Quarantine (2008)

I've seen this type of movie plenty of times before -- but the irritation factor in this one was ridiculous. Electricity's out, so the only way we, the audience, can see what's going on is "Cloverfield" style (via a handheld camera's viewfinder) and there was so much overtalking and screaming that it went way beyond what could possibly be considered reasonable in any situation but especially for a movie where I'm trying to follow a story.

I was annoyed and rarely scared and I wanted to kick the panicky journo (Jennifer Carpenter) who couldn't stop repeat-screaming phrases and the idiot doctors and paramedics who were so slow to catch on that people who are foaming at the mouth/unresponsive or who had BIT THEIR MOTHERS IN THE NECK probably shouldn't be approached as though they're simply confused.

D+

The Big Hit (1998)

We kept looking at each other, slackjawed, and saying "this movie is SO STUPID!" But we also kept right on watching it and laughing at all the stupidity. At least no one on the screen seemed under any illusions that they were making art. That's something, eh?

C-

How to Lose Friends & Alienate People (2008)

Well, let's see. We've got "our hero" (loser with hidden depths), the "right girl" (smart with obvious depth), the "corporate douchebag" (successful but shallow), the "wrong girl" (uh, successful and shallow).

If you guessed the hero would go for the wrong girl while the right girl would go for the douchebag and that, when they finally get it right by choosing each other, the movie will end...well, you're either psychic or this movie isn't trying all that hard.

C

Music and Lyrics (2007)

Combines rom-com formula #1 (boy meets girl, boy loses girl, boy wins girl back) with rom-com formula #43: you know, the one where cynical older has-been is rejuvenated by full-of-life younger free spirit. But it's alright because Hugh Grant's the boy/has-been and Drew Barrymore's the girl/free spirit.

Much more entertaining than such a predictable story has a right to be. Full of witty one-liners and loads of charm.

B-

The Terminator (1984)

Third viewing -- this time to introduce it to my younger son, who loved it.

It's pretty hard to accurately review a movie from the '80s. I remember seeing it in college and having a reaction that was equal-parts thrill and amazement. Now I can see the cracks, but is it really fair to pick them out with my 2009 eyes, when those same eyes saw no problems in 1986? I think I just have to realize that to whine about it would be like grading a child's art assignment -- this was, truthfully, the very best they could do at the time, and it's pretty dang great.

B+

Wendy and Lucy (2008)

I really can't believe that Michelle Williams wasn't nominated for her work in this authentic-feeling picture of a woman on the brink of homelessness.

Everything goes wrong for Wendy in a small Oregon town, which should have had no more significance for her than being one of, probably, a dozen anonymous cities in which she pulled over to grab a quick nap in her car before continuing on to her ultimate destination: Alaska. After being banged awake by the security guard of the drugstore parking lot in which she's sleeping, her car refuses to take her any further. The next morning, she runs out of food for her dog Lucy, and then gets busted for shoplifting dog food. During the hours she's detained, Lucy disappears from the bike rack to which she was tied in front of the grocery store.

I found myself wondering if anybody could REALLY be as self-righteous as the grocery store employee who forcibly dragged Wendy back into the store and then lectured his boss on pressing charges, yessiree...and then, later, also wondering if anyone could truly be as naturally kind as the security guard who becomes almost a friend. Answers: yes and yes. People are constantly surprising me: both for ill and good.

A-

Last Chance Harvey (2008)

Some sweet moments, but the ending was so clichéd that it left me feeling rather deflated.

Basically, it's done pretty well, but I'm sure I've seen this about a zillion times before, just with 20-somethings rather than 50-somethings in the lead roles. Yes, I prefer discovering what these veterans can do with material over, say, what Megan Fox could muster, but better actors can only accomplish so much with tired material.

The most touching scenes were two in which the leads struggled with being unwanted and out-of-place (she on a blind date and he at his daughter's rehearsal dinner) -- episodes that came before they "found" each other.

C+

Eagle Eye (2008)

Stretched the limits of believability at every turn, but still kinda fun -- helped along quite a bit by two likable stars (though character development wasn't much of an issue).

Also **SPOILER ALERT** the fact that Shia LaBeouf's character survives was a real wimpout movie move. How stupid and insulting.

C

Ironweed (1987)

Jack Nicholson and Meryl Streep play street people as members of a loose family -- they and others in the same boat argue, nag, annoy, and depend on each other.

Though they do a decent job disappearing into their roles, the film gives us nothing BUT that. We see their fatigue and understand that Phelan (Nicholson) is having trouble keeping the past in its place on the timeline, but it's as tempting to look away from them on screen as it is to look away from bums on the street.

Bleak, overlong, and tragically boring.

D