Set Phasers to Awesome: Star Trek Into Darkness Review

Set a course for the nearest movie theater. Maximum warp. Star Trek Into Darkness is the kind of movie for which the term 'summer blockbuster' seems tailor made. From its very first frame to its climatic final showdown(s), Into Darkness is a rip-roaring, frantically paced, non-stop roller coaster ride of a movie that still manages to pack quite a bit of heart and humor into its running length. Don't let the 'Darkness' in the title fool you; this is escapist moviegoing at its best and it's an absolute blast.

Alright, so I'm going to forgo anything remotely resembling a plot description to avoid spoiling any of the major twists and turns that await you. (Believe me, there are plenty and you won't want them ruined and I shall not be the one to do so) Be warned, though, as very, very minor spoilers may await you here.

As many of you already know, I'm a big fan of what Abrams and co. did with the 2009 reboot of Star Trek. It felt like a breath of fresh air, reinjecting the franchise with new life and successfully ushering in a whole new legion of fans who couldn't have cared less about Star Trek previously. It was a superb reimagining of the Trek universe, upping the action while keeping its focus on what has always been Trek's finest staple: its characters. Sure, the long-winded philosophical discussions were all but extinguished, but this was in favor of an excitement level that previous Trek iterations could only dream of reaching.

Star Trek Into Darkness continues this trend, but ups the thrills to even greater heights. It's practically one set piece after the other, each as exhilirating as the last, if not more so. Abrams has a deft talent when it comes to crafting rousing action sequences and he directs these and his cast with unmistakable zeal, keeping things up and running at a breakneck speed that would make Spielberg proud. That's not to say Into Darkness isn't without its fair amount of flaws though. These are largely due to a slightly lazy screenplay coined by the pair who wrote the screenplay for the 2009 reboot: Roberto Orci and Alex Kurtzman, this time joined by Damon Lindelof of Lost fame. I call it slightly lazy because the screenwriting team borrows almost too slavishly from some of the best stories in the Star Trek archives. In fact, some of the movie's most affecting moments are stolen practically beat for beat and line for line from earlier films in the franchise, severely diminishing the emotional impact they seem to be aiming for. It comes across as more of a cheap imitation than a thoughtful homage and it robs Into Darkness of the sense of freshness that marked its predecessor.

But what Into Darkness lacks in storytelling prowess, it more than makes up for in pure spectacle and, most importantly, in developing its characters' relationships, providing the film with much needed heart and soul. As with the previous film, the primary focus relationship-wise is on the bromance between Kirk and Spock. Chris Pine's Kirk is still cocky and headstrong, but there are some new shades to the character as well and some powerful lessons left to be learned here before he can truly earn the title of  'Captain.' Zachary Quinto is, to put it bluntly, totally badass as Spock and I really love what he's doing with the character. He simultaneously honors Nimoy's iconic performance while adding his own unique spin. The chemistry between these two is unmistakable and makes all their scenes together a joy to watch.

Big Baddie John Harrison, played to perfection by Benedict "How 'bout that Baritone?" Cumberbatch, serves as a formidable foe for the Enterprise and her crew and Zoe Saldana continues to make the character of Uhura her own in all sorts of awesome ways. Even Scotty gets some geat moments here and, as far as I'm concerned, the more Simon Pegg you have in a movie, the better. With the exception of these main players, though, the rest of the supporting cast is painfully underdeveloped. Most disappointingly, Karl Urban's McCoy is criminally underutilized and doesn't get to do much more than spout quippy one-liners when the occasion calls for it. Considering how beloved this character is (And his larger role in both the television show and the earlier films), as well as Urban's superb talents, it's kind of a bummer to see 'Bones' reduced to this level. Sulu and Chekhov (John Cho and Anton Yelchin respectively) also struggle for screen time, but thankfully they each get nice moments to make up for it. (One of the best moments in the movie is Chekhov's reaction to Kirk ordering him to don the infamous red shirt) The same can't be said for Alice Eve's character Carol Markus, who serves practically no purpose other than to strip down to her bra and panties to satisfy drooling males the world over. Peter Weller as Carol's father fares a bit better, but still suffers from shallow characterization.

But despite these underdeveloped supporting roles and the screenplay's overreliance on milking previous Star Trek films for their iconic moments rather than paving its own way into a new frontier, Star Trek Into Darkness is pure entertainment from start to finish. Fans should be mostly pleased, depending on how willing they are to go along with Abrams' action-oriented vision for the long-running franchise. Even those who are still sour about this direction will probably have to begrudgingly admit that as far as big-budget, blockbusting entertainment goes, Into Darkness is a huge success.

