Summer Box-Office Results

At the start of the summer I made my predictions for what would be the top 10 money-makers for the season. Now that summer has come to a close, it's time to look at the results. While these won't be the final numbers for some of the films, the overall standings should stay about the same. (The #10 spot could very well be overtaken eventually.)


First, my predictions from the end of April:

Toy Story 3 – 425
Iron Man 2 – 375
Twilight: Eclipse – 300
Shrek Forever After – 250
Inception – 175
Salt – 160
The Last Airbender – 155
The A-Team – 150
Prince of Persia – 145
Robin Hood – 130


Top 10 as of Sep. 7:
Toy Story 3 - 408
Iron Man 2 - 312
Twilight: Eclipse - 298
Inception - 278
Despicable Me - 241
Shrek Forever After - 238
The Karate Kid - 176
Grown Ups - 160
The Last Airbender - 131
Salt - 115

So, as of now, I guessed 7 out of the 10. Not bad for a first-time try. The biggest surprise for me was the success of The Karate Kid. I really didn't expect it to come near 100 million, much less 176. I'm not sure why I thought Robin Hood would perform well. It didn't really cater to the typical summer audience, instead aiming a little older. I'm more surprised that The A-Team didn't perform better. I guess most teenagers aren't that familiar with the TV show, so they didn't care about it (?). Despicable Me really should have been on my prediction list. It's animated, made for all ages, and has many celebrity voices. Hindsight is 20/20.

As far as accuracy goes, it's pretty hit or miss. Going into the summer, the biggest question mark on my list was Inception. I really wasn't sure how mainstream it would turn out, so I took a wild guess for its total. Iron Man 2, while doing well, didn't follow the usual pattern of sequels. Usually when a blockbuster is considered solid, the sequel earns more. Iron Man 2 essentially equaled the first film's gross. On the plus side, I'm right on the money for a few films. Who knew I would be such an expert at guessing the spending habits of the Twilight fanbase? Weird.

Overall, this was an interesting experiment and one that I may do again next year.

New Horizons

I'm excited to say that I've recently had the opportunity to do some writing at www.filmjunk.com - a site that I consider a favorite. While it's an honor to contribute to that site, it also means that this blog will probably be taking a back seat for the foreseeable future. That doesn't mean I'm giving up This is Cinerama; it just means that posts will be few and far between. So, if can't get enough of my writing, then I suggest you check out Film Junk.

Woody Gets a Full Cast for Latest Film

The full cast list was released for Woody Allen's next project, titled Midnight in Paris. The cast includes Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard, Rachel McAdams, Michael Sheen, and Owen Wilson. It looks like a good variety of performers as usual and I look forward to Allen hopefully having a return to form with this film. Midnight in Paris is a romantic comedy that follows a family travelling to the city for business. The party includes a young engaged couple that has their lives transformed throughout the journey. The film celebrates a young man’s great love for Paris, and simultaneously explores the illusion people have that a life different from their own is better.

The film will begin production this summer.

The Forbidden Few

While I pride myself on exploring many different types of films, even I have my limits on what I'll spend my time watching. I looked through a list of films for the first half of the year and picked out the titles that I can comfortably say I'll never watch unless strapped down A Clockwork Orange-style and forced to view them.

Here's the list:
The Back-up Plan
Furry Vengeance
The Last Song
Why Did I Get Married Too?
Remember Me
The Bounty Hunter
Dear John
Leap Year
The Spy Next Door
Tooth Fairy
When in Rome
Killers
Marmaduke

I think the key element these films share is laziness. In one way or another these films represent (to me, anyway) the most lazy, pandering, lowest common denominator projects being produced these days. I'm aware that films are both products and art, but when movies such as these come along, the scale tips so far on the side of product that I lose all interest.

