The 5 Best: Time Travel Films

Time travel. Time warp. Time shift. Whether we are dealing with flying DeLoreans, naked cyborgs, or simply a cranky weatherman waking up on the same day over and over again, I love stories that play with time. Time travel -- or whatever you may call it --  has many rules but clearly what makes this genre click for me is that every action results in consequences whether in a separate plane of existence or your very own. It's the paradox of time travel that makes it so special. It's not necessarily the time "traveling" that makes my brain explode with delight, but the manipulation of time. This field is wide open, but that's only because I don't limit the genre to science-fiction. I have a lot of favorites and many of them almost made the top 5.

First off, Audrey Niffenegger wrote a remarkable novel called The Time Traveler's Wife in 2004. It's the story of a librarian with a gene that causes him to involuntarily travel through time. It's one of my favorite novels of the last decade, but the 2010 film version unfortunately doesn't quite do it justice. I still loved it, though - the scene where Eric Bana sees his kid for the first time always gives me chills. It's a beautiful, brain busting story, well worth experiencing on the page and, to a somewhat lesser extent, the screen.

Groundhog Day is a cult classic, the story of a jaded, cynical man who relives the same day over and over again. No one plays jaded and cynical better than Bill Murray. Some may argue that Groundhog Day doesn't fit in this time travel genre, but I say it does. Though the film is not very explicit about how it's done, wouldn't you say he is traveling through some kind of time portal during his sleep? I thought so!

Another romantic comedy that is similarly more of a fantasy than actual sci-fi is Francis Ford Coppola's Peggy Sue Got Married, in which Kathleen Turner faints at her high school reunion and wakes up twenty five years earlier during her senior year. She sees this as a chance to rewrite her past and make better choices that will affect her future. But can she avoid making the same mistakes? Can the future really be rewritten? The ultimate time travel questions! What an infectiously sweet film.

Veering into sci-fi territory, I rather loved Peter Hyams cheeky thriller Timecop, in which Jean-Claude Van Damme plays a cop who travels back in time to prevent a corrupt politician from becoming President. Great early 90's action with Van Damme in his prime.

Speaking of European musclemen, you cannot go wrong with Arnold Schwarzenegger as a cyborg sent from the future to kill Kyle Reese in The Terminator. He's an unstoppable force of destruction in James Cameron's innovative action blockbuster. The fantastic, groundbreaking sequel goes even further, reversing the role for Schwarzenegger, who stops at nothing to protect Reese's son, John Connor. Terminator 2: Judgment Day is arguably one of the best films mentioned in this post, but it's more of an action thriller than a "time travel" movie. Even though there are elements of time manipulation in this series, I just don't think of the Terminator films as leaders in this genre, despite being so damned good. Well, except for Terminator 3: Rise of the Machines. That one doesn't belong on any "5 Best" list.

Frequency, one of my favorite films of 2000, almost made the cut. It probably would have made number 6 if I broke a few rules. A father and son connect via radio 30 years apart and the son uses the opportunity to warn dad of his impending death. The crisis is averted but sets forth another series of tragic events. This is what I love about time travel films - cause and effect. Change the past and screw up the future. It's beautifully done.

Though on a lesser scale, I still can't forget to mention these solid efforts: Bill and Ted's Excellent Adventure (Bogus Journey was, well, bogus), the riotously funny Hot Tub Time Machine, the quirky Time Bandits, the surprisingly good The Lake House, Denzel Washington's action-packed Deja Vu and the corny 80's cult classic, My Science Project. Those are all good films, especially if you're a fan of the genre.

But for time travel enthusiasts such as myself, below are the five best.

The Back to the Future Trilogy (1985, 1989, 1990)

The flux capacitor. 88 MPH. 1.21 Gigawatts. A flying DeLorean. These words are synonymous to the indisputable champions of time travel films. This trilogy contains some of my favorite movie moments of all time. Most people would leave out Parts 2 or 3 but I embraced them all almost equally. In the first, and arguably best, of the three, Marty McFly travels back to 1955 and works to correct a hiccup in his lifeline caused by his own untimely arrival. This is actually the closest to a perfect movie I have seen in my lifetime. Everything works here. This commingling of science-fiction and comedy is as harmonious and delicate as anything to come out of this genre, let alone any genre. Part 2 plays it more broadly, much to the dismay of critics and fans, but I totally dug it. It was silly and convoluted and makes absolutely no apologies for it. In fact, each entry has its own tone and I respect Robert Zemeckis and Bob Gale for setting out to make three very different stories that are connected by these lovable characters. Part 3 is fabulously entertaining, especially the first half hour which features McFly back in 1955 alongside the other 1985 version of McFly. Brilliant! These movies make my brain swell with utter delight.