FINAL RATING: 4/5

Iron Man 3: The First Good Third Superhero Movie

Okay, first and foremost, let's get one big thing out of the way: Iron Man 3 jumps the shark. Multiple Times. As if its life depended on it, really. There are so many moments in Shane Black's take on Tony Stark's universe that I quite simply didn't see coming because they are so outlandish, so utterly absurd, that half the time the movie seemed to be crumbling apart right before my eyes. Somehow, miraculously, it doesn't. In fact, Iron Man 3 is the first third superhero movie I've ever seen that wouldn't qualify as a complete disaster. It's actually pretty darn good and considering all the awful third superhero movies out there that's a pretty enormous accomplishment. It may not be the rousing success that one would hope for following the brilliance of its predecessor The Avengers, but it has enough high-flying entertainment value to distract from its flaws.

At the film's start, Tony Stark (Portrayed by the always magnetic and brilliant Robert Downey Jr.) is deeply unsettled, his slumber interrupted constantly by dreams of the alien attack on NYC that took place in The Avengers. He copes with his unstable psyche by building countless Iron Man suits, including a pretty spiffy new one that bombards him piece by piece until he's completely armored up - Though it doesn't always work as well as intended. His girlfriend Pepper Potts (Gwenyth Paltrow) doesn't take too kindly to these distractions or his refusal to address his psychological issues. Naturally, their relationship is starting to show signs of strain. Mr. Stark's life becomes more complicated when a mysterious terrorist known as The Mandarin (Ben Kingsley, awesome and bizarre in ways you won't quite see coming) begins setting off bombs in various locations, spreading chaos wherever he can. After one of his companions is seriously injured by one of the Mandarin's attacks, Stark takes it upon himself to take down The Mandarin personally. He also clashes with Aldrich Killian, a scientist who has quite the vendetta against Stark as a result of an encounter they'd had nearly a decade prior in which Stark completely blew him off. When The Mandarin retaliates against Stark by attacking his home, Stark embarks on a quest to find him and defeat him once and for all!

It seems pretty straightforward, right? I assure you it's not. Iron Man 3 wriggles its way out of every possible comic book movie convention and any other expectations you might have, sometimes to the point of utter ridiculousness and regularly at the expense of legitimate drama. I don't want to spoil anything for anyone, but there were numerous moments that caught me completely off guard. Some walk the very, very narrow line between funny and just pure camp. Despite this, the movie never falls apart completely, even when it comes dangerously close to doing so. In fact, I think it's best if one enters the movie with the expectation that it'll be a comedy with great action sequences. Does that sound a bit odd? Well, it shouldn't if you've seen Shane Black's other work in Lethal Weapon and Kiss Kiss Bang Bang.

And might I also add that I am thrilled to see that Black is back in action in such a big way. His screenplay for Iron Man 3 (coined with Drew Pearce) is full of zippy dialogue and frequent laugh-out-loud punchlines.
This is easily the funniest of the three Iron Man films and the movie's pace is brisk and upbeat, but the focus on zaniness comes at the expense of emotional depth or character development. Black's direction during the action sequences can also be a bit chaotic to the point where it's difficult to discern what's actually happening. It doesn't quite reach Quantum of Solace levels of awful action direction, but it comes a bit too close for comfort at times. Still, he gets it right more often than not. Especially during a daring airborne rescue in which Iron Man, only capable of carrying four passengers at one time, must rescue eleven or so after they've been sucked out of an airplane. It's edge of your seat excitement and easily the film's most thrilling moment. There's also a great subplot involving a young lad helping Stark repair his armor. It works because it never resorts to cloying, manipulative lameness that most scenes involving young kids seem to demand. In fact, some of the best moments come from Stark's interactions with this kid.

There are, however, plenty of subplots and supporting characters that don't work nearly as well. Guy Pearce gives it his all as Tony Stark's foe Aldrich Killian, but despite his Bond villian-esque charm, there's only so much he can do with such a two-dimensional character. Another pointless subplot involving a woman Tony had a one night fling with (Rebecca Hall in a rather forgettable supporting role) is superflous, muddled and, in one particular scene, threatens to bring the film's breakneck pace crashing down. Poor James Rhodes (Don Cheadle) is also shoved to the side for most of the proceedings until the epic finale. But, Cheadle is awesome when he gets his moments to shine.

Despite its flaws and mostly tongue-in-cheek nature, Iron Man 3 succeeds far more than it doesn't mainly due to the talents of Robert Downey Jr. and Shane Black's unique take on the superhero mythos. It never quite reaches the high bar set by the first Iron Man and doesn't come remotely close to touching The Avengers, but it's harmless summer action movie fun and gives me renewed hope for the future of the Marvel universe.

