With its bright lighting (even night scenes feature an attractive neon glow) and cast of familiar-faced non-marquee names (former “Ghostbuster” Ernie Hudson; Joe Mantegna as a sleazy record producer; Mohr’s wife, Nikki Cox, as a cleavage-exposing cougar newshound), “Lonely Street” plays sort of like an unsold comedy-mystery TV pilot that was retrofitted with profanity and jokes about vomit, flatulence and genitalia in hopes of attracting theatrical interest. The occasional gross-out humor (complete with sound effects) is the worst thing about the film; it’s sometimes accompanied by Mohr’s often redundant voiceover narration, much of which seems to have written in post-production, in an attempt to spice up the action.

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Office Space is essentially the Ferris Bueller’s Day Off for the working men and women of today. The main character decides that he wants to control his own life, tries to get fired, but ends up getting promoted. Two consultants (both named Bob) are brought in to evaluate the workers, and in a shining example of cynicism, Peter seriously announces that he does as little work as humanly possible. “I work about fifteen minutes in your average work week,” he tells the two Bobs (John C. McGinley and Paul Willson). Mike Judge’s screenplay is full of witty one-liners that will be spouted right and left throughout offices for quite a long time. The best? “It appears that you’ve been missing quite a bit of work lately,” one Bob says. “I wouldn’t say I’ve been missing it much,” he responds. It’s a line of sheer perfection and it works very well.

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A married couple deal with a crushing loss in a way that’s both funny and deeply sad in this comedy-drama from director, screenwriter and star Stanley Tucci. Don (Tucci) and his wife Janna (Patricia Clarkson) meet every night in the same shabby nightclub where Don performs a humorously shambolic magic act.

Don and Janna’s relationship has been on the verge of collapse since the death of their daughter, and they’re trying to reconnect with each other through role playing, so each evening they pretend they’re meeting for the first time on a blind date after discovering one another through personal ads. Sometimes they assume characters that are openly confrontational, while other times they try to bring a sweetness and intimacy back into their lives, but more often than not their struggle to reclaim the love they knew ends in confusion and frustration.

Blind Date was adapted by Tucci and screenwriter David Schechter from Theo Van Gogh’s 1996 film of the same name; it was the second in a series of remakes of Van Gogh’s films (following Steve Buscemi’s Interview) created in response to Van Gogh’s assassination by political extremists in 2004.

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Brothers Michael and Peter Spierig, makers of Aussie zombie flick UNDEAD, have kicked of the year with a surprisingly good genre movie that is part sci-fi, horror, thriller, and action movie. DAYBREAKERS is a thinking person’s vampire flick with deliciously gory action, an underlying social message, lean direction, and best of all, no obnoxious product placement or pop music.

Enter Edward Dalton (Ethan Hawke), a blood specialist at a blood production company and a reluctant vampire, who encounters a group of humans in hiding who have stumbled upon a cure for vampirism. When Edward agrees to help the humans try to figure out how to use this knowledge to save humanity this sets the stage for conflict with Edward’s boss, Charles Bromley (Sam Neill), a former terminal cancer patient-turned-immortal vampire who uses his private army to ensure that no cure is found and vampires continue to thrive.

A big part of the film’s success is the persistent tension that is maintained. This is remarkable given that it has turned the tables on vampire conventions by making most of these monsters appear ordinary, or rather paler reflections of humanity.

Backing up the strong story and action is a welcome, dramatic orchestral score from Christopher Gordon. I had almost forgotten how much better a genre movie can be with real dramatic music tailored to the film. Along with vivid, earthy production design by George Liddle, who previously worked on the equally excellent genre film DARK CITY, everything in DAYBREAKERS really flows together well and I feel the filmmakers have successfully put forth their vision about as well as anyone could.

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I’ve seen a few movies in my day, been around the block a few times, etc. I feel as if I have a relatively solid grasp on what makes a good film good and a bad film, well, bad. I understand a thing or two about story structure. I know how to spot an actor that is just phoning it in versus one that is really invested in their character. And most of all, I understand how adaptations from popular works of literature can go either incredibly well or horribly wrong. This is just a knowledge set that I’ve picked up over years of watching and studying film — it is what makes me so effortlessly mediocre at this job. So when I tell you that The Informers, the latest adaptation from the work of author Bret Easton Ellis, is one of the most self-indulgent, stylishly overcompensating and poorly executed films I’ve seen in years, you should be able to believe me. Put into an even simpler context, The Informers is undoubtedly on its way to being one of the worst movies of 2009. It was, without question, an abysmal experience.