Donnie Darko (2001)
I knew very little about Donnie Darko when I first saw it and I'm glad. Everything about this intoxicating drama was fresh and brand new. What kind of movie is this? It's the story of a disaffected teen (a magnificent star making turn by Jake Gyllenhaal) who miraculously escapes death only to embark on an odd friendship with a 6 foot tall man in a bunny suit named Frank. Frank tells Donnie that the world will end in 28 days and for most of the film Donnie struggles to piece together the puzzle surrounding his near-death experience and impending doom. Donnie Darko plays with time so beautifully and with great complexity that the viewer is forced to see the film multiple times in order to comprehend its bigger picture. In addition to this sci-fi bent, the film is also a wonderful study about isolation and adolescent angst.

Happy Accidents (2000)
The antithesis of Donnie Darko, Happy Accidents is a genuine New York love story about an unlikely couple who fall in love. It just so happens that he's a time traveler from the year 2470. It's Annie Hall with a twist! Marisa Tomei is just utterly delightful as a neurotic woman who tries to fix the men she dates and she always fails. When Vincent D'Onofrio shows up and spills the beans about where he's from, she hangs on to him. Is he real or crazy? Brad Anderson directs this warm, sweetly funny and deeply satisfying dramedy that works on almost every level. That it features some nifty ideas on time travel is whipped cream atop of this decadent morsel of delight.

Source Code (2011)
Seems like Jake Gyllenhaal cannot get enough of time travel. Sorry, I mean time remembrance, as Source Code likes to refer to it. This is the most recent entry in the time jumping canon of greats, and it's not only one of the best films of 2011, but also one of the trippiest, most engaging action films I've seen in a long, long time. Gyllenhaal is a soldier who embarks on a top secret government-funded project where he is catapulted to a precise moment in time before a major crime occurs. Within this extremely brief window, he must uncover information about the killer and learn if he has other targets. Of course, he fails repeatedly but inches closer to discovering the truth in every jump. Can he prevent the crime from happening if he stops the killer? Writer/director Duncan Jones raises that question and provides a cadre of satisfying, mind-blowing ideas. Source Code moves at a frenetic, breathless pace without sacrificing humor and a surprising amount of depth and humility.

12 Monkeys (1995)
Terry Gilliam has made some oddball films in his day, and 12 Monkeys is actually one of his more accessible ones. That doesn't mean it's a simple, easygoing affair. Far from it! Bruce Willis (an actor I can never tire of) plays a convict from 2035 who volunteers to head back in time to 1996 to uncover information about a virus that inevitably wipes out 99% of the population. But alas, he ends up in 1990 instead (didn't McFly have the same problem? Damn those faulty flux capacitors!) and ends up being committed. Will he get out in time to save the future? It's not a simple film by any means, but it is Gilliam's most engaging film. It's all here -- the paradoxes of time travel, future consequences of past actions, and a tricky timeline in which millions of lives can be changed by a single action of course correction.

Quick Takes: Paul, Scream 4, Win Win, Meek's Cutoff

Paul (2011)

Dir. Greg Mottola

Put simply, Paul delighted the hell out of me. I was certainly not expecting the film to be this funny, warm and goofy. After the wildly successful comedies Shaun of the Dead and Hot Fuzz, Nick Frost and Simon Pegg are back and as endearing as ever. They are science fiction nerds who attend San Diego's Comic Con - their geek heaven - and embark on a road trip they will not soon forget. Seth Rogen voices the alien they run into, and Kristen Wiig, Jason Bateman, Blythe Danner and Sigourney Weaver add class and humor to this entertaining little adventure. A wonderful time with a superb cast.

Scream 4 (2011)

Dir. Wes Craven

I admit it. I was a little stoked when I heard that Wes Craven was on board with writer Kevin Williamson for another sequel to the ailing Scream franchise. The surviving members of the previous films - Courtney Cox, David Arquette and Neve Campbell - were all back, too. Even after the disappointment that was Scream 3 (I barely remember a single damn thing about that film), I had relatively high hopes for Scream 4. I felt there was still juice left in the ol' Scream machine. Well, my hopes were somewhat dashed. It is definitely an improvement from the previous installment - there was plenty of humor throughout and I was pretty surprised by the killer's reveal. I do wish Scream 4 ended sooner, though. There is a scene in the kitchen (where the killer lies on the floor with the victims) that would have served as a terrific, edgy finale. But alas... the film took the safe, boring route and left a pretty sour taste in my mouth. I can't recommend it - it doesn't touch the original and its fantastic first sequel - but you can do much worse.

Win Win (2011)

Dir. Tom McCarthy

Writer/director Tom McCarthy is three for three. His latest dramedy, Win Win, starring Paul Giamatti, is his most accomplished film thus far. I have enjoyed The Station Agent and The Visitor tremendously but Win Win digs deeper. There isn't a trace of cynicism in McCarthy's films and this is refreshing. He has such affection for his characters, especially in Win Win. Giamatti is a high school wrestling coach struggling with life's basic pressures, and when a disaffected teen enters his life, things start to look up. Giamatti is supported by the delightful Amy Ryan as his wife, Bobby Cannavale (fantastic here) as his overeager best friend, Jeffrey Tambor as the assistant coach, and newcomer Alex Shaffer, who nails his scenes as a conflicted kid with a troubled past. My buddy Pete goes further into the film here, but we're in agreement: Win Win is a terrific achievement.

