Movie Review: Iron Man starring Robert Downey, Jr. 

Halle-freakin'-lujah! The summer of slick action flicks has finally begun. 

Nobody does 'cool' the way that Robert Downey, Jr. does. From scene one of his fantastic new action superhero movie Iron Man, you are swept up in the story, easily believing that he is his character: an uber-cool, ultra-intelligent, sexy powerhouse of a man (likely not that different from Downey himself).

In the film's title role, Downey plays Tony Stark, a multi-billionaire hotshot, robotics engineering whiz, and co-owner of his family's weapons manufacturing business. He is a man's man: that guy that all guys want to be, and that all women want to be with. He is a man who is equally feared and admired... epitomizing the scotch swilling, mojo swinging king of cool.

Yet no sooner does the film's introductory sequence get under way than Tony gets knocked off his high horse - in a major way. While traveling in Afghanistan to promote his latest line of weapons, his caravan is bombed and he is taken hostage. His captors want him to build them a weapon to use against the country he so loves and wants to protect. He refuses, then pretends to give in as he uses the supplies they provide to build hatch an escape plan. Instead of a bomb, he builds himself a computerized bulletproof 'iron' suit that is tough enough to essentially allow him to shoot, flamethrow - and even fly - his way through the terrorist village and escape certain death. On the way out, he notices something quite disturbing: that these terrorists managed to somehow get their hands on some of his company's weapons.

Three months later, when Tony manages to make it back home, he experiences a reawakening of the soul. Much to the chagrin of his business partner Obadiah Stane (Jeff Bridges), best friend Jim Rhodes (Terrence Howard), and doting personal assistant Pepper Potts (the luminous Gwyneth Paltrow), Tony decides to stop manufacturing weapons and instead focuses on perfecting his "Iron Man" design. Determined to stop evil once and for all, this is where the action in the flick starts to get good, as he builds, tests, and utilizes his kick-ass design in an effort to help rebuild U.S. military war efforts.

Smart, sassy, and oh-so-sexy, Iron Man - the latest in a line of movies based off of Marvel comic series - kicks off what is bound to be an exceptional summer of action flicks. Downey couldn't have been better - many times being the sole reason why my eyes were glued to the scene. Such a role for him has been a long-time coming - and he certainly doesn't squander this opportunity to turn his career around in a major way.

The movie is funny, entertaining, and sleek, while also managing to have a somewhat interesting story and a splash of heart as well (Stark's relationship with his close personal assistant Pepper Potts is particularly charming). Particularly engaging are the scenes that simply include Tony and his robotic lab assistant, an inanimate character that holds its own throughout the film as a comedic nod to younger viewers.

If there was any issue I had with the film at all, it was that I wanted more action from Iron Man himself; only once did we see him going out and kicking some ass - which made the movie feel a bit like the first in a three-part franchise, setting up the story for more action to come. And, I must say that Paltrow's talent was a bit squandered; I would have liked to see her step up to the plate a bit more, rather than simply play the standard Marvel damsel in distress.

But the set-up and execution of what is bound to be just the first in a new Marvel film franchise is a good one: fun, entertaining, and splashy. The best part? The ending leaves it wide open for a sequel.

• The Daily Dawdler Rating: A-

• Paramount Pictures, Rated PG-13. Tickets available online at Fandango.com. Official site: www.ironmanmovie.marvel.com.

• Watch the Trailer:

DVD Review: There Will Be Blood starring Daniel Day-Lewis and Paul Dano

There Will Be Blood - screenwriter/director Paul Thomas Anderson's Oscar-winning film about the 1920s oil industry - is not a film to be taken lightly. The characters are insane, their motivations dark. This is not a movie with a light at the end of any hypothetical tunnel; instead, it is a brutal portrayal of the cutthroat oil industry - and, as the story showcases a battle between oil men and church figureheads, without any clear lines of good and evil - it lends a moderately interesting, very creepy take on organized religion as well.

Even the music in There Will Be Blood (composed by Jonny Greenwood, the guitarist from Radiohead) can be considered its own character throughout this jarring film. It is disconcerting music to say the least; harsh string arrangements and creepy segways make the movie feel more like a horror flick than a period drama. And more often than not, it left me feeling unsettled and on edge. Unfortunately, where some may find it groundbreaking, I found it to be simply distracting from the rest of the movie.