American Psycho: A Look Back

American Consumer

American Psycho (2000), a film directed by Marry Harron, truly shows the dark side of the American dream. The main character, Patrick Bateman, is a rich young man who appears to have no personal identity. Patrick explains that “there is no real me: only an entity, something illusory.... I simply am not there;” he even remains at his job because he “wants to fit in.” He has everything that anyone could possibly desire: an expensive apartment, fine clothes, and many other top-of-the-line products. These possessions he has accumulated mean little to him other than the high social status they help ascribe him. There is a theory that Newitz calls economic identity which is “the ability to produce efficiently, but more notably… the ability to consume” (70). Since these products are all that Bateman knows how to relate to, he becomes the ultimate consumer in this satire on American culture.

A competition of sorts takes place between Bateman and his co-workers, at least from Bateman’s point-of-view. If one of the co-workers has a better apartment or a better suit than he has, then Bateman grows immediately envious. On one occasion he nearly kills one of his co-workers for having the same kind of business card that he does. Fittingly, the film is set in the 1980’s when materialism and greed defined the times. The ability to consume and produce efficiently has been called “homo economicus” or economic man by Newitz (70). Newitz says, “The most important personality trait of homo economicus is that he can never be satiated” (70). Bateman displays this feature to the maximum degree.

Everything is about surface for Bateman. He is a completely self-absorbed character. Giving specific details of his entire morning routine, Bateman describes all of the products he uses to get ready for the day. He does not devote any time thinking about what someone else wants. The goal for him is to get what he desires as soon as possible. Bateman is in peak physical shape, doing exercises every day. He judges his associates on how well they dress or how good an apartment they have. When he sees a bum sitting in an alley, he does not see a person, but a burden or failure of society. According to Grant these people “represent the horror of career failure he fears most” (27). As a result of these fears, Bateman kills the man and walks away. Patrick has no ethical depth to him whatsoever. He does not feel sorry about any of his killings.

Bateman shares no real connections with anyone, even his fiancé. He spends time with his fellow workers, but only because he wants to fit in with the crowd. Sometimes he will feign an interest in what someone is saying, but not much more. Most of the time, he is merely going through the motions. Even with his sexual encounters, Bateman has no real emotion involved. Grant says, “Bateman’s sexuality and desire, like everything else about him, is thoroughly determined by consumer culture” (31). He does not care about the women that he is with; he just uses them for his own pleasure. Thus, the women resemble more merchandise that Bateman makes use of. When he videotapes his sexual encounters, the focus is completely on him. He looks into the mirror and poses for himself while flexing his muscles. This facilitates him to achieve what he witnesses on television and what is promoted by the culture. When he is finished, he disposes of the bodies as he would an old product that has been outdated.

A theme that runs throughout the film is that Bateman’s colleagues confuse each other for someone else. Grant remarks that, “Ironically, nobody notices that the people Bateman has killed are missing because they are all virtually interchangeable” (30), as so many products often are. Bateman gets out of trouble more than once because of this confusion. Also, people seem to misunderstand Bateman at times, such as when he insults people and they seem not to notice or think he meant something else. At times Bateman reveals his homicidal tendencies, “I'm into... well murders and executions mostly.” Only the people around him hear “mergers and acquisitions” instead, because the room is crowded and loud.

American Psycho does not take place in a Gothic setting like most serial killer films, but in traditional homes, restaurants, night clubs, and office buildings. Grant says that it “provides the perfect touchtone for a contemporary consideration of general representations of violence” (25). By bringing the action closer to commonplace areas, the film comments on society the way most thrillers could not. People are familiar with these surroundings either directly or indirectly, so the message can resonate quite well.

American Psycho can be easily compared and contrasted to Fight Club, another film about consumerism and society. Both films are about young men who are dissatisfied with their lives and try to fill the void with violence. While American Psycho tries to consume as much as possible, Fight Club tries to break down the whole process of consumerism. Despite having entirely opposite motives, each of the main characters feels that they have to use violence to get what they want. The American dream has evaded these people for so long that they feel as if they must take matters into their own hands. When events start to go awry, both of the protagonists panic and confess what they have done. They run through a surreal world that they can no longer control.