It tells the story of a group of rich kids in 1983 Los Angeles, a group of bad people doing bad things. For the most part it follows the story of Graham (Jon Foster), a twenty something son of a big Hollywood producer (Billy Bob Thornton) whose days are spent having casual, multi-partner sexual encounters with his girlfriend (Amber Heard) and his music video directing, drug dealing best friend Martin (Austin Nichols). Watching his parents struggle with their on again, off again relationship and his friends struggle with their drug and sex problems, Graham finally begins to see the consequences of living the high life in Los Angeles. But Graham isn’t the only one who is seeing awful things around him. There is also a nosy doorman who witnesses his slimy ex-con Uncle (Mickey Rourke) do something unspeakable, a drug-obsessed rock star named Brian Metro (Mel Raido) whose habits have cost him everything he thinks he loved, and one more rich kid (Lou Taylor Pucci) who heads to Hawaii in a doomed attempt to reconnect with his sleazeball father (Chris Isaak).

The Sixth Sense is a movie worth watching purely for the fairly unpredictable twist at the end of the film. However, you need to sit through an hour or so of slow film-making before you get to the clever bit.

Child psychologist Malcolm Crowe (Bruce Willis) is about get it on with his wife, to celebrate an award he just received, when he is shot by one of his former patients (who immediately takes his own life). Crowe blames himself for failing the patient, and his career takes a downward turn as he alienates his wife. He soon finds a chance to make amends when he run across a small boy who displays the same psychiatric symptoms his former patient did. This time, Crowe is determined to set things right.

Crowe meets with the boy, Cole Sear (Haley Joel Osment), and begins his therapy. But the boy’s problems may be too much even for Crowe to handle: Cole seems to see ghosts of dead people who want him to do things for them as a form of closure.

Most of the film is about the interplay between Cole and Crowe, and how they both win each other’s trust in order to solve their individual problems. The acting is pretty decent. I was particularly impressed by Osment’s performance, and Willis gives a solid performance as usual. There is a substantial amount of character development. A few mild thrills are thrown in which liven things up, but not enough to overcome the slow pacing.

The way The Sixth Sense is presented is what makes it so cool, and this is completely non-obvious when watching the film for the first time. Looking back on the film, it’s like trying to differentiate one of those pictures which can be viewed two different ways (you know, the one where if you think one way, it looks like a curvy young girl and the other way it looks like the face of an old lady). And it’s a credit to the film makers that they do pull off a scenario where the audience is forced to look back and think about the film again. Worth renting.

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Based on the book by Dennis Lehane (Mystic River), Gone Baby Gone marks the directorial debut of Ben Affleck, who also penned the screenplay in tandem with Aaron Stockard, and easily puts him at the front of the line for Oscar contention.

Casey Affleck and Michelle Monaghan star as a pair of private investigators based in the rough working class Dorchester district of Boston. The two are hired by the family of a missing four-year-old girl to assist the police investigation because of their street connections and ability to get people to talk who otherwise would never open up to a cop. As they navigate through the neighborhood’s seamy underbelly of pimps, drug dealers and crack whores they uncover an ever-expanding mystery that takes on the added dimension of provoking the question of just what is right and what is wrong, firmly pitting both story and viewer in a struggle between situational ethics and moral absolutes.

Morgan Freeman and Ed Harris round out an impressive cast, but it’s the younger Affleck who takes this movie on his back and runs with it, easily surpassing his director brother in terms of acting breadth and range. This is no slight to Ben, however. It’s been a long time since I was this impressed with a directorial debut, and even longer since I was given cause to reflect upon the values that we hold dear as individuals and a society, and the moral foundations upon which they are based. Gone Baby Gone manages both, and wraps it up in a hard-hitting detective story that serves as much to satisfy the baser urges of bar fights and gun play, as it does tackling bigger issues.

It’s also one of those rare movies in which it can easily be said that the less you know about the story going in, the richer the experience. There’s no clear twist ending to give away, but rather a layered story that unfolds like a Russian stacking doll with a moral dilemma at its core.

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I don’t know why, but I just love this movie! By the way, does anyone know where the chicken came from?