FINAL RATING: 3.5/5

A Brief Tribute to the Amazing Beyond All Reason Roger Ebert

On Thursday, 4/4, the news of beloved film critic Roger Ebert's passing hit me like a sledgehammer. Over the course of his long and prestigious career, his reviews have inspired countless individuals, entertaining and informing in equal measure in a way that no one else ever has. He opened the doors for so many of us to view films critically and to express those opinions often and with as high a level of enthusiasm and intellegence as we could muster.

As much as I loved the man, there were times when his reviews could be rather frustrating. As long as I live, I'll never understand how or why anyone could possible give Star Wars Episode I: The Phantom Menace a higher rating than The Lord of the Rings: The Fellowship of the Ring. But, when one read Ebert's critiques, it wasn't driven so much by the need for his personal opinions to mesh with your own; (Though that was always an added bonus) it was because it was just so damn enjoyable to see/hear what he had to say. Even in his most baffling critiques, he wrote with care and an eloquence that seemed to know no bounds. I may not have always agreed with him, but I always enjoyed reading his thoughts. And, to this day, no one can rip a movie to shreds quite like he has time and time again. (His review for M. Night Shyamalan's dreadful The Last Airbender is still a personal favorite of mine. Check it out:

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20100630/REVIEWS/100639999)

Regardless of whether or not we saw eye to eye on everything, Ebert's reviews always challenged me to develop my own reasons as to why I might have disagreed with him. In every review he composed, he always seemed to be saying, "Look, I liked the film and this is why I did. Plain and simple." Unlike some other critics, he never gave the impression that he was better than you. He just wanted to explain why he enjoyed a particular film or, in the opposite case, to try to save you from dishing out the $12 for something you might regret spending money on. It is something that has provided limitless inspiration as I continue to develop my voice as a writer and a critic.

The fact that in the last year of his life Ebert produced a higher amount of reviews than in any other year of his long-running career speaks volumes about his unshakable passion and his immense courage. Though he may no longer occupy the same physical plane, his voice will live on in every word he has ever written and will continue to provide his unique brand of wisdom for film lovers everywhere. Rest in peace, Mr. Ebert. You rule. So hard.

Shawn's Dashingly Splendiferously Most Anticipated Movies of 2013

Alright, let's face the facts: Thus far, 2013 hasn't been quite the knockout year for cinema that one would have hoped for. I haven't had the opportunity to see anything other than Warm Bodies myself, but judging from professional reviews and audience reactions alike, nothing released in the past few months has been worth getting all hot and bothered about. From A Good Day to Die Hard to the more recent Oz the Great and Powerful, the films I've been anticipating the most haven't elicited a response much more enthusiastic than an indifferent shrug of the shoulders.

But not all is lost, my friends and companions!! If the upcoming release calendar indicates anything, it's that we're just getting warmed up. And in order to give you hope to guide you through these droll and dreary moviegoing days of early 2013, I have compiled a list of the ten films that are almost certainly guaranteed to whet your whistle and exceed all your wildest hopes and dreams. These films are poised to ensure that 2013 ends up being a worthy year for cinema after all!

And now, without further delay, let's push off, shall we?

(Listed in alphabetical order, because ranking things has become oh so tiresome...Although, the first film on the list is easily the one I am most looking forward to...)

BEFORE MIDNIGHT (Release Date: May 24 - LIMITED)

Directed by Richard Linklater

Okay, so some of you may not be familiar with them, but Before Sunrise (1995) and Before Sunset (2004) - the  collaborations between esteemed director Richard Linklater and the multitalented writers/actors Ethan Hawke and Julie Delpy - are two entries in what could very well be the definitive cinematic love story of all time. They also happen to be my personal favorite films. Never has a relationship been examined and dissected in such an honest, heartfelt way and Hawke and Delpy as the two leads transcend simple performances to portray something much more genuine and, at times, heartbreakingly real. The first two entries have already been hailed as modern masterpieces and, judging from the early critical reaction it's garnered, Before Midnight may be the best of the lot.

Variety's Justin Chang praises the film, stating, "One of the great movie romances of the modern era achieves its richest and fullest expression...Exquisite, melancholy, hilarious, and cathartic."

BIG SUR (Release Date: TBD)
Directed by Michael Polish

I'll be the first to admit that Walter Salles' interpretation of Jack Kerouac's On the Road was lacking in nearly every which way. Its biggest fault was abandoning the spirit of its author's interpretations of life, love, friendship, and adventure. It seems almost fitting that On the Road's darker, more pessimistic spiritual sequel Big Sur should get its big screen due in the year following On the Road's release. The storyline follows the exploits of Kerouac's downward spiral into the alcoholism that would end his life.