It won't be any surprise when I tell you that the main reason for watching this film is Daniel Day-Lewis, who most deservedly won the Oscar for his riveting portrayal of 1920s oil man Daniel Plainview. In There Will Be Blood, Day-Lewis proves for his fans yet again that he is truly one of the most accomplished actors of our time; he not only acts the role, he becomes it: from the mannerisms to the speech patterns, to the brazen - and often insane - persona. Plainview is a man who will stop at nothing - and protect no one - to further his oil rigging business, and Day-Lewis captures this raw intensity with a passion that is unmatched.

On the flip side, Paul Dano's excessive overacting and simultaneous whining (as Plainview's rival, the town's local preacher) is enough to make you want to pull your hair out. His character is annoying with a capital A . Other personalities throughout the film - such as Daniel's adored and then abused son H.W. (played by Dillon Freasier as a boy and then, later, by Russell Harvard as a man - who, in both cases, end up presenting the character as oddly flat), and Kevin O'Connor as Daniel's creepy would-be brother Henry, leave the viewer with few characters to empathize with.

Yet even beyond that, my biggest issue with this film is that - for an epic drama - it spent much more time on developing the acting talent than it did nurturing the plotline. Often, I found myself wanting to tune out (although Day-Lewis's performance did keep me riveted nonetheless) because I couldn't find my footing in terms of caring for the story. All in all, I wondered: What's the point? Because this is primarily just a story of a self-destructive, careless, mean, and utterly insane man. There isn't any growth, there isn't any climactic rise and fall... nothing in this film left me even remotely caring: for its characters... or for its plot. And, quite frankly, I didn't care what happened to the characters - because their motivations - no matter how psychotic - were decidedly unclear. As a result, I felt physically and emotionally spent after watching There Will Be Blood - mostly because of Day-Lewis's unique brand of intensity, but also because I had to exert so much damn effort over the 158 running minutes of the film to enjoy it.

This is an interesting review to write, because There Will Be Blood is a must-see movie - but not, necessarily, one of Hollywood's great films. That is, all things considered, the performance of Daniel Day-Lewis, as well as the cinematographic vision portrayed by screenplay writer and director Paul Thomas Anderson, is well worth the strife you'll otherwise have to pay for sitting through this painfully long, brutally downcast, and often plodding film.

• The Daily Dawdler Rating: C

• Paramount Vantage, Rated R. DVD Release Date: 04/08/08. Available online at Amazon.com.

• Watch the Trailer:

DVD Review: Cloverfield starring Jessica Lucas, T.J. Miller, and Michael Stahl-David 

When the trailer for producer J.J. Abrams's latest action-mystery spectacle first hit theaters in July 2007 (attached to the blockbuster Transformers), it quickly became one of the most talked about trailers in recent movie history. It was mysterious, scary, and - most of all - hush-hush, as Abrams and others behind the film, including director Matt Reeves, were keeping the details of this much-anticipated film on the down-low. The Internet became abuzz, wondering what this new movie - known only as Cloverfield - was about. Speculation ran high... as did expectations, as audiences eagerly awaited its January 2008 theatrical release.

This rising anticipation, however, is almost precisely what did this movie in - causing low grosses at the box office and a wide onslaught of critical reviews. It seems that what people almost immediately did was take this movie too seriously - and, ultimately, it became its demise. Sadly, Cloverfield fell prey to what so many others have fallen to before: over-hype... ultimately leading to an underwhelming reception.

Now, however, with the DVD release of Cloverfield, the movie has a chance to make it to the masses, delivering at home what it failed to do in the theaters: thrills, scares, action, and pure entertainment. And let's not beat around the bush, folks: Cloverfield is just that. It's entertaining, scary, thrilling, and action-packed. What it is not, however, is something to be taken seriously.

