Nightmare Alley

Just like a carny sideshow, this flick is filled with obvious humbug. The story takes its sweet time getting into the meat of the matter, mostly through creating a number of set ups that will have rather clear payoffs in scenes down the line. On the plus side, this film is visually fine to look at, both from a design standpoint and in terms of cinematography (both typical strengths of any Guillermo del Toro movie). Overall, there’s enough entertainment here to let you watch it without feeling like a total mark, but one has to suspect that this could have been a more dazzling show, without resorting to any sideshow tricks.

Alien: Resurrection

It becomes obvious early on that this flick was made mostly so Sigourney Weaver could have most, if not all, of the good lines. At least this time out she gets to trade in the previous outings' desperation for something more like occasional devilishness. That, and the bulk of this movie, are at least somewhat entertaining, even if at this point everything presented is redundant and derivative. Most interesting about this movie, in hindsight, is who was working behind the camera: Jean-Pierre Jeunet directed, and Joss Whedon wrote the script, both before going on to much bigger things. Say what you will about this franchise--and it's been all over the map--but it has always attracted top talent, even if its every presentation amounts to just a one note, dolled-up haunted house story. In this case, that's not enough to make a classic, but I never wanted to turn it off, either, so I guess that's a draw. Like its signature beastie, the series is a survivor.

Tangled

Mostly harmless. The most intriguing thing here comes from the fact that, in what is ostensibly a light, comedic animated romp, the most effective parts of this movie are the dramatic turns. I suspect that owes a lot to Mandy Moore, who can not only sing but proved early on in her career that she really had acting chops (even in voice over, that comes through). Other notable aspects: the film looks fabulous, not just in the technical way of all things animated these days, but in an artistic sense as well. This visual team has a really good set of eyes. On the down side, it's all very predictable. Yes, it's based on an old fairy tale, so how far afield can the story really go? Even so, there's much here that's well worn. Overall, it's worth a look, and maybe it's even good, if you're not too demanding. I just suspect that at this point in movie history, the audience for even a kiddie movie probably wants just a bit more.

Pacific Rim

I can almost see a single tear trickling down from Gamera’s eye: his genre is finally all grown up. And this is exactly that: the Japanese monster movie made to adult proportions. This one is entertaining, to be sure, but like its Japanese forebears it’s also very difficult to take seriously. Suspension of disbelief really gets thrown through the ringer; when a pan-dimensional portal at the bottom of the ocean that spits out giant monsters is NOT the most unbelievable part of your story...well, that’s a tough row to hoe. There’s also a little too much plot getting in the way of the smashing stuff, and some but not quite enough cheeky humor. It should be said, though: it looks great; first class visuals all the way. All together, acceptable, but not really something special in this day and age.

Drive

Undoubtedly, this movie was shot totally in digital format; that's too bad, since if it were film I could say that Style practically drips from every frame. This movie owns its look in a big way; there hasn't been a flick that so clearly defines its own form in a very long time. But this is not a complete triumph of style over substance; the audience gets a rich tableaux of character, story, and emotional depth to complement all that flashy, self-conscious mise-en-scene. Drive has been a polarizing work for many people, but you can count me among the impressed. This one is a powerful, absorbing, entertaining piece of work, and well worth your time.

Hellboy (2004)

You can't really go wrong with a big, red, demony Ron Perlman. (Seriously, can't that guy's face ever get a break?) A couple of leaps of illogic in the plot weigh it down, but most of the movie goes down as good fun.

Enemy At The Gates

Good cast, pretty good story, and you could hardly find a more dramatic setting than the battle of Stalingrad in 1942. Effective work by Jude Law, Rachel Weisz, the ever-reliable Joseph Finnes, and--with particularly stalwart distinction--Ed Harris. And by the way, if you've got a thing for seeing folks getting shot in the eye, this is your flick.