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Review - Sky Captain and the World of Tomorrow

Sky Captain and the World of Tomorrow

Directed by - Kerry Conran

Starring - Jude Law, Gwyneth Paltrow, Giovanni Ribisi, Angelina Jolie, Bai Ling and Michael Gambon

With many films of today, originality is a thing of mystery, in which most films seem to follow the same formulaic approach to film making. Sky Captain and the World of Tomorrow zooms out of the abyss with its glossy, out of focus comic book look intriguing the eye and senses, and manages to deliver an entertaining story along the way.
Set in a war torn 1930's, Sky Captain and the World of Tomorrow pits man verse machine in which are bent on destroying the world. Jude Law plays ace-pilot Joe "Sky Captain" Sullivan, who must team up with his old flame, and fellow journalist Polly Perkins (Gwyneth Paltrow) to reveal the true reason behind the disappearance of two scientists and the frequent attacks on New York City from towering robots. Also teaming up with gadget whiz Dex (Giovanni Ribisi) and a hard kicking military commander Franky Cook (Angelina Jolie), they must uncover what is truly behind all of this, before the world comes to a devastating end.
For a debut film by writer/director Kerry Conran, Sky Captain and the World of Tomorrow is a visual and cinematic feast, throwing glossy, 1930's pop culture look after look at you. Looking as if it jumped straight from a classic comic book, Sky Captain features cunning nods to such classics as Flash Gordon and Buck Rogers. Aside from its visual grandeur, Sky Captain features a classic tale of good verse evil, pitting bad verse good while connecting two flames, that actually trots along at a well balanced pace. However, one is left in the wind about the characters and their past. Focusing simply at the story at hand, one may wonder aplenty about the war, and the characters involved. How did Joe first meet Polly? What's the connection between Dex and Franky? This is somewhat forgotten though, with it's fast paced, slick action that never slows to a drag, and keeps viewers gazing in comic awe.
Shot completely on a green screen, Kerry Conran provides a glorious look at New York City, with its towering sky scrapers looming over the streets filled with 1930's nostalgia. The CGI is top notch, never looking to over the top, and coming off just as your classic comics would if they jumped straight from the pages and into your hands. If only more writers and directors could take chances like Conrad, cinema would be a much more exciting place.
Jude Law pulls off his best performance this year (sorry Closer and Alfie fans), capturing the confident, at times overly cocky ace-pilot. Pulling off the figure as we would imagine it would be, Law decks himself out in perfect 1930's pilot garb, grabbing our childhood dreams and yanking it into a reality. With every cocky pilot comes a blond dame in distress, and Gwyneth Paltrow pulls no punches. Throwing expected yet well placed lines, I couldn't picture anyone else playing the flame to the one and only "Sky Captain". Giovanni Rabisi plays the mechanical genius Dex surprisingly well, pulling off the image of young, gum smacking mechanic wholly. Angelina Jolies leaves something to be desired though, unable to fully convince as Franky. Her acting doesn't feel real, leaving us wanting more from what could be a fantastically enriching character.
Aside from a few character bumps and role adjustments, Sky Captain and the World of Tomorrow is cinematic eye candy to be munched on. Bringing a new look to the screen, Kerry Conran explodes into the directing world with a worthy action/adventure piece that shouldn't be missed, even if Flash Gordon wasn't your thing.