Big Sur may not have a release date yet, but judging from its hypnotizing trailer, it promises to be quite the visual powerhouse and a powerful examination of a man at the end of his rope:

GRAVITY (Release Date: October 4)
Directed by Alfonso Cuaron

Alfonso Cuaron's first full length feature since his 2006 masterpiece Children of Men continues to be shrouded in mystery. All that's been released, aside from one or two production stills, is its plot synopsis: Two astronauts trapped on a damaged space station attempt to find their way back to Earth. We also know that George Clooney and Sandra Bullock are the film's leads and that Cuaron penned the screenplay with his son Jonas.

Honestly, Cuaron could make a movie about two people sitting in a living room and it would end up being a work of visual splendor and compelling drama, so I have nothing but high hopes for this one.

IRON MAN 3 (Release Date: May 3)
Directed by Shane Black

To be quite frank, the latest Iron Man 3 trailer isn't doing much for me. I'm not sure what it is about it that turns me off, but it doesn't matter; nothing could possibly deter my excitement for this one. The original Iron Man still stands tall as one of the finest superhero outings of all time. Even though its sequel's reputation isn't nearly as positive, I honestly don't mind it too much. Electing Shane Black to helm the third entry of this profitable series though was an inspired decision and is the primary reason I'm so excited to see how it turns out. Ben Kingsley as the Mandarin looks rather spectacular as well!

If Black manages to pull this one off though, it'll be the first quality third superhero movie ever made!! (And no, for those of you still wondering, The Dark Knight Rises doesn't DOESN'T count)

KILL YOUR DARLINGS (Release Date: TBD) - 
Directed by John Krokidas

Kill Your Darlings is second only to Before Midnight as the film I am most excited to see this year. The story follows the early, early days of the Beat Generation and its formation. It pays particular attention to the coming of age of Allen Ginsberg (Played by Daniel Radcliffe) and his friend/object of affection Lucien Carr (Dane DeHaan of Chronicle fame). I've always been particularly fond of Radcliffe and I'm very excited to see what he does with this role. DeHaan, one of the finest young actors of his generation, is also quickly becoming one of my favorites. You've also got Ben Foster as William Burroughs, Jack Huston as Jack Kerouac, and Michael C. Hall as the deeply disturbed David Kammerer. This is already shaping up to be one of the finest films of the year.

MAN OF STEEL (Release Date: June 14) -
Directed by Zack Snyder

Maybe I'm in the minority, but I was actually quite fond of Bryan Singer's oft-criticized Superman Returns. It wasn't quite the rousing event it should have been, but, despite what certain viewers have said, it certainly wasn't a travesty either. Even with my appreciation of the film, I can recognize its shortcomings - Slavish devotion to Richard Donner's iconic take on the character; a rather dull storyline; a dreadful Lois Lane; that damned Super Kid. As far as I'm concerned, Donner's original Superman film still stands tall as the Godfather of superhero flicks. The only issue with it now is that it is, along with its weaker sequels, hopelessly dated. Superman is very much in need of a revival and from what I've seen, Man of Steel may be up to the task.

Now as you may or may not already know, I'm not the biggest Zack Snyder fan; the guy knows how to make pretty pictures, but hasn't quite mastered the ability to back them up with meaningful storytelling. With this in mind, I'm still rather excited to see what he's cooked up here. The trailers have been nothing short of magnificent and the film's screenwriter David S. Goyer has hinted that these previews only just barely scratch the tip of the iceberg. Henry Cavill looks great in the role and Amy Adams seems the perfect choice for Lois. Will audiences finally embrace a modern day take on the Man of Steel? We'll have to wait until the summer to find out!

PACIFIC RIM (Release Date: July 12) 
Directed by Guillermo Del Toro

A movie in which giant, human operated robots do battle against enormous monsters written and directed by mastermind Guillermo Del Toro.

Um...do you really need me to explain why this will be awesome??

STAR TREK INTO DARKNESS (Release Date: May 17)
Directed by J.J. Abrams

Hardcore Trekkies may disagree with me (Or Trekkers, or whatever the hell you guys call yourselves now), but I'm of the strong opinion that J.J. Abrams was the best thing to happen to Star Trek in a long time. His 2009 reboot of the long dormant series brought the entire franchise roaring back to life with a sorely needed adrenaline kick. To date, it stands as the series' most critically acclaimed and financially successful entry and for good reason - It's pretty flipping awesome.

With all this in mind, there's really no reason to not be ecstatic for this long awaited sequel. Judging from all of its previews, the action levels have been kicked up to 11. Add Benedict Cumberbatch to the mix as a mysterious villain (Is he Khan?? IS HE????) and you've got the recipe for a summer sequel that seems destined to live up to its hype. I'm keeping my fingers crossed that Into Darkness will delve a bit more into the philosophy discussions that elevated the television series and the better films from being just mindless entertainment, but, regardless, I couldn't be more pumped.

