The Good Dinosaur

Oh boy. I had a bad feeling about this one going in, and the questions immediately raised by the first few minutes only affirmed that ominous impression. Why make a film that displays, rather ostentatiously, technical mastery of hyperrealistic visuals, and then have cartoonishly rendered characters? The most likely answer is, the project was targeted towards children, and their uncritical viewing habits, from the start. That decision made it inevitable that a certain laziness of thought would be baked into the entire development. The results of that trajectory show painfully in every element of the script, where every plot point can be seen coming from the entire width of a carefully designed CGI landscape away. For instance, the main crisis, when it comes, is profoundly predictable. You know almost from the opening credits that a certain character is a goner. (You may ask yourself, is this a Disney film? Well, let’s see…dead parent? Yep. Okay, that checks out.) Little else in the movie’s circuitous story comes as a surprise, either. Some scenes and characters come across as not just predictable, but tedious and out of context, too. The whole thing is ultimately banal, formulaic and even nonsensical in key moments. (The main character, though portrayed as young, weak and scared, is apparently harder to kill than a Terminator.) Not even the title makes much sense. “Good” how? How was Arlo not good in the first place? Assuming the titular adjective is aspirational, wouldn’t “brave” or “wise” or even “not so hopeless” have made more sense? At least the flawlessly rendered scenery gives the viewer his money’s worth. It seems like that was the point of this exercise, showing off the technical wizardry while assuming that they could get away with a poorly developed story because the movie would be watched mostly by children. That’s not exactly what one should expect from the ostensible lead studio in animated cinema. Whether the dinosaur deserves the label “good” or not is debatable; but you couldn’t apply that adjective to this flick in several million years.

The Piano

More like "The Pian-Ho." Even setting aside the storyline's ugliness, there's way too much pretentiousness and self-awareness in the direction. Practically every shot screams "this is deep and significant" in an overly obvious way. None of the characters are particularly sympathetic either. An award-winning mess that, in these eyes, hits all the wrong notes.

Buffalo Soldiers

A strange movie. The story flies well below the radar, never hitting anything like a high note. Yet, it still holds the viewer's attention. A large amount of credit must go to Joaquin Phoenix, whose performance mirrors the story: understated but arresting nonetheless. Phoenix's supply room sharpie holds court throughout the film. It's a pleasure to watch him fleecing his way through an uninspiring Army career, and to watch him bounce back against all efforts to rein him in--all the while giving his character an implied depth that by all rights just shouldn't be there. Take a look and you'll see what I mean.

X2: X-Men United

Ah, I'm such a sucker for anything that reeks of "cool." Throw some special effects in front of me and I'm happy. I have a feeling I should have liked this movie less than I did, but I certainly don't think there was anything egregiously wrong with it. There's a subplot about a particularly religious mutant that opens the doors to a lot of speculation, but they left it thoroughly undeveloped. Too bad. You have to settle for fairly run of the mill sci-fi superhero stuff. Still, that's usually entertaining--and so it is here.

25th Hour

Probably the best movie Spike Lee has ever made, and that's saying a mouthful. Not one of the movie's characters--particularly Edward Norton's busted drug dealer--would normally generate much sympathy, yet the presentation of the story is so effective that the viewer can't help but go through the emotional wringer with them. Add to the effective story and wonderful performances a brilliant, haunting score, as well as the raw-nerve backdrop of immediate post-9/11 New York City, and the sum yields a magnificent piece of cinema. A "Best Of All" inductee.

X-Men

Well-done comic book adaptation. Some of the mutant powers are a bit on the outlandish side, but hey, you're not supposed to believe in this shit. Patrick Stewart and Ian McKellan provide just the right touch of gravitas to an otherwise popcorn-light movie.