Review - The Professional

The Professional

Directed by - Luc Besson

Starring - Jean Reno, Natalie Portman, Gary Oldman, Danny Aeillo and Peter Appel

Some material isn't touched on due to it's subject matter, but The Professional sees it differently, parring a 12 year old girl up with a professional hit man. Gracing such subject matters as innocence, lose, and love, The Professional is a film that knows when to tread lightly, and does it with precision.
From the first twenty minutes of The Professional, you can tell it will be a film daring enough to coast on subjects that aren't looked upon with a positive eye, but it also knows when to take a step back and tell a true tale of revenge and love. Jean Reno stars as Leon, a professional hit man, or "cleaner". or lives a live of seclusion, feasting on milk and sit ups, and set on what he does best; killing. When the family across the hall from his is murdered by a crooked cop played by Gary Oldman, the sole survivor, a twelve year old named Matilda (Natalie Portman), takes shelter under his arms, knowing he's the only person left she could go to. Upon entering her new and different living quarters, it is revealed to her what is profession is, and it raises an eyebrow. Now set on being a professional cleaner, Leon mus cope with a different lifestyle, which will end up changing it for good.
The Professional is a film that weaves together stylish action with a poignant tale of revenge and love between the young
survivor, who's only lost possession was her four year old brother. Though at times awkward in the delicate matters it touches but never going to over the top, The Professional shows the connection between Leon and Matilda, which from Leon's perspective is that of a loving, caring father. Leon teaches Matilda how to "clean" much like a father would teach his daughter how to ride a bicycle, while Leon grows through the actions of taking care of Matilda. However though, in one scene, Matilda makes an attempt to seduce Leon, declaring her love for him. This never goes where it seems its going to go, bringing a sense of relieve and satisfaction that only makes The Professional that much more sophisticated.
Luc Besson (La Femme Nikita, The Fifth Element) is known for his cinematography and fast paced action that is woven into an intriguing story. The Professional is the first film Luc shot in America, making it that much more important he delivers. Delivering full blown action that rattles the senses and nerves, The Professional is chock full of emotion that only makes the story seem more real. Not just a normal, shoot-em up action extravaganza, The Professional is a film that teaches the value of love between two complete opposites, and shows just how far one will stick their neck out for it.
Jean Reno is a regular of Bessons, and he doesn't miss his footing here. Playing the secluded hit man perfectly, Reno brings a sense of comfort to the screen that grows over time. Natalie Portman shines portraying the twelve year old who gets caught up in all this mayhem impeccably. Showing raw emotion that seems almost flawless, Portman shows character grows perfectly as the film winds down to its big bang of a conclusion.
The Professional is one of Luc Besson's action masterpieces, engraving his name in action cinema. Not only is the action stylish and explosive, but the acting done by Portman is one to be seen. In a time where action rules all and story is left in the dust, The Professional is a dream come true for action buffs, delivering with every bullet.

Review - Casablanca


Directed by - Michael Curtiz

Starring - Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, Dooley Wilson and Conrad Veidt

Regarded as one of the greatest films of all time, Casablanca is a simple tale of love and human sacrifice that was never expected to become what Casablanca has. The audience is taken in so immensely by the broad, colorful characters that gives you complete knowledge on why it has stood the test of time.
Set in Morocco in Nazi invading World War 2, Casablanca is the perfect getaway that is filled with lavish markets, vibrant hotels and cafes, and rampant with German soldiers and refugees. Here, we meet Ricky (Humphrey Bogart), suave, tough, hard talking owner of the locale club in Casablanca, where just about everyone heads to. From night to night, Ricky drinks alone, watching over his club without a glimpse of emotion. Then one night his long lost love Ilsa (Ingrid Bergman) walks back into his life, putting his emotions and life on the line.
When Casablanca was being made in 1944, nobody expected it to turn out the way it did. Made on a tight budget, Casablanca wasn't expected to emerge as anything better then what Warner Bros. normally pumps out. The script was loosely put together via the jotting down of notes that were hastily ran to the set, but it wasn't the script that exploded into the hearts of Americans. It was the actors and actress's who were so set in their characters that it seemed so believable. Every character brought something to the screen, grabbing you deeper into the simple tale of love.
Still after over sixty years of changing the way viewers looked at cinema, Casablanca shines with scenes that are still able to move me like no other film has. Each character who surprisingly can't be considered bad, even though some may lie, kill and many are cynical, brings an amazing presence to the screen with strong, quotable dialogue.
Each emotion of the characters are shown through close-ups, showing humor, romance and suspense all woven through a fantastic tale that unravels at your feet. Each main character is exuberantly done, bringing true, raw emotion to the screen, but the supporting cast does not falter behind. The richness of the supporting cast, from the smooth talking refugee who captures Ricky's attention, to the many abounded club of German Nazi's, who all perfect the world of Casablanca, showing us the complex time Ricky and Ilga were really caught up in.
What really makes the characters grow and amaze the viewer is their choices that sink into you towards the end. Ilga could have easily stayed back in Casablanca, leaving the two long lost lovers to wallow in their emotions for each other, but that would be all wrong. The ending allows us to view the nobility of Rick, and lets us experience his heroism. It's these choices by the main characters that really let us appreciate a film such as this.
Humphrey Bogart brings a screen presence that is both tough acting, hard talking as well as soft and lovable. His character seems to never fumble, acting as if he knew every move placed ahead of him. "I never make plans that far ahead". While indifferent to everything and everyone, all changes when his long lost love leaps back into his life, in which the audience is now able to see the change of Ricky's character.
Ingrid Bergman brings to life the woman of every mans dreams. The one that we couldn't get, or the one that just got away. She captures the role of heart breaker, and maker, so perfectly. She brings a beauty to the screen that seems as if it cannot be matched. Bergman played the role without knowing how it was going to end, which made her character seem all that more real, and Bergman doesn't stumble once.
Through each frame, you can see the style director Michael Curtiz (The Adventures of Robin Hood, Yankee Doodle Dandy) brought to the screen, but you can also see how firm Casablanca really is. Michael Curtiz brought so much to the screen, from actors and actress's who perfected their colorful characters, to a fantastic realm that allows us to dive into, getting lost in the world of Casablanca. Winning an Oscar for Best Picture wasn't all abound by the director, but also by the writers Julius J. Epstein, Philip G. Eptein and Howard Koch, who brilliantly brought the complex yet inviting world of Morocco to life.
Over sixty years later, Casablanca remains a film masterpiece that runs almost without any flaws. Casablanca is a film that just gets better after each viewing. From the vibrant characters, the rich script, to the immensely inviting black and white world, Casablanca is like a fine wine, only getting better with age.