THE WIND RISES (Release Date: TBD) - 
Directed by Hayao Miyazaki

I don't know too much about Hayao Miyazaki's latest effort other than it being some kind of biography about Jiro Horikoshi, the man who designed Japanese fighter planes. Truth be told, I'm not exactly sure if this is getting a US release date this year (It's being released in Japan this year, that's for certain). Nevertheless, Miyazaki is one of the greatest filmmakers of all time and I eagerly await anything he creates.

THE WORLD'S END (Release Date: August 23) - 
Directed by Edgar Wright

Shaun of the Dead and Hot Fuzz are easily two of the finest comedies ever created. Period. Any collaboration between Simon Pegg, Nick Frost, and writer/director Edgar Wright seems destined to be hilarious, genuinely exciting, and surprisingly touching. There may not be much in the way of a trailer or plot specifics regarding their latest release (Something about a group of buddies bar hopping as Armageddon happens all around them), but one thing's for certain: If it's anything like the trio's previous collaborations, it'll be something to get very excited about.


THERE YOU HAVE IT, FOLKS!! LET THE COUNTDOWN TO OUR FIRST RELEASE BEGIN! MAY IS ONLY A MONTH AWAY....

A Review for Warm Bodies!

Warm Bodies just might be the most adorable zombie movie you will ever see in all your life. This is both good and bad depending on your point of view. While it's harmless enough to warrant a polite pat on the back, it doesn't excel in any particular way. It's slightly funny, minimally scary, and not particularly inventive. The overall package is disappointing considering the charming concept at its core. Nevertheless, it's still moderately likeable even if the end results are disappointingly pedestrian.

Warm Bodies is the story of a zombie named 'R.' As far as he is aware, he used to be a pretty normal kid, but these days he's doomed to aimless wanderings and brain eatings. R falls in love with a beautiful young miss named Julie, rescuing her from a horrific fate after her and her friends are attacked during a mission to collect supplies. He sneaks her to his vacated plane hideout which is decorated with an assorted collection of various items he has discovered. As Julie soon discovers, R is not like other zombies. He's compassionate, caring, has a love for music and collecting old vinyl, and even attempts to communicate with her, albeit limitedly. As they spend more and more time together, R begins to exhibit more human qualities and Julie can't help but develop feelings for him. Naturally. And who can blame her? He's so dreamy!!

It may be attempting to bank off the success of the abysmal Twilight series, but Warm Bodies is both cleverer and more fun. It's also about as lukewarm as you can get. As I mentioned earlier, its intriguing concept shows promise for some really great ideas, but writer/director Jonathan Levine of 50/50 fame doesn't seem much interested in putting forth the effort to make this one really special. As a random side note, Levine's insistence on placing random contemporary tunes into the flick is awkward and makes him seem more like a film school student deparately trying to show off his music collection than anything else.

The performances are what really keep this whole project afloat. Nicholas Hoult as R is very charming and his costar Teresa Palmer's performance as his love interest is sweet and effective. She's kind of like Kristen Stewart...only prettier and, you know, talented or something.

So, at the end of the day, I can't really wholeheartedly recommend Warm Bodies, but it's harmless fun in an unaffecting way. You could do much, much worse and there's enough to enjoy here that it wouldn't qualify as a complete waste of time.

FINAL RATING: 3/5

Shawn Eastridge's Fantastically Spectacular Favorite Movies of 2012 Part 3: THE BIG TEN!!

And now we come to it at last! The great battle of our time! Also known as Part 3 to my super epic favorite films of 2012 list. We've waded through the muck of disappointment and all around awfulness and taken a gander at some of the more solid work to come out that year. Now, brace yourselves and behold the final chapter: The ten best films of 2012. 

Of course, this is all a matter of opinion, as you are more than well aware, but I hold these films in very high regard and truly believe them to be the best of the best.

First things first, there were many great films released last year and I, sadly, did not get a chance to see all of them. Here's a few of the ones that showed great potential and could have very well ended up on this list, but simply escaped my viewing pleasure:

- AMOUR

- THE COMEDY

- FLIGHT

- THE GREY

- THE IMPOSSIBLE

- THE INTOUCHABLES

- KILLER JOE

- THE RAID: REDEMPTION

- SAFETY NOT GUARANTEED

- WRECK-IT RALPH

Alright, enough dilly-dallying. Let's start things off with number ten on the list...

10. SEVEN PSYCHOPATHS
Writer/Director Martin McDonagh gained critical acclaim and recognition for his under the radar sleeper hit In Bruges. But, nothing in that film can quite compare to the unleashed inventiveness and all around zaniness of his follow up feature. With a knockout cast featuring the likes of Colin Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson, and even a funny, slightly terrifying turn from Tom Waits, Seven Psychopaths is hilarious, original, shockingly violent, and, most of all, tons of fun.