Meek's Cutoff (2011)

Dir. Kelly Reichardt

As a fan of Kelly Reichardt's previous film, Wendy and Lucy, I was greatly anticipating Meek's Cutoff, her western about a trio of families who embark on a dangerous journey across the midwest. This film didn't move me nearly as much as her earlier film, but I appreciated what Reichardt was trying to achieve. She nailed her themes of isolation and perseverance in Meek's Cutoff. We witness the mundane and arduous tasks of surviving such a difficult journey. Who knew lowering wagons down a steep hill would generate such suspense? There's also a magnificent scene in which Emily (Michelle Williams, in top form as usual) comes into contact with a native American and runs to warn the rest of her crew. Watching her methodically load a shotgun is one showcase of the film's extraordinary attention to detail. Meek's Cutoff is very slowly paced, perhaps too minimalist for most casual viewers. It's certainly a little too low key for my own tastes, but I admired what Reichardt has accomplished here.

Best of the Year: 2001

My Picks of the Year
(in alphabetical order)

Amelie
This gloriously busy and surprisingly intimate French romance works thanks to the star-making turn by Audrey Tautou. She is a cinematic delight, a beautiful, unforgettable face. Jean-Pierre Jeunet is a masterful visionary; not unlike the Zucker brothers in the Airplane! days, he knows how to keep the frames busy. Virtually every shot is a treasure, and the story, while slight, is certainly a charmer.

Donnie Darko
This is one kinky, twisted little movie, and I mean that in the most refreshing way. Donnie Darko cannot fit into one genre; it contains elements of teenage angst, time travel, sexual perversity, domestic horror, and mental illness – sometimes all in one scene. Jake Gyllenhaal, a discovery if there was one, is highly effective as a passive-aggressive high school student who tries to make sense of his fate. The story is extremely unconventional – the script does not spoon-feed the audience – therefore creating a very unique, challenging film, filled with surprises and rewards.

Happy Accidents
I’m a sucker for time travel movies, the kind of mindbenders that deal with the past and alters the future, distorting the line of reality. Back to the Future trilogy was the best of the kind, of course. This one is disguised as an old-fashioned New York love story. Marisa Tomei shines brightly as a neurotic single woman sick of dating freaks. In comes Vincent D’Onofrio, who charms and woos Tomei out of her freak streak…until he reveals that he is a time traveler from the year 2430. Writer-director Brad Anderson assembled a brilliant script, loaded with mind-opening ideas and unabashed romanticism. Whether or not you’re a science-fiction fan, you’ll find D’Onofrio and his tales charming, convincing and extremely delightful.

In the Bedroom
Powerful and elegiac, ranking up there with The Sweet Hereafter and The Ice Storm, In the Bedroom is a drama of a family marred by a horrific tragedy. Sissy Spacek, Tom Wilkenson and Marisa Tomei are equally devastating as a trio of loved ones who lost aspiring architect Nick Stahl. My favorite scene: Wilkenson and Spacek are verbally duking it out with one another (Wilkenson whispers, “You’re bitter, Ruth,” reverberating quite loudly), only to be interrupted by a little girl selling chocolates. It is a priceless scene in a wrenching film.

Joy Ride
One of the most goose-bumpiest thrillers in recent years, Joy Ride is a delicious nail-biter so well-crafted by master of contemporary noir director, John Dahl. Paul Walker and Leelee Sobieski do just fine as teenagers in peril chased by a menacing truck driver, but it’s Steve Zahn who all but steals the show as Walker’s jailbait brother. He delivers the laughs, as expected, but when he’s scared, we’re scared with him. Even better -- we’re terrified.

Lord of the Rings: The Fellowship of the Ring
It’s the most visual, ambitious, adventurous film of the year. It is literally a great sprawling novel come to life, and it was done so confidently that is not only inspiring but it reminds us all just precisely why we love the movies so much. Great special effects aside, it proves to us that story comes first in all elements of moviemaking. The characters come alive through the course of the adventure, and in the superb extended version on DVD, they are fleshed out and as multi-dimensional as they come. Two more magnificent episodes followed, creating one of the greatest trilogies of all time.

Monsters, Inc
A truly exciting and adorable children’s film brought to life by lively colorful animation, charming voice performances by Billy Crystal and John Goodman, and energetic camera work and effects by Pixar. The final chase scene is as rousing as anything I've seen all year. This one ranks among the best of all works from Pixar.