Cloverfield is an apocalyptic monster tale set in an undeterminable timeframe in New York City. A creature - something larger, stranger, and more powerful than we've ever seen before - attacks N.Y., effectively demolishing anything in its path: from the Brooklyn Bridge to the Statue of Liberty and everything in between. The military intervenes and, eventually, the decision is made to completely level Manhattan in an attempt to derail the monstrous being - and to keep it from taking over the entire population of New York, not to mention the world. Filmed with a similar approach as The Blair Witch Project - with a handheld camera from the viewpoint of a Manhattan resident as he and his friends attempt to escape the destruction - the film feels real and gritty, while also maintaining a campy monster movie vibe. (If you get terribly motion sick, beware.) But most of all, the film succeeds at being scary; I screamed out loud so often that I was hoarse at the end of the movie. And, much to my delight, the fear was due to sheer monstrous terror; this is not a movie that "scares" through a veil of vast amounts blood and gore, but rather creeps up on you like the boogie man underneath your bed.

Critics of Cloverfield have claimed that there are too many likenesses in this story to the 9/11 terrorist attacks in order to be enjoyable - and, I'll admit, that I do see this parallel. (When the lead character is on the phone with his mother, crying and saying that he was "right there when it hit," it lands a bit too close to home.) Whereas I am not a New York resident and was lucky enough to not have a loved one perish on 9/11, I still can certainly see how the images of sheer destruction in New York City could be too real - and perhaps to timely - to entertain. However, I can't imagine that the film's producers meant to be blasé or insensitive by any means; instead, the Special Features on the DVD reveal that Abrams was merely trying to scare the shit out of viewers in a way that was "safe," by showcasing unrealistic - if not terrifying - monsters instead of terrorists. Good scary movies, after all, are a bit realistic - so that viewers can immerse themselves in the story and get genuinely terrified. Cloverfield, in this regard, hit the mark. And so. If you can manage not to take the film too seriously, and are ready to simply sit back and be entertained by a good, old fashioned monster takes Manhattan film, then by all means give this DVD a spin.

• The Daily Dawdler Rating: A-

• DVD Release Date: 04/22/08. Paramount Pictures, Rated PG-13. Available online at Amazon.com.

• Where Were You When Cloverfield Hit?

  In celebration of their release of the Cloverfield DVD on April 22nd, Paramount Pictures will launch a user-generated video contest to find out where you were when the Cloverfield Monster attacked.  Users will submit video entries of up to five minutes, showing their fictional accounts of what was happening to them when the Cloverfield monster attacked.  The entries will be judged by other users and will be narrowed down to the top 3 videos. Cloverfield Director Matt Reeves will choose the grand prize winner.  The prize is $4,500 and a Paramount Pictures DVD pack. Users can enter the contest at http://www.whencloverfieldhit.com/.

• Watch the Trailer: 

   

DVD Review: Sweeney Todd: The Demon Barber of Fleet Street starring Johnny Depp

Much hype has surrounded the big screen version of Sweeney Todd: The Demon Barber of Fleet Street. Golden Globe and Oscar wins and nods aside, for uber-fans of Tim Burton/Johnny Depp match-ups, this one is a doozy - and marks a quite remarkable adaptation of the classic Broadway musical. For the rest of us, however, Sweeney Todd is a bit like being on the outside of an inside joke: you simply won't get it.

In many ways, Sweeney Todd is a masterpiece. The way in which Tim Burton has filmed the graphic musical is phenomenal; it's no wonder it won the 2007 Oscar for Art Direction. But when it comes to the meat of the film (no pun intended), it falls horribly, terribly flat.

For starters, let's take the music. Award-winning Stephen Sondheim (musical creator for Sweeney Todd, as well as hits Into the Woods, Company, Follies, and many more) has long been regarded as one of the geniuses of Broadway. His lyrics are timeless and often humorous (he wrote for West Side Story, among others), and his timing is incredible. What he is not known for, however, is necessarily being musically catchy. In fact, his music is renowned for being difficult to sing and perform - as it often bounces around unmelodically, flying along by the seat of its pants. That could be why, then, his music doesn't translate really well to the big screen. Let's set aside the fact that Johnny Depp and Helena Bonham Carter can hardly sing (their acting performances mostly make up for what their voices lack) and consider this: Not once throughout the movie was there a song that I could take with me - that I could sing aloud or even hum along with. And so. When a musical doesn't have a ditty that sticks in your head, it can equal a problem translating to viewers - something that Sweeney Todd most definitely has trouble with.