9. LINCOLN
What could have been a dry take on our 16th president's attempts to abolish slavery and end the Civil War ends up being a heartening tale of courage in the face of thoughtless prejudice. Master filmmaker Steven Spielberg delivers another strong outing and, thanks to his impeccable skill, he manages to keep our interest in the story and politics by developing its human side. It's to his credit that the film never drags, feels overbearing, or too dull and that's saying a lot coming from someone who couldn't care less about political debates and whatnot. This is also due to some phenomenal acting talent. Daniel Day Lewis is, as always, a marvel to behold and Tommy Lee Jones delivers one of his finest performances.

8. CABIN IN THE WOODS
The brainchild of Joss Whedon and his frequent collaborator Drew Goddard Cabin in the Woods may win the award for best concept of the year. It deserves an even shinier award for its flawless execution. Goddard's direction is spectacular, keeping us on the edge of our seats with countless twists and turns that keep the laughter and scares coming at every given moment. Any fan of horror films deserves to give this one a shot - It'll make all your dreams come true. Even if you're not a horror fan, you owe it to yourself to witness the brilliance of clever filmmaking that fires on all cylinders. Cabin in the Woods simultaneously announces the arrival of a new directing talent while serving as further confirmation that Whedon is an absolute genius.

7. THE PERKS OF BEING A WALLFLOWER
The Perks of Being a Wallflower thoroughly encapsulates everything that's wonderful/horrifying/heartbreaking about being a high school freshman and falling in love for the first time. At all turns, it is genuinely funny and, at times, all too painfully real. But as everyone is well aware, life is not without its fair share of struggles and Perks offers comfort in the knowledge that as long as one has friends by their side, things might turn out okay. The main story is a bit generic and every so often it teeters off into trite territory, but it's the characters and the performances that elevate this material beyond the usual high school experience schlock that tries to pass as cinema these days. Ezra Miller and Emma Watson are both charming and lovely in their roles, but the real star of the show is Logan Lerman as our main hero Charlie. His performance is remarkable and feels completely honest and heartfelt.

In a way, Perks feels like the best John Hughes movie John Hughes never made. I have a feeling if he was still with us today, he would give his enthusiastic seal of approval. It already feels like a timeless classic and rightfully so: It's a genuine treasure.

6. LIFE OF PI
Easily one of the most beautiful motion pictures of the year, if not the most beautiful. Life of Pi is the story of Pi Patel, the lone human survivor of a tragic shipwreck that killed his family and left him stranded in the middle of the Pacific Ocean. He shares a lifeboat with a vicious Bengal tiger named Richard Parker and, over the course of the film's running length, we are treated to visual splendor after visual splendor in addition to a remarkable story of courage, love, the meaning of suffering, and one's purpose in life. Shot in 3D, Life of Pi is best viewed in the format, taking full advantage of the technology. It is easily one of the best uses of 3D I've ever witnessed. But, visual mastery aside, Life of Pi is deeply moving and woven to perfection by director Ang Lee. It's emotionally satisfying and all around magnificent.

5. DJANGO UNCHAINED
Master filmmaker Quentin Tarantino's latest masterpiece is pure entertainment from beginning to end. The story of a slave turned bounty hunter and his journey to rescue his long lost wife from the clutches of a sinister madman is woven with Tarantino's unbeatable zest for storytelling and pure filmmaking. Every one of his films feels like a celebration of what cinema is capable of and Django is naturally no exception. It may, however, be the most all-around crowd pleasing film Tarantino has ever produced. Everything about it is on point from the spectacular dialogue to the superb casting choices which feature Jamie Foxx, Christoph Waltz, Kerry Washington, and a wonderful, menacing performance from Leonardo DiCaprio.

Has Tarantino reached his peak? Every time I think he's reached the pinnacle of his talent, he outdoes himself again. I didn't think he could do much better than Inglorious Basterds, but Django has proven me wrong. I hope he never stops making movies. The cinematic world would be a much darker place without him.

4. ARGO
Based on the true story of CIA operative Tony Mendez's mission to extract U.S. diplomats from Iran under the guise of a film crew, Argo is one of those perfect entertainments that seems to have everything going for it. Ben Affleck weaves this thrilling tale with superb, heartfelt gusto, and even gives a really fantastic performance as well. Seemingly overnight, Affleck has gone from being one of the most mocked performers in Hollywood to one of its most talented filmmakers. Supporting performances are also fantastic, especially Alan Arkin and John Goodman as producing mogul Lester Siegel and special effects guru John Chambers respectively. Argo's story is that of true courage in the face of insurmountable odds and it is unquestionably an outstanding film. If I have to make a pick for the Best Picture Oscar, I'd say this one deserves it the most.