Review - The Aviator

The Aviator

Directed by - Martin Scorsese

Starring - Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale, Gwen Stefani, Adam Scott, Kelli Garner, Ian Holm and Alan Alda

When Taxi Driver first premiered in 1976, Martin Scorsese was hailed a genius filmmaker. Now almost three decades later, Scorsese reveals another brilliant masterpiece that shows he still has what it takes to make cinema gold, and maybe even a Best Picture Oscar.
The Aviator not only shows you the pure genius of aviator Howard Hughes, but it plummets straight into the mind of Hughes, showing the insanity he went through and the demons that were barking at his back door. In 1932, Howard Hughes directed one of the most expensive films in history, Hells Angels. Costing nearly 20 million, Hughes put everything he had into the completion of this film, almost running him dry. Upon the success of his film, he began to take serious interest in the development of airplanes. While shaping the world of aviation, charming the woman of Hollywood and fighting off the U.S. Government, Howard Hughes was going mad, fighting off the many evils in his head, and losing.
Howard Hughes was a genius inventor and risk taker, pouring his own money into his work just so he could bring his dreams to life. Many of the things done by Hughes were not welcomed with open arms. With the agitation of attempting to make his dreams a reality, Hughes slowly slips into a paranoid, agoraphobic and germaphobic state that deteriorates his mind and body. By the time the millionaire shut himself away from the outside world, going deeper and deeper into his dark world, Hughes was already recognized as a hero who's own ambition and individualism engraved itself into the minds of the American people.
Scorsese reached new visual feet's with The Aviator, unraveling lush and period specific colors, sets and aeriel sequences. The aeriel shots are breathtaking, featuring swooping dog fights that take your breath away as the planes perform stunts for the making of Hells Angels. The film is ravishingly topped off with a fantastic, all to real crash sequence towards the end of the film. Scorsese has truly opened up new ground for himself, featuring CGI that doesn't go overboard, feeling just right.
Bringing back his workhorse from Gangs of New York, Scorsese used DiCaprio to his full potential, and it shows. Leonardo DiCaprio handles himself perfectly, depicting Hughes brilliance and madness with such ease. Up until this point, DiCaprio was just looked upon by some as a fantastic actor, but The Aviator gives new life and confidence into that statement. Cate Blanchett takes on the cheerful, charming role of Kathrine Hepburn, bringing the all to real fantasy world of 1930's Hollywood to life. Blanchett captures the uncanny attitude of Hepburn, and really brings her oh-so true character to the screen.
Showcasing an assortment of stars, weaved together in a brilliantly shown world of light and darkness, Scorsese molds Hughes into exactly what he was, flows and all, and gives us one heck of good time while doing it. The Aviator is cinema at its grandest, and Scorsese's utmost in over a decade.