The same way that Patrick describes the products he uses in the morning, he talks about different music artists he enjoys listening. He offers his thoughts on certain CDs before killing his victims; probably quoting from some reviews that he has read. This happens several times throughout the film with several other types of products. These are the times when Bateman gets to show off just how savvy a consumer he has become. After he is finished proving that point, he effectively “consumes” his victims by killing them. Later in the film, he even admits to eating a few of the victims and trying to cook one as well. At that point, Bateman has proved that he is willing to go to any lengths to achieve his needs.

Many viewers have been desensitized to violent films, especially in recent years. In the same way that desensitized viewers experience violence on screen, sometimes Bateman carries out his murders in a way that shows little reaction. At times he simply kills and walks down the street, thinking nothing about it, except getting caught.

In the end, American Psycho proves to be a scathing social commentary about America’s obsession with consumerism. Like Bateman, sometimes we cannot help ourselves from consuming too much. Patrick shows the ultimate consumer can never be satisfied with what they have. He is a completely hollow individual who can never have enough and only envies those who possess more.

Works Cited
Grant, Barry Keith. “American Psycho/sis: The Pure Products of America Go Crazy” Mythologies of Violence in Postmodern Media. Ed. Christopher Sharrett. Michigan: Wayne State University Press, 1999.

Spielberg Chooses Next Project

Courtesy of Hollywood Insider:

"Finally, Steven Spielberg has chosen his next project: War Horse, the World War I story about a friendship between a boy and a horse. It’s been two years since Indiana Jones and the Kingdom of the Crystal Skull bowed, and audiences worldwide have been waiting for Spielberg to choose his next movie. (Yes, he’s been working on the Tintin series with Peter Jackson but that film won’t bow until Christmas 2011.)

In the meantime, Spielberg has turned his sights to War Horse. The project is based on a novel by Michael Morpurgo that was published in Great Britain back in 1982. The adapted screenplay has been written by Lee Hall (Billy Elliot) and Richard Curtis (Love Actually). The film, produced by Kathleen Kennedy, Frank Marshall and Revel Guest will be produced by Dreamworks and released by Disney Studios on August 10, 2011."

Summer Box-Office Predictions

I'm tossing my hat into the ring and presenting my official predictions for the summer box-office season. Although I'm far from an expert, I thought I'd take a stab at it and see how close (or far off) I come to the actual totals. Just to clarify, I'm counting any film released from May - August eligable as "summer" material.

Here's my top 10: (all totals in millions)

Toy Story 3 – 425
Iron Man 2 – 375
Twilight: Eclipse – 300
Shrek Forever After – 250
Inception – 175
Salt – 160
The Last Airbender – 155
The A-Team – 150
Prince of Persia – 145
Robin Hood – 130

Metropolis: Complete at Last

For years film historians hoped to find the missing footage to Fritz Lang's science-fiction epic Metropolis with no success... until recently, that is. An additional 25 minutes of lost footage was found in a museum in Buenos Aires, making the film the most complete since its release back in 1927. Now a new cut of the film has its North American premiere at Turner Classic Movies Classic Film Festival, and will expand to other theatres in the coming weeks. By November, the film will be released on DVD and Blu-Ray.

The prospect of seeing a complete cut of Metropolis gets me very excited. I've watched the film before, in which still photos are used in place of missing scenes, and even in its incomplete state, the film can still be labeled a masterpiece. I really envy anyone who has the opportunity to catch this restored film in a theater setting. If I thought a theater anywhere near me would be showing it, I'd be there in a heartbeat. Alas, living in the middle of nowhere prevents me from yet another cinematic event.