The story is simple: four guys go to Las Vegas to throw a bachelor party for one of them, Doug (Justin Bartha). They want to spend an unforgettable night in Vegas, but as the tagline goes, Some guys just can’t handle Vegas. Once the night’s over, they realize they suffer from a huge hangover (dah!), and, what’s even worse, they have lost the groom! Then, the search for Doug and their memory of the past night starts…

One of the biggest advantages of the movie is the cast. The four actors playing the four best friends are amazing. There is great chemistry between them. Hence, they turn out to be as funny as it gets. Even better, they are so different from each other both in terms of their personalities and physical appearance. Bradley Cooper plays Phil, a handsome guy bored with his life; Ed Helms is a dentist stuck in a unsettling love-hate relationship; Justin Bartha as Doug spends his last days of freedom with his positively crazy friends; and, last but not least, there’s brilliant Zach Galifianakis playing Alan, Doug’s brother-in-law, a totally, absolutely, inevitably, super weird guy. An explosive mixture!

Another great thing about “The Hangover” is that it’s not just a comedy. There’s also an investigation going on – Phil, Stu and Alan have to find their friend, preferably before his wedding, who magically vanished. Moreover, they don’t remember anything at all what happened the night before. They follow the clues (like Stu’s missing tooth) trying to figure out ‘What is going on?’ as Stu screams spasmodically at some point. All these elements make the movie really interesting and entertaining to watch.

As usual, I need to mention music. It’s a mixture of all kinds of well-known hits, for example, Phil Collins’ “In the Air Tonight” or “Take it off” by The Donnas, just to give a taste of it. Then, there’s one more thing – the Nevada landscapes. I always enjoy all kinds of landscapes (both naturewise and urban). Here, we have a part of the sequences in the desert and a part in the city. Moreover, there’s the element of open road (another thing I love) – they drive a lot, hijack police cars, or transport wild animals. For these reasons, the movie is awesome.

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From the opening scene, showing drops of blood on a pristine white surface, we know we’re in for… well, not your ordinary slasher flick. Turns out the “blood” is a berry sauce being applied to a plate of haute cuisine. And the mind games of American Psycho have only just begun.

American Psycho has the tendency to be a character in search of a plot, as was the case with the novel, but director Mary Harron has infused Bret Easton Ellis’s tale with so much twisted and neo-farcical psychosis that she’s really turned a rambling psychothriller novel tinged with comedy into a ribald satire tinged with thrills. The murders in American Psycho aren’t particularly gruesome, it’s the glee with which Bateman carries them out that makes him a true villain. Even the novel’s most gruesome killing (which I won’t detail here, but which involves a bound woman, a starving rat, and a Habitrail) has been cut from the film.

As for Bale, well, I think we’ve just witnessed the defining moment of his career: the role for which he will forever be compared to. (Think Leonardo DiCaprio (who was rumored to be taking this part at one time) in Titanic.) He certainly plays Bateman to a T, even if the dialogue he’s been given is a bit flat.

Harron has often described this film as a work of feminism. I don’t know about that. It’s scattered and often random (like the novel) and any female point of view was lost on me. No matter. American Psycho vibrates between being deliriously funny and just plain delirious. And for some reason, it made me really want to work on my abs.

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The Transporter is the prototypical “guy movie”. There’s non-stop action of all types including car chases, lots of guns, martial arts and the works. If there were bare breasts, it would’ve likely received 5 stars from us.Jason Statham is The TransporterA beefed up Jason Statham plays Frank Martin. He’s retired from the special forces and now makes his living as a transporter. He’ll deliver anything anywhere with no questions asked. He has only three rules. One, once a deal is made it cannot be altered or changed in any way. Two, no names are used. Three, never open the package.

This is one of those films where you go strictly for the action. The dialog is nearly non-existent. There’s logic holes through out the storyline and occasionally the laws of physics are stretched. But the action is excellent, and that’s what this movie is about. The opening chase scene is the highlight of the movie. Don’t be surprised to see it on the next revision of our Top 10 Car Chase Movies list.
Director Corey Yuen brings the Hong Kong action flavor to the film. Jason Statham has really beefed up and looks quite natural doing the martial arts scenes, which are numerous. In fact, the fight scenes rival the creative choreography and use of props that one might normally find in a Jackie Chan movie. But Frank Martin is not a comedic character, Statham does an excellent job of playing a totally cool, always in control, action hero.

Click here to watch ‘Transporter 2.’