Moulin Rouge
Moulin Rouge is neither a film nor a movie -- it’s an experience. Baz Luhrmann dazzles us by juggling a simple, old-fashioned love story (the reason it is cliched is because it works), wall-to-wall contemporary pop songs, a historical setting, breathless cutting and hyperkinetic camera work -- and delivers a boldly original party mix. Take his exuberantly euphoric Strictly Ballroom and mesh it with his wacky, heart-thumping romance, William Shakespeare’s Romeo + Juliet, and you’ll get an idea of what he’s capable of. Nicole Kidman has seriously never been better, but it’s Ewan McGregor who will floor you. An absolute blast.

Mulholland Drive
Confounding, yes, but this David Lynch masterpiece is an absorbing and fascinating piece of work. Every scene works on its own as a short film, and astonishingly enough, they are aesthetically and emotionally clear and beautiful. As a whole, does it matter? It’s actually pretty easy to follow all the way up to the final reel. Even then, it’s an eerie juxtaposition of images, sounds and feelings. And, hey, if it looks like a dream, and it sounds like a dream, then….

Ocean’s Eleven
Ultra-hip and incredibly smooth, this Steven Soderbergh caper is a rousing good time. Not only do all of the stars do brilliantly by looking hot and exuding charm, but the story is fun to follow and Soderbergh’s camera is a thrill to behold. One of the final shots in the film -- with the fountain in the background and the silhouettes of our Rat Pack walking away -- is pure cinematic pornography.

The Pledge
Jack Nicholson is really one of our greats. He delivers one of his all-time best performances as Jerry Black, a retired cop who thinks his last case on the job closed too easily. The story, refreshingly, is not about the ongoing murder mystery of the little girl in the red dress. This is a film about Jerry Black, a man who simply cannot let go. Sean Penn surehandedly directs this meandering, almost lyrical, drama that is peppered by a cast of greats, old and new. The standout is Aaron Eckhart, who provides an original spin to the cliched character of a cocky, arrogant, younger partner. The Pledge also featured a finale that kept me guessing, though I should have known that what happened was completely inevitable.

Stanley Kubrick: A Life in Pictures
This stunning documentary is among the best of its kind; a thorough, revealing perspective on one of the most reclusive movie artists of our time. And that’s what so refreshing – Kubrick isn’t exactly a recluse; he’s a methodical, loving man with a deep appreciation for life, his family and film. His brother-in-law, Jan Harlan, made A Life in Pictures and with his inside look at the real Kubrick, the public can view this and admire not only the films but also the individual.

Vanilla Sky
Some loved it. Most hated it. I really admired this remake of the brilliant, near-perfect Spanish thriller, Open Your Eyes. Tom Cruise bares his soul in his best performance since his days from Born on the 4th of July and Rain Man. Cameron Crowe’s spin on the story, which involves the fusion of pop culture music and images, alternate realities, and true romance, is a Hollywood remake done well. Even if it does slightly pale in comparison with Alejandro Amenabar’s vision, which is darker, ambiguous, and much sexier (Penelope in her own tongue is how Penelope should be), Vanilla Sky certainly stands on its own merits as an invigorating piece of work.

Honorable Mentions
A Beautiful Mind; Dinner With Friends; Iris; Lantana; Life as a House; Memento; Monster's Ball; The Princess and the Warrior; The Shipping News; Shrek; Tape

Hidden Treasure: Leap of Faith

From the mid 80s through the most of the 90s, Steve Martin had an impressive range of career choices. Some were well-crafted crowd-pleasers (Parenthood, Father of the Bride), some critically acclaimed (LA Story, Roxanne), and some heavily dramatic fare (The Spanish Prisoner, Grand Canyon). There was one movie during that time period that doesn't fit in either of these categories and yet I think it features one of Martin's most interesting and underrated performances. In 1992's Leap of Faith, Martin plays a traveling evangelist named Jonas Nightengale who, by a twist of fate (or was it?), lands in small-town Kansas where every resident is in need of a miracle. Yes, Lord, they need a miracle!

This is not a great film. It's uneven, has a weak third act, and undercooked storylines. But I cannot deny that Leap of Faith is survived - almost solely - by a dark, rousing performance by one of the funniest men alive. Martin has done plenty of drama before - most notably in 1991's superb Grand Canyon - but this one is different. Jonas Nightengale is at personal crossroads in life. He knows what he does for people. He puts on a good show, makes people laugh, maybe even makes them feel good about themselves. On the other hand, Nightengale is a fake, a fraud who capitalizes on the problems of everyday people and cashes in on them. But hey, he's not hurting anybody. He's just making a (dis)honest buck.

Martin is revelatory up on that stage. It's a serious performance; he's not playing it for laughs, though you can't help but grin at Martin's manic energy. These preachers are animated and passionate performers, and Martin nails it. Jonas Nightengale is a man on a mission. He is out to heal! He is out to put faith into these people's lives, to make them believe it will all get better. The Lord is looking out for you, but you gotta believe! You gotta believe in the Lord almighty!