Here Come the Men In Black...Again

After several months of speculation, both Will Smith and Tommy Lee Jones have signed on to another Men In Black film. Returning director Barry Sonnenfeld confirmed the casting news. There's no word on any other returnng cast members or plot information, but it was revealed that the film is planned for a Memorial Day, 2011 release. Oh, and of course the film will be in 3-D just as any other major blockbuster these days.

This seems like an odd choice for Will Smith to return to this series at this point, especially since so much time has passed after the second film. He's arguably the biggest, most successful actor in Hollywood who has his choice of any high-profile project he wants. I'm sure he could easily sign on to an equally mainstream film and do his usual in it intead. I guess brand awareness wins again, though.

James Bond Delayed Indefinately

Bad news for Bond fans, I'm afraid. Due to financial woes, the franchise will be postponed until further notice. Producers Michael G Wilson and Barbara Broccoli have jointly stated, “Due to the continuing uncertainty surrounding the future of MGM and the failure to close a sale of the studio, we have suspended development on BOND 23 indefinitely. We do not know when development will resume and do not have a date for the release of BOND 23.” Ouch. This could mean big trouble depending on how long this situation lasts. The talent behind the project will have to move on at some point and there's no telling who will be left to steer the reigns. It's sad to think that Hollywood's longest-running franchise (not to mention one of the most profitable) is having this much trouble getting financing. Oh well, I'm sure one way or another, we'll get our next Bond film eventually.

Cannes Film Festival Line-Up

About a month from now the Cannes Film Festival will be upon us once again and, as usual, many big names in world cinema will be in attendance. Today a full list of films, both in and out of competition was released. I'm always interested in seeing which films come out on top in this festival since it typically features some great choices. Tim Burton heads the jury this year ... so we'll see what comes of that.

Opening film
Ridley Scott – ROBIN HOOD (Out of Competition)

In Competition
Mathieu Amalric – TOURNÉE
Xavier Beauvois – DES HOMMES ET DES DIEUX
Rachid Bouchareb – HORS LA LOI
Alejandro González Iñárritu – BIUTIFUL
Mahamat-Saleh Haroun – UN HOMME QUI CRIE (A Screaming Man)
IM Sangsoo – HOUSEMAID
Abbas Kiarostami – COPIE CONFORME
Takeshi Kitano – OUTRAGE
Lee Chang-dong – POETRY
Mike Leigh – ANOTHER YEAR
Doug Liman – FAIR GAME
Sergei Loznitsa – YOU. MY JOY
Daniele Luchetti – LA NOSTRA VITA
Nikita Mikhalkov – UTOMLYONNYE SOLNTSEM 2
Bertrand Tavernier – LA PRINCESSE DE MONTPENSIER
Apichatpong Weerasethakul – LOONG BOONMEE RALEUK CHAAT
(Uncle Boonmee Who Can Recall His Past Lives)

Un Certain Regard
Derek Cianfrance – BLUE VALENTINE (1st film)
Manoel De Oliveira – O ESTRANHO CASO DE ANGÉLICA (Angelica)
Xavier Dolan – LES AMOURS IMAGINAIRES (Heartbeats)
Ivan Fund, Santiago Loza – LOS LABIOS
Fabrice Gobert – SIMON WERNER A DISPARU… (1st film)
Jean-Luc Godard – FILM SOCIALISME
Christoph Hochhäusler – UNTER DIR DIE STADT (The City Below)
Lodge Kerrigan – REBECCA H. (RETURN TO THE DOGS)
Ágnes Kocsis – PÁL ADRIENN (Adrienn Pál)
Vikramaditya Motwane – UDAAN (1st film)
Radu Muntean – MARTI, DUPA CRACIUN (Tuesday, After Christmas)
Hideo Nakata – CHATROOM
Cristi Puiu – AURORA (Aurora)
Hong Sangsoo – HA HA HA
Oliver Schmitz – LIFE ABOVE ALL
Daniel Vega – OCTUBRE (1st film)
David Verbeek – R U THERE
Xiaoshuai Wang – RIZHAO CHONGQING (Chongqing Blues)