Yet, that doesn't even begin to touch on the real trouble with this movie: it was simply uninteresting. Heavily accented singing voices didn't help the fact that many of the actors - and, therefore, plots - were difficult to understand. The characters were two - and sometimes one - dimensional at best, their relationships with one another tenuous and unbelievable. Add to that a few haphazard characters that were clearly cast only for their singing ability and it made for one unsettling film... and not in a good way. By the time that the gore (never mind that it's clearly fake) made its nasty appearance - with throats being deeply slashed left and right - it was not only boring but also unnecessary. I really didn't need to see the same scene again and again and again... as Mr. Todd continued to butcher his victims one after another in the same. exact. manner.

That's not to say that there wasn't at least a little bit of entertainment value with Sweeney Todd. In addition to Burton's filming style, Helena Bonham Carter stole the show. Her lines were often funny and well delivered; her character - the creepy Mrs. Lovett, owner of the local meat pie shop and Todd's partner in crime - was the driving force behind the show. Sadly, Depp could have thrown his considerable talent into the ring, but instead opted to play Mr. Todd as a more subtle - and way too serious - characterization of the original Broadway persona. (Perhaps he and his costars were too distracted with the complicated soundtrack to pull out their acting A-game?) I'll tell you: I've never been one to use the words "dull" and "lifeless" to describe Johnny Depp... but I suppose there's a first time for everything.

I'll admit that I don't always enjoy Tim Burton films; I like my movies to have a bit more performance and characterizations than his visual productions often have room for. However, even with that said, I must say that there is absolutely no excuse for a movie filled with staggering visuals, soaring musical numbers, gallons of blood, and even Johnny Depp for chrissakes, to be boring... and yet, it was.

• The Daily Dawdler Rating: D

• Dreamworks Pictures, Rated R. DVD Release Date: 04/01/08. Available online at Amazon.com.

• Watch the Trailer:

DVD Review: Enchanted starring Amy Adams and Patrick Dempsey 

Enchanted is the latest in a long line of Disney princess movies based on the same tired premise: girl wishes for boy, girl meets boy, girl gets boy... and lives happily ever after. This time, however, the "twist" is that the cartoon characters come to life - and even showcase a smidgeon of feminist backbone - in this delightful (yet, be clear: still very Disney) film.

The story tells the tale of the beautiful Giselle (Amy Adams), a fairy tale character who is about to marry her handsome Prince Edward (James Marsden). Edward's mother-in-law, however - the evil Queen (Susan Sarandon) - is determined not to let Edward marry, for if he does, she will lose the crown. As a result, she sends Giselle far, far away - to a land where there is no happily ever after:

New York City.

Many delightful laughs ensue - primarily because of the absolutely darling Amy Adams, who plays the naive cartoon-princess-turned-real-life-woman to an absolute tee. Adams, in fact, is the sole reason for watching the film. You can't help but smile when witnessing her infectious charm. Even though the story relies on classic fish out of water comedy, Adams somehow manages to make it all seem fresh and new. Cute, cute, cute.

Of course, the plot doesn't quite end there... The Evil Queen sends her minion out to do away with Giselle - while, at the same time, the daft Prince Edward (the hilarious James Marsden) attempts to rescue her. In the meantime, Giselle is making new friends of her own - particularly with the dashing divorce attorney Robert (Patrick Dempsey), a single father who is seemingly trying to teach his six-year old daughter the value of being a strong, independent woman.

This would all be fine and good except... (Spoiler Alert!) when Disney attempts to create a feminist subplot, it can't help but internally combust upon itself. When in one scene Robert is giving his daughter  Morgan a book on remarkable women throughout history (instead of the fairy tale princess story she of course really wanted), and then later remarks how he teaches Morgan these lessons so that she won't grow up to be disappointed - it ends up falling upon Giselle to teach Robert that "dreams really can come true." The message? That strong, independent women don't get to have their dreams come true; instead, they end up rigid, loveless, and divorced... or even dead... (as they point out in the story: Madame Curie may have been a remarkable woman but her "fairy tale ending" was death).

All in all, I'm not sure what's worse: Disney's same old tired, gender clichéd storylines - or the fact that their attempts at being "feminist" are sadly transparent and somehow ingenuine. Yes, this is a delightful story - with fun music, funny performances, and somewhat of a new twist on princess stories. But don't expect Disney to have come to its feminist sensibilities just yet. After all, to do away with its happily ever after fairy tale princess storylines would be to shoot its own massive corporate empire in the foot. 