I wish this performance lived in a better film. Leap of Faith is not at all bad; in fact, the film deeply engaging as we follow Nightengale and his crew perform their magic tricks. We watch as the spotters discreetly gather pertinent, personal information from the audience so Nightengale can pump it back at them. Debra Winger plays Jane, Nightengale's front woman, who sits behind computers and TV screens and orchestrates the great Jesus magic show. This is one well-oiled event; the townspeople walk away with hope in their hearts and Nightengale and his crew leave with cash in their pockets.

I liked the relationship between Winger and Martin. You sense they have a long history together and most likely a complex one. The rest of the supporting cast is one note, with half-baked subplots that go nowhere. Liam Neeson is the sheriff who is suspicious of the whole affair, but ends up falling for Jane. There is a huge chunk of story missing there; I have a sinking feeling many of their scenes were cut, most likely in favor of the story of Lolita Davidovich's tough waitress Marva and her crippled young brother Boyd, played by Lukas Haas. Nightingale falls for her, but Marva resists. She doesn't believe his phony act. This sets the wheels in motion for Nightengale's unraveling.

In addition to those terrific actors, Leap of Faith also features too little of Philip Seymour Hoffman, M.C. Gainey and Meat Loaf as part of Nightengale's crew. I would have enjoyed a heavier focus on them, Jane and Nightengale, traveling from town to town, struggling with the ethics of what they do yet still enjoy making these people feel good. Now that I think of it, this could have made an interesting TV show.

Despite the myriad of problems, though, Leap of Faith is an entertaining film filled with strong ideas, a simple message, fantastic gospel music and an unforgettable tour-de-force performance by an actor who's hasn't been known for his "acting" in quite some time. Steve Martin has made a lot of great films over the years, but Leap of Faith is one of the precious few where he's not playing Steve Martin.

TV Report Card: Summer 2011

Summer is over and so are the short summer runs of a few TV shows I enjoy watching. We said goodbye for good to two of them, one with some bittersweetness and the other none too soon.

I was really sad to learn that TNT was not picking up a third season of Men of a Certain Age. This past summer's run was every bit as funny, gentle and sweet as its debut season in 2009. The premise was simple yet rife with possibility. Three best friends (Ray Romano, Scott Bakula and Andre Braugher, perfectly cast and looking better than ever) lean on one another as they not-so-gently ease their way past their prime. Joe, Owen and Terry and their coworkers and loved ones will be terribly missed. Thanks for 22 beautiful episodes. Season 2: 4.5/5. Entire series: 4.5/5

Rescue Me, on the other hand, wore out its welcome many years ago. One tragedy after another for Tommy Gavin became too much to bear. His relationships with Sheila and ex-wife Janet became repetitive and utterly tiresome. I know Denis Leary is the star of the show (and its creator and main writer) but sometimes I wish he would spread the wealth on his co-stars more often. I grew weary of "The Tommy Gavin Show" around season 3 (I'm not sure what the last straw was: the death of his brother, his young son or his father). I stuck with it to the end because the show did have its endearingly entertaining moments, most notably in the firehouse with the guys. Their camaraderie was fresh and oftentimes brutally funny. Rescue Me used to be great (especially when it dealt with the effects of 9/11), but it lost its spark too soon. Season 7: 2.5/5. Entire series: 3/5.

I'm thrilled that FX is continuing its relationship with Louis C.K. and his increasingly brilliant and subversive comedy, Louie. This half-hour laugher just wrapped its second season and Louis C.K. is already hard at work for a third go-around next year. Louie is unlike anything else on television - the narrative is fractured, the humor alternates from dark to silly on a whim, and in this groundbreaking season, the emotions ran high as Louie dealt with close brushes with death, a deep longing for Pamela, and realizations on what is important in life. No "sitcom" that I know of dares to be as thoughtful and life-affirming as Louie does. Season 2: 5/5. Entire series to date: 4.5/5.

The Glee Project was a huge surprise. I had low hopes for this reality contest in which wannabe Glee fans audition and compete for a guest spot on Fox's mega-hit. I'm not a fan of reality programming; I used to dabble in an Idol here or a Survivor there, but my programming regimen is about 98% scripted. But I gave Glee Project a shot and I'm very thankful. It's easily the best reality program I've ever had the pleasure of following and it has enhanced my appreciation and enthusiasm for Glee itself. All of the judges of The Glee Project -- Ryan Murphy, Robert Ulrich, Zach Woodlee -- are major behind-the-scenes players on Glee, and they are insightful, thoughtful, and more importantly, hugely entertaining to watch. They really cared about these kids. And these contestants are nothing to sneeze at -- all four winners are talented, bright individuals who will fit right in the Glee universe. This first season of The Glee Project was filled with twists, surprises and suspense; in other words, it blew American Idol out of the water. Season 1: 4.5/5

The thing I learned as a loyal Curb Your Enthusiasm viewer is that I can't judge every episode the same way. Sometimes everything comes together perfectly: the plot, the pacing, the amount of laughs, everything. Most often, however, they do not. Sometimes I'll marvel how wonderfully structured the episode is but find it lacking in the laughs department. Sometimes I'll laugh all the way through, but plot-wise it just didn't gel.

