reactions of the Royal Family in the aftermath of Princess Diana's death and I would imagine that people who are interested in the royals will find that aspect of it fascinating. For me, though, it wasn't so much the action of the film that drew me in as what it revealed about the characters. We're presented with a portrait of people who are so isolated by privilege, so wrapped in layers of protocol and ceremony, that they are almost completely unable to relate to the ordinary people they supposedly symbolize. It actually left me feeling kind of sorry for them—it seems like a lonely life. A film that takes a subject I don't care anything about and manages to draw me in like that, well, that's a film I can recommend.

Viewed: 2007-02-02 | Released: 2006-10-05 | Score: A

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I'd never heard of Blindsight or Peter Watts before Raja (writer of the Strobelight Review here at Sakeriver) posted his review of the novel in the forum. Like him, I found this book engaging and the ideas in it intriguing, but at the same time I also found it kind of disturbing. Watts presents some very interesting ideas about the nature and function of human consciousness—indeed, he says in the endnotes that the book is really a thought experiment on that topic—but the conclusions he presents are the sort that tend to push me into the kind of existential introspection that I really don't enjoy. Still, Watts is a good enough writer that he does make a real novel out of Blindsight, with rich characterization and a fascinating, if—to my mind, at least—bleak milieu, rather than the mere veneer of a story that is all many hard SF writers can manage. If you're a fan of hard SF I'd recommend this one. It's a little hard to keep up at times but it's good enough to be worth it.

Started: 2007-01-08 | Finished: 2007-01-29

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I was pretty torn on whether or not to give this one a fourth star. On the one hand, there were a number of moments in the movie that made me cringe. On the other hand, there were far fewer than I was expecting and while I didn't laugh as often as Juliette and my friends did, when I did laugh I laughed harder than I have in quite some time. And, even more than cringing, I found myself just amazed that anybody would go that far with his comedy. I mean, he's not just over the line; he can't even see the line from where he goes. One things for sure: Sacha Baron Cohen has balls. And, as anyone who sees this film will find out, so does his co-star, Ken Davitian. I do recommend this one, but with the caveat that it's easily one of the most outrageous and offensive movies I've ever seen, so it's definitely not for everyone.

Viewed: 2007-01-19 | Released: 2006-11-02 | Score: B

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By now this movie has already won three Golden Globes—Best Motion Picture (Musical or Comedy), Best Supporting Actor, and Best Supporting Actress—so unless you don't own a television I'm sure you've already heard plenty about it. A lot of people love love loved it, including Juliette. For me, though, it was just good, not great. Yes, the music was great and I will admit that I was very impressed by Eddie Murphy's performance. The main thing that kept me from really enjoying the movie is that I absolutely hated one of the main characters, Effie. Now let me note that it was the character that I had a problem with, not the actress (Jennifer Hudson) or her performance. So it's really a writing problem, but for me it was a big one. I think it's pretty important to this movie that the audience sympathize with Effie's troubles, but I just can't bring myself to feel very sorry for a character that strikes me as a self-absorbed prima donna. I will say, though, that even I was moved by Hudson's performance of "And I Am Telling You I'm Not Going," and considering what I thought of her character that's saying something.

Viewed: 2007-01-13 | Released: 2006-12-14 | Score: B

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