• The Daily Dawdler Rating: B+

• Walt Disney Pictures, Rated PG. DVD Release Date: 03/18/08. Available online at Amazon.com.

• Watch the Trailer: 

DVD Review: Dan In Real Life starring Steve Carell

 Every over the top comedian has their one gem - the one where audiences can once and for all sit up and take notice of their actual acting ability. For Adam Sandler it was Punch-Drunk Love; for Jim Carrey it was Eternal Sunshine of the Spotless Mind; for Will Ferrell it was Stranger Than Fiction. Dan In Real Life is most definitely that role for Steve Carell. In it, he proves what most fans of his comedy already suspected: that he is capable of comedy, drama, and a lot of heart (even all three at once). Who'd have thought that Carell could play a romantic lead with finesse? But, oh, he can.

Dan In Real Life is pretty much a standard romantic comedy - but there is one thing that this film has above all the rest: an ensemble cast that is oozing with fun and heart. Carell plays the lead, Dan, a writer and single father of three daughters. Dan has given up on love, content with his life with his children and the satisfaction he finds from writing his "Dan In Real Life" advice column. That is, until he meets Marie (the luminous Juliette Binoche; I so love her!), a smart, beautiful woman with whom he has immediate chemistry. For anyone familiar with romantic comedies, it won't come as a surprise that this story isn't as easy as these two finding one another and hitting it off. No, conflict must ensue: this time, it occurs when Dan finds out that Marie is actually dating Dan's brother, Mitch (Dane Cook, who doesn't do as badly of a job as the younger brother as you might think).

Rounding out the family chemistry is John Mahoney as Dan's father, Dianne Wiest as his mother, Jessica Hecht as his sister, and a talented young cast of actors playing his daughters, nieces, and nephews. The cast provides a solid, supportive, and - most of all - believable, base for Dan to wallow in his awkward self-pity (something Carell does best) - as well as discover the strength to move on in life. What ensues is a fabulously charming, heartwarming tale of friendship, family, new love, and new beginnings.

All in all, the message from Dan In Real Life is just as much about finding a second chance at love as it is about the togetherness of family. For once, we get to see a family that has its dysfunctions - sure - but is also happy, loving, and close. One of my favorite moments in the film is seeing the family doing their weekend ritual: purchasing two copies of the local paper so that they can do a crossword contest: boys vs. girls. The chemistry between the entire family is palpable; either these actors really get along well in real life or they're faking it very, very well. I suppose what I'm trying to say is: I dare you not to smile during this film, and not to allow your heart to become even just a tad bit lighter.  

• The Daily Dawdler Rating: A

• Touchstone Pictures, Rated PG-13. DVD Release Date: 03/11/08. Available online at Amazon.com.

• Watch the Trailer:

Movie Review: Doomsday starring Rhona Mitra and Bob Hoskins 

Despite its B-level campiness, Doomsday is a top-notch feminist horror/sci-fi gorefest. I haven't had this much fun watching a bloody flick since... well, since Director/Writer Neil Marshall's last flick, The Descent. (If you like gory movies - but still want it to have a feminist twist - be sure to check it out.)

For starters, Doomsday stars the fabulous Rhona Mitra as an ass-kicking military Major named Eden Sinclair. She is a bad-ass, chain-smoking military leader who pulls off the role with a haughty - but not whiny - vibe, managing to be beautiful without being sexualized. To top it all off, her character comes complete with a delightfully campy fake eyeball that she can take out, roll down a hallway, and make recordings of her surroundings with. It is awe-freakin'-some - in the way that only a campy, B-level sci-fi flick can be.

In addition to the blood and gore - which is so over the top that it comes off as hilarious rather than disturbing - there are several laugh-worthy moments throughout the film, not the least of which is a scene in which a decapitated head screams while sailing through the air. Marshall is, in a few words, the Tarantino of sci-fi horror, and - in a way - the Joss Whedon of the gore genre. This is not to say that his heroines are necessarily overtly witty or even girly - but it is very clear that he respects gender boundaries and doesn't use a gory movie as an excuse to demoralize women or to create a form of 16-year old boy torture porn. It is quite evident that he loves his craft and - in Tarantino fashion - Doomsday provides a very obvious outlet for Marshall to explore and pay tribute to classic apocalyptic films such as the Mad Max trilogy.