This season saw two episodes that were just right: Palestinian Chicken (easily a top 3 episode of all-time) and Mister Softee. Those were classic, perfect Curbs. The other 8 episodes are a mixed bag but now that I think of it, I may have "laughed" more this season than I did during last season's popular Seinfeld arc. In a nutshell, after 8 seasons (!), it appears to me that Larry David and his band of cynical misfits are as good as they've ever been. Season 8: 4/5. Entire series to date: 4/5.

Quick Takes: Lightning Round Edition

I've seen so many titles in the past several weeks and neither of them are compelling enough for me to write about at great length. They aren't all necessarily terrible; in fact, most of these are either surprisingly good or simply not-half-bad. So instead of doing the usual Quick Takes on them, I'll knock 'em out in lightning round fashion.

First, the attack of the one word movie titles! In an odd coincidence, many of the movies I've seen in the past month have one word titles. The best three of the bunch: Contagion (2011) is the new Steven Soderbergh thriller about a virus that wipes out millions of lives across the world. It's engaging and suspenseful (don't touch your face, dammit!), beautifully shot, and very well cast. It's like a more cerebral version of Outbreak. 3.5/5

I was loving Rango (2011) for a long time - it was dark, witty and utterly hilarious. But unfortunately, the problem with director Gore Verbinski is that he does not know when to stop. The film just kept piling on the story and action while I was growing restless in my seat. The film would have benefited greatly from a 30 minute trim. Other than that glaring flaw, it's adorable. 3.5/5

David Schwimmer directed Trust (2011), a smart, potent drama about a 14-year-old girl who is raped by an online predator. Clive Owen and Catherine Keener are her parents. It's a hard film to watch, but it is a subtle, perceptive and thought-provoking film, well worth a look. 3.5/5

Limitless (2011) is a dumb movie about smart people. I like Bradley Cooper enough, but I don't think he has what it takes to be a leading man. I just haven't been blown away by him yet. It's engaging but instantly forgettable. 2.5/5

Also forgettable but surprisingly funny is Arthur (2011), the unnecessary remake of the Dudley Moore classic. Forget the plot; the main attraction is Russell Brand. When he's the center of attention in public, I can't stand him. But when he's performing (whether in Forgetting Sarah Marshall or Get Him to the Greek or here), he is a treat to watch. It's one-note acting, I know, but strangely enough, I have yet to grow tired of Brand and his shtick. 3/5

I haven't enjoyed Matthew McConaghey in a movie since he first played a lawyer in 1993's A Time to Kill. His return to the courtroom in The Lincoln Lawyer (2011) isn't as memorable as that older film (I continue to quote Sam Jackson as often as possible: "Yes, they deserve to die and I hope they burn in hell!"), but The Lincoln Lawyer is a solid, reliable genre piece that peters out before its unsatisfying climax. 3/5

The only reason I rented The Perfect Host (2011) was to see David Hyde Pierce in a leading role in a thriller. It just seemed so against type. This is Niles Crane, for crying out loud! The film is interesting and has many surprises (the last act twist was nifty, despite huge gaps of plausibility), and Pierce looks like he's having fun with a crazy-ass role. Unfortunately, the film is paper thin. There's nothing here but smoke and mirrors. 2.5/5

I have grown tired of Kate Hudson long ago and watching her in Something Borrowed (2011) made me want to do unspeakable things. I didn't expect to like this movie, but I also didn't expect it to make me so angry. Who are these people? How does any self-respecting audience member relate to them? Every character seems to react to love in such bizarre and unnatural ways. For instance, when Rachel (Ginnifer Goodwin) tells Darcy (Hudson) at the end of the film that she misses her, I wanted to scream, "Why?!" What is it exactly about Darcy that she misses? None of these people deserve each other. I wanted to sic Sam Jackson on each and every one of them. 1/5

As Mel Gibson picks up whatever is left of his show biz career, he delivers his best work in more than a decade with The Beaver (2011), a risky, though somewhat successful directorial effort from his former Maverick co-star, Jodie Foster. Depression is a tricky subject to tackle but Gibson and Foster take it very seriously and the result is surprisingly moving. 3.5/5

Too Big To Fail (2011) managed to take a topic as dry as a hedge fund prospectus and make it entertaining. Curtis Hanson deftly handles this brisk, star-studded HBO affair that simplifies the infamous bank bailout of 2008. Everyone has a chance to shine, but William Hurt is a terrific standout as a weary, exhausted Hank Paulson. 3.5/5