3. MARVEL'S THE AVENGERS
Ladies and gentlemen, I have a confession to make: While watching Marvel's long awaited superhero team up flick, I shed a tear or two. It was the moment when the whole team has finally been assembled and the camera dramatically spins around them as they stare down their enemies before unleashing their might in the final showdown. It wasn't my inner fanboy that inspired these tears. Truth be told, I'm not a huge fan of Marvel's turnout prior to this one. Sure, I loved Iron Man, but its sequel along with The Incredible Hulk, Thor, and Captain America didn't do much for me. So, why then did I actually shed tears during this moment? Because, FINALLY, someone has chosen to treat these heroes with the respect they deserve and, as a result, something I never thought I would ever see happen actually happened: The superheroes finally teamed up in a single movie and it exceeded and shattered all expectations, becoming the new pinnacle for superhero filmmaking and big budget entertainment in general (Eat your heart out, Christopher Nolan).

Chalk it up to the genius that is Joss Whedon that The Avengers is not just exciting, but hilarious and heartfelt as well. The cast excels on all fronts, playing off each other perfectly and the action sequences are, no joke, some of the greatest that have ever been committed to celluloid. When it comes to pure entertainment value, The Avengers is a modern day Star Wars and, like that cinematic classic, it's a blockbusting masterpiece.

2. SKYFALL
The James Bond franchise has been a staple of cinema for the past fifty years. After twenty-two films of varying quality, who knew that with its 23rd entry, Bond would reach an all new level of outstanding quality. The genius of director Sam Mendes and this screenplay is that they honor everything that makes Bond such an enduring character while simultaneously pushing the character in all kinds of new directions that have yet to be explored. It's easily the best action flick of 2012, but it's also one of the more visually stunning films to be released this year. Arguably, THE most stunning. Cinematographer Roger Deakins simply has no equal and his work here is some of his best yet. A stunning sequence atop a skyscraper illuminated by neon lights and a subsequent fight scene backlit by said lights gives new meaning to the term 'jaw-dropping.'

Skyfall's performances are off the charts too, with Javier Bardem filling the role of the villain. He gives a spellbinding performance that cements him as one of the best baddies Bond has ever faced. Daniel Craig is, as always, spectacular and Judi Dench gives her finest performance in the series. The relationship between Bond and his boss M has never been more moving. The action and stunts are all top-notch, but don't be surprised if, for the first time in the series' history, you find yourself shedding a tear or two by the film's conclusion. Everything combines in a perfect package that makes Skyfall a thing of pure beauty.

1. MOONRISE KINGDOM
Time and time again writer/director Wes Anderson has enthralled and captivated us with his unique storytelling, his unprecedented storybook visuals, and heartfelt stories and characters. The man has made modern masterpiece after modern masterpiece from Rushmore and The Royal Tenenbaums to The Life Aquatic with Steve Zissou and The Darjeeling Limited (Both underrated gems). He's even got some animation under his belt with Fantastic Mr. Fox! He continually re-raises the bar for himself. And yet, somehow, Anderson surpasses even his own standards with what may very well be his masterpiece: Moonrise Kingdom. This story of young love is so touching, so utterly captivating and heartwarming, and so visually majestic, it's sometimes hard to believe it even exists. Its beauty is so immense that at times it's utterly heartbreaking.

Per usual, Anderson has filled his cast with some of the best actors working in this day and age: Edward Norton, Frances McDormand, Bruce Willis, and even Anderson regulars Bill Murray and Jason Schwartzman. The stars of the show, though, are newcomers Jared Gilman and Kara Hayward as the two leads. They both give seemingly effortless and delightful performances.

Anderson is in complete, utter control of his craft with Moonrise Kingdom. It spins its fairy tale story with a wink and a nudge, but it never once feels pretentious or false. Even with his fairy tale sensibilities and slightly exaggerated style, Wes Anderson is crafting some of the most genuine and heartfelt movies of this day and age. I can't wait to see what he has up his sleeve next!



And there you have it, my friends!! My top ten films of 2012! Thanks so much for reading! I hope you enjoyed it as much as I enjoyed writing it!!!! Fare thee well!!!

Shawn Eastridge's Fantastically Spectacular Favorite Movies of 2012 Part 2: The So Very Close 'Uns

Hello again!!

Welcome back to tonight's feature presentation of Shawn Eastridge's Fantastically Spectacular Favorite Movies of 2012!!

Tonight's topic is the Honorable Mentions. These are the ones I thoroughly enjoyed, but, for one reason or another, missed being in the top 10 by that much. They are all solid films and I highly recommend you give them a shot to see what you think!! 

And away we go!!

21 JUMP STREET
I really didn't expect to like this one, but color me pleasantly surprised. This remake/reboot/whatever of 21 Jump Street is surprisingly clever and hilarious. There's great chemistry between stars Jonah Hill and Channing Tatum and who knew Tatum could be so funny?