Out of Competition
Woody Allen – YOU WILL MEET A TALL DARK STRANGER
Stephen Frears – TAMARA DREWE
Oliver Stone – WALL STREET - MONEY NEVER SLEEPS

Midnight Screenings
Gregg Araki – KABOOM
Gilles Marchand – L'AUTRE MONDE (Blackhole)

Special Screenings
Charles Ferguson – INSIDE JOB
Sophie Fiennes – OVER YOUR CITIES GRASS WILL GROW
Patricio Guzman – NOSTALGIA DE LA LUZ (Nostalgia For The Light)
Sabina Guzzanti – DRAQUILA – L'ITALIA CHE TREMA
Otar Iosseliani – CHANTRAPAS
Diego Luna – ABEL (1st film)

Review: Mr. Hulot's Holiday

In 1953, director Jacques Tati unleashed his now-iconic character Mr. Hulot upon the world in Mr. Hulot’s Holiday. The character and the resulting film come across as old-fashioned, even for its time, and intentionally so. Indeed, Mr. Hulot’s Holiday easily shares more in common with silent-era cinema than any other influence. Anyone who watches the film would have to admit that the plot could be summed up by the title itself and nothing more. The structure ambles along from one bit to the next; in no hurry to get anywhere. And the curious Mr. Hulot, our main character, goes through no traditional arc whatsoever. (What is this – a Charlie Chaplin film? Buster Keaton, perhaps?) In modern mainstream filmmaking terms, this movie would never get made, let alone considered for production. That’s a shame, because Mr. Hulot’s Holiday represents one of those charming films that I think more people should see.

Our story begins as various visitors arrive at a beachside hotel in France where they all long for some rest and relaxation. Then Mr. Hulot arrives. From his first entrance, in which he lets in a howling wind into the hotel, disrupting an otherwise peaceful day, we know he will only create trouble for the rest of the guests and staff. Mr. Hulot may be well-intentioned, but calamity seems to follow him everywhere. While that premise may not excite many people, consider these words from Roger Ebert: “It's not what a movie is about but how it's about it.” That logic certainly applies to Mr. Hulot’s Holiday as the film goes about its business in a unique and delightful way.

As stated above, the film’s use of silent film aesthetics provides the main source for comedy, but it’s the way these aesthetics are used that make the film worthwhile. For example, Tati shoots scenes unlike most any director I’ve seen in regards to mise-en-scene. As opposed to staging one particular joke, Tati fills the frame with various happenings occurring simultaneously. One group plays a game of cards while a businessman makes phone call to work as he tries to vacation, and at the same time a teenager attempts (unsuccessfully) to impress a girl. And while all this activity transpires, Tati does not tell you where you should be looking; he simply allows the audience to roam wherever their eyes want. That’s a bold move for anyone to even attempt, much less accomplish. This style certainly takes some getting used to and a second or third viewing becomes almost unavoidable if people want to catch everything that occurs.

Ultimately, this film will not suit everyone’s taste. But for those who keep an open mind, there’s a lot to enjoy here. I can see this style of filmmaking influencing performers like Rowan Atkinson or Peter Sellers in their work. Mr. Hulot endears himself to audiences the same way Mr. Bean and Inspector Clouseau do. Even though they cause a great amount of grief to those around them, they also possess a certain kind of magic. Their unique way of moving through life allows us to laugh at ourselves and that condition known as being human.

Recent Viewings: April '10

Uncle Buck
John Candy had one of those personalities that instantly wins me over, and this film exemplifies that extremely well. Although the film itself isn't anything great, it contains quite a few moments of pure charm (Giant pancakes, anyone?).

The Informant!
Matt Damon gives a great performance in this satire on Corporate America. His voice-over alone delivers some great laughs. The supporting cast also shines. I'm sure repeat viewings would only enhance the experience.