And finally, I completed the second season of In Treatment (2009), the unconventional HBO series with Gabriel Byrne as psychiatrist Paul Weston listening to a series of patients on a weekly basis. It took almost 2 months for me get through all 45 episodes, and while it's a compelling and thoughtful series, season 2 wasn't as gripping as the first one. His most engrossing patient involved Oliver, a young boy struggling with his weight gain, being bullied, and handling the volatile split of his clueless parents. This arc allowed Byrne (the show's biggest asset who had too little to do this season) to step out of his strict regimen of maintaining a professional relationship with his clients and become an endearing father figure to Oliver. It culminates in a sweet, emotional finale. The show's third and final season should be on DVD soon and I look forward to losing myself in Paul Weston's conflicted world one last time. Season 2: 3.5/5. Entire series so far: 4/5

Musings Through Filtered Ears #7

A series of random thoughts by a new Qwikster addict...

Evolution is necessary
When I got the mass email this morning from Reed Hastings, founder of Netflix, and saw that it was a big fat mea culpa and alerted us of major changes coming, I really thought it was spam. Hastings has been pretty smart in building his business since Netflix started back in the late 90s (I've been a very happy subscriber since the near beginning) and this announcement seemed not only sudden (especially after the recent price hike) but unusually risky. When I soon realized that this was real, that these changes are actually happening, my initial thought was: this man is driving this company into the ground. It just smelled fishy: the company's stock was tumbling, users were abandoning ship after the DVD/streaming price split, and customers were just pissed off. It just seemed like a cheap attempt to appease to the stock's shareholders and do away with the stagnant DVD business.

Since that email this morning, I had time to think about this new change coming up and I now feel the same the way I felt after this summer's price split: I can roll with it. Netflix, and the industry it is in, are both evolving, and the changes are more than the company can handle. Hastings is right - Netflix sucks at communicating. They seem to favor making changes without explaining motive (removing the friends feature, for one) or even elaborate how they are willing to make their customers happy. I mean, are they even listening to us? The "apology" in the email feels a bit empty, but bottom line: I do feel the actions taking place in the near future feels right.

The DVD part of Netflix is perfect, there's nothing to improve. I think it's more than fairly priced, the selection is unending, and the turnaround is nearly instantaneous. Like I said earlier, I've been a very happy customer for over 10 years, and I'm thinking I will be a happy customer when I log onto Qwikster every day. As long as they don't change too much in that aspect, I see nothing to complain about. It's a business decision. It really doesn't affect me as a customer except for the URL name on my browser, the logo on the envelope and the name on my credit card bill. All these changes are cosmetic.

The new Netflix, on the other hand, has a lot of work to do. Putting its entire focus on streaming is smart business. They need more - and better - content, though it has significantly improved since last year. The amount of TV shows available to stream is satisfactory - my son loves Dora the Explorer, Thomas and Friends and Sesame Street, and has a large selection of episodes to choose from. I'm working my way through Damages now and will catch up with Mad Men and Breaking Bad pretty soon. The movies, on the other hand, are a mixed bag. The older catalogue titles are far more impressive than their new releases, but that's why I still use the discs. I take advantage of the best of both worlds and there's a breadth of choices available for me.

The new Netflix also needs to focus on subtitling their streaming content across all platforms. They are providing more shows/movies with captions each day but I cannot yet access them through my Blu-ray player.

The amount of vitriol I'm reading on these changes is laughable but I understand that nobody likes changes. I can adapt to these minor cosmetic fixes while the business restructures itself to better serve their customers. Some people may not agree but the combined $25 a month I spend on 3 discs at a time and unlimited streaming is an absolute steal. Whatever I need to do in order to continue enjoying this great service(s), count me in.

Everyone is a winner
Some thoughts on last night's entertaining Primetime Emmy awards:

*Host Jane Lynch was hit-and-miss. She's not a stand up comedian and some of her jokes fell flat, but I did enjoy her opening act and a few quips here and there. Her best line: "A lot of people are curious why I'm a lesbian. Ladies and gentlemen, the cast of Entourage."

*Big, big yahoos on the two major wins for the dearly departed Friday Night Lights: best writing for creator Jason Katims and best actor Kyle Chandler. It is so great these guys are recognized and seeing this show go out on top.

*The early part of the Emmys really did turn into the Modern Family Awards Show. Well-deserved wins for writing, comedy series, and the delightful Dunphy folks, Ty Burell and Julie Bowen.

*I don't watch Justified or Mike & Molly, but I was thrilled for Margo Martindale and Melissa McCarthy. Martindale is an extraordinary character actress who has been in the business for years and I hear she's fantastic in Justified. I can't wait to catch up with it. And I've been in love with McCarthy since her days on Gilmore Girls. I haven't even seen Bridesmaids but I already know how adorable she is.