THE AMAZING SPIDER-MAN
I have a love/hate relationship with this one. On the one hand, The Amazing Spider-Man is serviceable entertainment with a cute little romance sandwiched in for good measure. On the other hand, it's also a remake of a vastly superior film that only just came out ten years prior. It also manages to completely butcher the character of Peter Parker, turning him into some kind of hip rebel without a cause instead of the awkward nerd who ends up with superpowers. Still, its charm is mostly genuine thanks to endearing performances from Andrew Garfield and Emma Stone. It can't help but feel slight, but it's no Spider-Man 3, that's for certain.

If, however, The Amazing Spider-Man 2 rolls around and it continues this reboot's trend of having nothing new to offer, I shall not be so forgiving.

BEASTS OF THE SOUTHERN WILD
A touching fairy tale-esque story about a young girl and her father living in a southern Louisiana bayou, disconnected from the perils of the 'real world.' Beasts of the Southern Wild sports some beautiful images, great performances, and a heart of gold. It didn't wow me quite as much as I hoped it would, but it's still enjoyable.

BERNIE
I love Richard Linklater. Plain and simple. That being said, his films as of late tend to be pretty hit or miss. Thankfully, Bernie is a definite hit. For the first time since 2004's excellent School of Rock, Linklater reunites with the fantastic (and highly underrated) Jack Black. This pseudo documentary about the true events involving Bernie Tiede is hilarious, disturbing, and somehow touching. Black gives one of the finest performances of his career and Linklater weaves this tale with the greatest of ease.

CHRONICLE
Chronicle takes a tired storyline (Superhero origin story) and an even more tired gimmick (Found footage) and brings them together to create something astonishingly fresh and unique. The story of three teens graced with superpowers by a mysterious spaceship is charming and fun. It features a knockout screenplay Max Landis (Yes, as in John Landis' son Max Landis) and excellent performances. Dane DeHaan as the lead character Andrew is the clear standout and, just as Senator Palpatine did with Anakin Skywalker, I shall be watching his career with great interest. The characters are what really set this film head and shoulders above the rest and I wouldn't be surprised to see this one gain some kind of classic status as time goes on.

CLOUD ATLAS
I went into Cloud Atlas well aware that it was nearly three hours long and written and directed by the Wachowski Brothers...*AHEM* siblings...along with Run Lola Run director Tom Tykwer. I was expecting it to be slow, talky, and pretentious. I was stunned to discover it was actually fun, exciting, and genuinely heartfelt. Sure, some of the storylines are extraneous, but somehow, Cloud Atlas managed to hold my interest thanks mostly to some top-notch direction and strong performances.

DREDD
I've never had the displeasure of viewing the unfortunate Sylvester Stallone outing that is 1995's Judge Dredd. Thanks to the latest iteration of the comic book character, I don't suppose I'll ever have to. Dredd is ridiculously violent and gleefully so. It's balls to the walls non-stop action with minimal storytelling and it makes no apologies; it doesn't have to. It's exciting and suspenseful and Karl Urban is so spectacular that I can barely stand it. It's a shame that this one flopped so badly at the box office, but I sense it has the makings of a true cult classic.

LOOPER
Looper is easily one of the most creative concepts of the past decade. Whoever thought up the idea that Joseph Gordon-Levitt should duke it out with a future version of himself portrayed by Bruce Willis is a genius. I presume we have Rian Johnson to thank for that. Sadly, there isn't much duking between these two guys and it's unfortunate that Johnson couldn't stick with the thrill of this initial concept. Instead he chooses to go off on a slightly less interesting tangent involving a romantic interest and a crazy psychic kid. Still, it wasn't enough to kill my enjoyment of the movie and Looper works well enough overall as a solid action flick. Nevertheless, I can't help but wonder what might have been...

THE MASTER
Paul Thomas Anderson is one of the greatest directors working in this day and age. The man is a genius. His visuals are on par with the greats of cinema, Kubrick included. Though his latest effort, The Master, is a bit too pretentious for its own good, it's still a visual marvel and features stunning performances from Joaquin Phoenix (Perhaps the best of his career) and Phillip Seymour Hoffman. Don't be surprised though if you find yourself feeling rather indifferent about the whole affair by its conclusion.

THIS IS NOT A FILM
A fascinating examination of one artist's fight to do what he loves, despite the restraints imposed upon him by his country. Iranian filmmaker Jafar Panahi is under house arrest and facing a twenty year ban from making movies. This doesn't stop him from inviting his friend over to film him as he discusses his plans for what his next project would have been. This is Not a Film serves as a powerful reminder of the freedoms we so often take for granted and is nothing short of inspirational.

And that's that for the Honorable Mentions section! Stay tuned for the big finale: The top ten of 2012!!