Overall, what impressed me the most about Doomsday was its lead character. Rhona Mitra's stint as Major Sinclair solidly established herself as one of my favorite female protagonists of all time. She was strong and smart, capable and honorable: the perfect heroine. And - most astonishingly - her character wasn't sexed up. She wasn't about tits and ass; she was about kicking ass and taking names. She wore a modest haircut, sensible clothes and shoes, and small stud earrings. And the only part of her body that was shown off was exactly what you'd see if a man had been cast for the role: muscles. (Damn, she's built!) And this is precisely what brings me to the point that Doomsday could easily be considered a feminist movie: at any one point in the film, the lead character could have been of either gender - male or female - with the exact. same. result.

How's that for gender equity?

Okay, so I'm not pretending that Doomsday is a miraculous movie. The plot - which revolves around a virus that kills off most of the population of Scotland and leaves behind some truly psycho human beings - has more than a few holes. But this isn't a movie that is meant to be intellectual; it is a film that must be seen for one reason and one reason only: pure, raw entertainment value. Doomsday isn't for the faint-hearted; if you have trouble watching heads chopped off, bunnies being blown up, rampant cannibalism, and f-bombs a-flying, then this isn't the film for you. Then again, if you're capable of going into the film with your eyes wide open, your brain turned off, and your sense of humor ready to go - then then you'll love Doomsday... camp and all.

• The Daily Dawdler Rating: A-

• Rogue Pictures, Rated R. U.S. Release Date: 03/14/08. Tickets available online at Fandango.com.

• Watch the Trailer: 

   

DVD Review: Atonement starring Keira Knightley and James McAvoy

I just now finished watching Atonement and feel the need to immediately sit down and write a review - because if I don't get my thoughts out now, then I may never be able to. Atonement is one of those movies that is forgettable - and I'm getting the sense that in the morning, I won't remember that I even saw it at all.

Part of this has to do with the fact that Atonement - despite its seven Academy Award nominations - didn't really go anywhere. It started off strong - built up, in the middle, to become quite a snooze - and then left off with an unsettling, unsatisfying ending. And while Atonement did do some things right (costumes, soundtrack, cinematography, performances - to name a few), where it went awry is precisely where a movie such as this can't afford to: with the story.

Atonement is a film with an identity crisis. Is it a romance? A period epic? A war drama? A mystery? In some ways it's none of the above; in others, it's all of these things. Act 1 is a somewhat mysterious period piece set in 1935 London, with a story built upon a foundation of deceit, drama, and passion. It centers around the tale of a young girl named Briony (Saoirse Ronan) who - out of jealousy? spite? youthful misunderstanding? - spins a lie that sets off a series of dramatic consequences for her family, in particular her sister Cecilia (Keira Knightley) and her sister's lover, Robbie (James McAvoy).

Act 2 of the film showcases Robbie going off to France to fight in the war. The shots that director Joe Wright has captured throughout this middle part of the film are often spectacular (one scene, in particular, showcases a dramatic shot along the beach that is surely one of the longest, and most breathtaking, I've seen); however, it has been at the expense of the plot itself. Robbie at war is hardly a central part of the story at all - and given the timing of the release of the film, I can't help but feel as if the message is a bit preachy, if not overdone. The tension here is supposed to revolve around the lovelorn pair of Robbie and Cecilia and their heartbreak of not being able to be together... but, I'll tell you, a key problem, for me, with Atonement is that it didn't take the time to build upon the most important element of a romantic film: the romance. Apart from one sexual tryst, these two lovebirds didn't convey at all the fact that they were in love and, further, that we as viewers should care much about their tragic separation.

Yet the story continues, and Act 3 begins to pick up a bit of a pace again as we see Briony as a young woman (Romola Garai) trying to come to terms - to atone, if you will - with what she did to her family, and to her sister, as a girl. It is from here on out that the film flits in and out of drama and romance, fiction vs. nonfiction, fantasy vs. reality. Throughout, Atonement takes the liberty of skipping around in time with annoying subtitles that announce "four years later" and then "six months earlier" and then "three weeks earlier" and then expects us to not only keep up - but to care. Unfortunately, this haphazard style - combined with at least three different methods of storytelling and varying plotlines (some truth, some fantasy) - ultimately cause much of this Oscar nominated film to falter.