*The best comedy actress presentation was hilarious. These 6 women are equally gifted and well worthy of many awards, and it was so great to see them all take the stage.

*Charlie Sheen's kind words for his cast and crew of Two and a Half Men seemed unbelievably hammy. I don't think anyone believed a single word of it. I'm surprised Fox cut the Baldwin/News Corp joke and still let Sheen take the stage. So much for good taste.

*What was Julianna Margulies wearing? And did anyone actually hear Julie Bowen and Kate Winslet accept their awards on the stage? I was too busy staring at their bare chests.

All in all: fun show, strong winners. I skipped the reality portion and zapped through the commercials and walks to the podium so the 3-hour Emmy telecast was a 90 minute breeze. Gotta love DVR's!

In Defense Of: Radio Flyer

This is the third and last piece this week celebrating the works of Richard Donner. Click here and here to view the other two posts.

History is all in the mind of the teller.

                                                    --older Mikey (Tom Hanks)

When I first saw 1992's Radio Flyer as a young teenager, i had a clear idea of what the film was about. A mother and her two young boys leave home in New Jersey to start a new life in California. Mom (Lorraine Bracco) meets a new man who calls himself The King, and marries him. The boys don't like The King, and he does bad things to Bobby (Joseph Mazzello). Bobby has nowhere else to turn, so with the help of his big brother Mikey (Elijah Wood), they create a flying machine out of a wagon, and Bobby flies away. He can finally be happy again. Bobby sends postcards to Mike from the countries he had visited. He was saved by his big brother.

Sure, I was a naive 12-year-old, but that's what I got out of it. I loved it. What kid doesn't dream of flying away?

Then I saw the film again as an adult many years later and I saw layers I had never seen before. The abuse was more extreme than I imagined. The themes of isolation were more prevelant. Throughout the film, there was a great sense of dread. There were more than a few subtle hints that Bobby didn't survive in the end.

I'm sure this has happened to everyone. You watch a movie during your childhood and then again later in life. Most often, it is like watching an entirely different movie altogether. What makes Radio Flyer so unique, however, is that my altered perspective did not change my opinion of the film in the slightest bit. My childlike interpretation of the movie still works, as does my mature, adult viewpoint. That's the secret. That's what makes Radio Flyer a special film. I love it now as much as I loved it then. There is just no wrong way to view this movie.

Radio Flyer was slaughtered by critics. It tanked in the box office. It's a blip in the careers of Wood, Mazzello, Bracco, John Heard, Tom Hanks, writer David Mickey Evans and director Richard Donner. It's a shame because it needs to be seen with an open perspective. A older kid can enjoy it without knowing too much about what really happened to Bobby. And an adult can appreciate the real beauty of the film: the magical bond between two brothers, strengthened during troubling times.

Roger Ebert, a professional critic whose opinion I greatly respect, is very close-minded about this one. He writes, "The movie is a real squirmarama of unasked and unanswered questions. Who is this movie made for?" He mirrored the thoughts of many others in that it is tonally confused. Is it a fantasy for kids? Or is it a drama about child abuse for adults? My answers: Yes and yes. Radio Flyer is a multifaceted film, a rare, thoughtful story that caters to two very different audiences.

There are a few interpretations of the film's final scenes and, frankly, any of them will work. If you are a young teen, maybe 11 or 12 (the film doesn't work for kids younger than that), Bobby did fly away. He escaped from the bad man in his life and started anew.

For older teens and adults, it's clear that the older Mike made up the ending. "History is all in the mind of the teller," he tells us. Bobby is no longer with us. Did he crash in the flyer, or was he beaten to death by The King? Well, let me ask you: does it matter? The truth is that Bobby tried to run away, he tried to escape, and he just couldn't. Bobby's death was inevitable.

This is dark, heavy stuff. It's all too common in this world. Children are abused and sometimes there's no one there to help them. The mother in this situation loved her two boys, but she either had no knowledge of what was happening or, more likely, she had no courage or strength to put a stop to it. His brother can only do so much, and it's clear that as he got older, he filled his mind with some fiction that made Bobby's life story easier to swallow. Mike wasn't ready to tell his kids the real truth. He wasn't ready to face the truth himself.

That's just my interpretation, and who's to say it's right or wrong? There's a theory floating around stating that Bobby is a figment of Mike's imagination. There is no Bobby. Mike was the one who got beaten up, built the machine to escape, and eventually became a pilot and learned to fly (which explains why the film opens and closes on an air field). It's sketchy, but I'll buy it. There are scenes and lines in the movie that can be interpreted as such.

Evans and Donner leave enough loose ends dangling to allow us to figure it out ourselves. It's a puzzle, but not necessarily a perplexing one. I'd say it's more like a comforting puzzle. Radio Flyer shows us just enough to give us the big picture.

And isn't that something special?