Man Hunt
This WWII film made during the war itself delivers some great thrills with an intriguing story to boot. Director Fritz Lang provides the film with a great visual style.

White Hunter, Black Heart
This Clint Eastwood film features the actor-director in some different territory has he portrays an ego-maniacal filmmaker who obsesses over a hunting conquest instead of his next film. It's an intriguing character study and covers some worthwhile themes.

Fantastic Voyage
Richard Fleischer directed this effects-driven film about a team of scientist who are shrunk down and injected into the body of a colleague in order to repair a life-threatening blood clot. It's still a fun ride, but pretty formulaic.

The Man from Laramie
The fifth and final collaboration between director Anthony Mann and star James Stewart results in another solid western. As usual, the story is heavy with themes of revenge and justice. Stewart again proves his range as he plays a fairly menacing guy at times.

Ford Joins Cowboys and Aliens

Director Jon Favreau announced via twitter yesterday that Harrison Ford has signed on to his next feature, Cowboys and Aliens. Ford has had some rough years in his career recently, so hopefully this project will bounce him back into the spotlight. The concept is simple enough: what if aliens were to invade 19th century America? Would they be able to take over? Cowboys and Aliens is based on a graphic novel by Andrew Foley and Fred Van Lente with artwork by Luciano Lima. The film also stars Daniel Craig and Olivia Wilde and it's already scheduled for a July 29, 2011 release.

I have to say that I like the concept and really do hope that it turns out to be a success for everyone involved.

Viewing Notes: 20000 Leagues Under the Sea

Rather than writing a full-blown review, I've decided to simply share some notes I made regarding my viewing of 20000 Leagues Under the Sea (1954).

Although Kirk Douglas isn't known for his singing or dancing abilities, here he puts on quite a performance in the film's one and only musical number.

The film features some great effects work. The giant squid fight holds up surprisingly well, I thought.

Despite being a big-budget spectacle, the film actually contains a message. I wish I could say the same for some of today's blockbusters.

The underwater photography looked great and seemed innovative for the time.

Paul Lukas, playing essentially the main character since it's his narration we follow, gets overshadowed by Douglas and James Mason. Mason's Captain Nemo is more intricate and Douglas' Ned Land handles the more comic and adventurous aspects of the film.

Director Richard Fleischer makes good use of the widescreen aspect ratio, a relatively new process at the time.

The film captures a sense of adventure and wonder that fit just right for the material.

Although live-action, the film manages to incorporate a couple moments of animation, both of which added a nice touch to the scenes involved.

Like most Disney films, there has to be to some kind of animal prominently featured. This time it's a seal; used for comic relief.

Overall, I'd say it's a fun adventure flick that holds up pretty well. It's something that families can enjoy together.

The Best Picture Challenge

Some might call me a completist when it comes to cinema - I just prefer to call myself well-rounded (at least that's my aim). With that in mind, I recently researched which of the Best Picture Academy Award winners I'd seen and which I hadn't. As it turns out, I've watched 61 out of the 82 films, a respectful 74%. Of course, my new goal is to view the remaining 21 unseen films. I'm giving myself until the end of the year to complete this task; plenty of time, I'm sure. Hopefully along the way I'll give some updates on where I stand in my movie countdown and provide a few thoughts on the films in question.

The Unseen List:
Wings
The Broadway Melody
Cimarron
Grand Hotel
Cavalcade
Mutiny on the Bounty
The Great Ziegfeld
The Life of Emile Zola
Going My Way
Gentleman's Agreement
Hamlet
The Greatest Show on Earth
Around the World in Eighty Days
Gigi
Tom Jones
My Fair Lady
Oliver!
Chariots of Fire
Gandhi
The Last Emperor
The English Patient


Wish me luck!

Remembering Brando

Marlon Brando was truly one of cinema's greatest actors. So today, what would have been his 86th birthday, I've decided to pay tribute to the man who gave us so many memborable moments, both in film and in life.