All in all, I did like Atonement... but I didn't love it. I suppose that, what with all of the hype, I was expecting more. Instead, I got an average drama with gargantuan aspirations. It took risks, and some of them - such as the astonishing performances (including Saoirse Ronan's Oscar nominated role) - paid off. Others, however - such as the storyline that didn't manage to satisfy - made me wish that I hadn't put myself through the few hours of watching it. 

• The Daily Dawdler Rating: C

• Focus Features, Rated R. DVD Release Date: 03/18/08. Available online at Amazon.com.

• Watch the Trailer: 

    

DVD Review: Beowulf starring Anthony Hopkins, Ray Winstone, and Angelina Jolie 

It isn't often that a movie is so bad that it makes me want to turn it off after just a few minutes of viewing. The unfortunate part for me, however (and, if you think about it, the good news for you) is that I have to keep on watching, regardless; that's my job.

Here, with the DVD release of Beowulf, this concept truly gave me a run for my money - as, like a bad accident where I can't turn away, I had to keep watching... even though it all made me want to vomit - and in more ways than one.

Let's count, shall we?

• The CGI alone was overdone to the point of distraction... and motion sickness;



• Gore and nudity abound in Beowulf... and not in a good way. Remember the Seinfeld episode that talked about the difference between 'good naked' and 'bad naked'? A CGI rendering of Anthony Hopkins's asscrack is most definitely, hurltasticly 'bad naked'; and



• Any movie that showcases a slobbering, bloodlusted monster that rips humans in half and then guzzles their blood is definitely, in my book, awarded a high yak factor.

Beowulf is at once visually overstimulating and intellectually dull. There is no story to speak of - and even less acting. The characters are just that: one-dimensional characterizations of the actors they once were, each worst than the last - from John Malkovich's smarmy character with a badly enhanced accent, to Anthony Hopkins's barf-worthy skeeziness, to the voice of Ray Winstone being slapped atop a CGI impersonation of an oaf who may as well be sputtering lines like, "Me, Tarzan, You, Jane," and, last - but certainly not least - to Angelina Jolie's character being reduced to a mere soft porn illustration. The movie would have been so much better if the CGI effects had been used in small doses. Instead, director Robert Zemeckis has opted to try for an effect that is utterly disconcerting: the characters look as if you could reach out and touch them - while at the same time harboring a vacant-eyed doll look that is truly haunting. As for the action of the film, gore takes center stage, while the dizzying special effects are just that: worthy of creating motion sickness in even the most stable of stomachs.

With that said, even setting aside my feminist sensibilities, this is one terrible movie. I'll give it a D (that is, instead of an F), but only for visual ingenuity. The rest, my friends, isn't worth the two hours of your life.

• The Daily Dawdler Rating: D

• Paramount Pictures, Unrated. DVD Release Date: 02/26/08. Available online at Amazon.com.

•  Watch the Trailer:

Book Review: Barefoot by Elin Hilderbrand 

One of the marks of a great story is the author's ability to craft multi-dimensional characters - characters that speak to you, that you care about, that you wish and dream about... so much so, in fact, that you can't put the book down because you are addicted to their stories. Barefoot is precisely one of these works - a book that is so well-crafted, so full of character and story that it's impossible to put down.

The tale is of two sisters, Vicki and Brenda, and Vicki's friend Melanie as the three women attempt to overcome some dramatic events in their lives by spending a summer at Vicki and Brenda's inherited beach house. Vicki, the wife and mother, is battling lung cancer; Brenda is trying to overcome a failed relationship and doomed career; and pregnant Melanie, for her part, is trying to emotionally and physically overcome the newly discovered knowledge that her husband may be in love with someone else. Yet while these women's stories may seem overly dramatic or even over the top with clichés, the truth is that the story that Hilderbrand has crafted for these characters is tender, intelligent, and gripping.

Barefoot is a tale of togetherness and sisterhood - and also of independence and discovering one's own life path and self-worth. It is poignant and heartbreaking; amusing and warm. It is a book that once you pick up, you won't want to put down - until you finally savor the final words. Even then, I challenge you not to think of these characters who will, undoubtedly, steal your heart with their strength and emotion - flaws and all.

• The Daily Dawdler Rating: A

• Hardcover, Little, Brown and Company, 419 pages. Available online at Amazon.com.