At the 1973 Academy Awards, Brando refused his Best Actor Oscar for The Godfather, instead sending a Native American woman to the show to give a speech on Natives rights. I can't imagine anyone doing this today. http://www.youtube.com/watch?v=2QUacU0I4yU

This scene from On the Waterfront is one of the most famous scenes ever filmed. It's iconic status is well deserved. http://www.youtube.com/watch?v=eeVq1e6JKlw

Brando created another iconic performance in A Streetcar Named Desire. This video shows his famous cry of "Stella!" http://www.youtube.com/watch?v=S1A0p0F_iH8

One of the most haunting performances in film: http://www.youtube.com/watch?v=2BqloFdNq2Y

Larry King had a famous interview with Brando in the 1990's, mainly due to its bizarre nature. Here's the final part of the interview in which Larry and Marlon close the show by singing a duet and share a kiss. http://www.youtube.com/watch?v=ZvWMB7YFMXw He led a strange life.

Brando sings again - this time in Guys and Dolls. http://www.youtube.com/watch?v=xVlQXvrWC_A

Finally, a rare screentest: http://www.youtube.com/watch?v=j2lRdkNGDcY

All Things Walken

In honor of his birthday today, I've gathered together a few of my personal favorite Christopher Walken moments, courtesy of YouTube. Mr. Walken has proved his talent time and time again through his lengthy career. Whether he's acting in a hardcore drama like The Deer Hunter or poking fun at himself on SNL, the man is instantly captivating in his own unique way. Any time he appears in a film, it brings a smile to my face. So happy birthday, Mr. Walken. Keep on doing your thing.

Poker Face – http://www.youtube.com/watch?v=xy5JwYOlgvY
Weapon of Choice – http://www.youtube.com/watch?v=K7Ky5R-vxns
Cooking with Walken – http://www.youtube.com/watch?v=43VjLCRqKNk
Puss in Boots – http://www.youtube.com/watch?v=GEjKmsMkPKQ
More Cowbell – http://www.youtube.com/watch?v=fyV2cPLuFuA
Pulp Fiction Scene – http://www.youtube.com/watch?v=kngBtoylIVM
“The Walken Thing” – http://www.youtube.com/watch?v=EmR-2nnt3Ps

Favorite Final Shots: Modern Times

Modern Times marked the final film in which Charlie Chaplin played his signature character of the Tramp. It’s a magnificent send-off for the little guy as he struggles against, well, modern times. Chaplin was a master of social commentary and this film certainly doesn’t hold back. Here he takes on the mechanical age and its dehumanizing effect as machines take over jobs and generally give the Tramp a tough time. But, along the way he finds a kindred spirit in a girl simply referred to as the Gamin who struggles along in society as well. By the film’s end, the pair have failed at integrating into society and are on their own in the world. Although down on their luck, the Tramp and the Gamin resolve to continue onward, determined to discover what’s around the bend. The sense of hope portrayed in this moment is perfectly captured as the two walk down the road, off to live their lives as best they can. It's a beautiful picture.

Dreamworks Animation Stepping Up

For the first time in a while, it looks as if Dreamworks Animation has produced something that isn't middle-of-the-road with their latest film How to Train Your Dragon. At RottenTomatoes.com the film has received the best score of the year so far, sitting at a staggering 97% as of this writing. And it appears that it will easily win the weekend box office race - although that was to be expected. The quality of Dreamworks' films has been hit or miss with me, so this critical praise comes as a pleasant surprise, especially after watching the trailer earlier this year and thinking, "Meh." I'd like to see what all the fuss is about, although I still doubt I'll see it in theaters. I'd rather watch the film in glorious 2-D in the comfort of my home. There is one question that I have from this situation. With Pixar still maintaining the "gold standard" for animation, I wonder if How to Train Your Dragon will provide some decent competition?