Review - Maria Full of Grace

Maria Full of Grace

Directed by - Joshua Marston

Starring - Catalina Sandino Moreno, Virginia Ariza, Yenny Paola Vega, Johanna Andrea Mora and Evangelina Morales

One of the most dangerous and risky forms of gathering money for many foreign citizens is to become a mule. From being caught, to the seeping of the drugs while still inside, all the dangers of being a mule are there. Maria Full of Grace shows just that, while supplying plenty of emotion and suspense for this film to shine.
Unable to withstand her job in a florist within Columbia, in which she is treated without respect, Maria Alvarez (Catalina Sandino Moreno) quits, leaving her family to fend for themselves and the newly arrived infant. With a shaky family relationship, as well as a failing relationship with boyfriend Juan (Wilson Guerrero), Maria and friend Blanca (Yenny Paola Vega) decide to exert the new job offer of becoming a drug mule. Unsure of what they have gotten themselves into, they nervously board a plane bound for New York City with one hundred and twelve pellets sitting in their stomachs.
The American director Joshua Martson has created a tale of an incredible character who goes to such lengths just to make a living for herself and the ones she loves. The desire of this character for a brighter, more successful future leads her deep into unthinkable dangers that put her and loved ones on the line. The director grabs the viewers and thrusts them into a world in which is new and dark to us, yet maintains focus on Maria. From the first frame, we are intrigued by Maria's character and where her actions will take us. The events that she goes through shines more light on her, a character that we grow to care so much about.
Demonstrating a talent for screenwriting as well as directing, Joshua's deftness for putting characters in real emotional situations, as well as taut, tense ones, shows clearly. Winner of the Dramatic Audience Award at the 2004 Sundance Film Festival, as well as two major awards at the Cartagena Film Festival, the people have come to recognize his talent, as well as the stars.
In an award winning debut, Catalina Sandino Moreno lightens up the screen with a perfected performance that would seem to us as if she has been in front of the camera for years. Catalina plays her character so well, showing multiple emotions as her character grows from first frame to last. To prepare for the role, Catalina got a job at a flower plantation in which she worked for minimum wage under strict hours. Being fresh to the acting scene, Catalina wanted to jump into her role with as much knowledge, and it brandishes.
Shot in Equador, Joshua Martson manifests his talent for dazzling character emotion, as well as taut screenwriting, taking us far into the grave, dangerous world of drug harboring. Maria Full of Grace is one of those rare films that makes you appreciate the fine qualities that are brought to cinema. Through real emotion and situations that intrigue us to the fullest, Maria Full of Grace grabs you, and holds you in hours after viewing.

Review - Super Size Me

Super Size Me

Directed by - Morgan Spurlock

Starring - Morgan Spurlock and Dr. Daryl Isaacs

What's the one place where you can super size all three of your meals? What's the one place where you can get a Quarter Pounder for a buck? What's the one place where you can significantly raise your blood pressure, shoot your cholesterol up, and slowly turn your skin unhealthy all in a matter of 30 days? Super Size Me answers all those questions. Indulge.
For the past 30 days, Morgan Spurlock went rampant on a diet consisting of strictly McDonald's. Breakfast, lunch and dinner were all consumed either at McDonald's, or via delivery from McDonald's. Every time he was asked to super size his meal, he would, but only if they asked. Days before diving into this wild and crazy diet, he visited some nutritionists and doctors who all told him he was in perfect health and condition. Throughout his "Mcbinge", he would frequently revisit these health counselors to check his statistics, which included his blood pressure, weight, sodium intake and cholesterol. From the first couple of days, to the last "Mcsupper", Morgan Spurlock would feel the causes of this ludicrous diet.
Thrown into the Mcgriddle for breakfast and the Big Mac for supper are tedious, repetitive street interviews, in which citizens from New York, Maryland and Texas disport their lack of knowledge for anything nutritional, but demonstrated some knowledge for songs such as "The Big Mac" song. Is it too much that our own Americans don't know the lyrics to "The Pledge of Allegiance", but can perfectly flaunt their expertise for "onions, lettuce, sauce, tomato and cheese on a sesame seed bun"? Amongst all this stupidity are some obvious, yet knowledgeable pie charts displaying Americans intake of fast food, and their privation of nutrients.
Most people would smack their head upon hearing about a man who eats 5,000 calories a day, with little to no exercise a day. What do you think would happen? Well there is a point being shown within this high calorie documentary. It's that these companies are representing themselves as a place in which you can eat three meals a day for a pretty little penny. Most Americans don't eat three meals a day at McDonald's, or any other fast food restaurant, but it's the fact that they are showcasing themselves like this that is causing majority of the obesity. Whether you find his actions idiotic or not, the facts are shown to you and they are real.
Super Size Me is a nutrition class rolled into a one hundred minute documentary that reveals the evil sides of fast food and Americas obesity. As one who has been obese for seventeen years, to losing one hundred pounds and running four miles a day, this documentary is a life saver that should be shown to all health classes throughout America.

Review - In Good Company

In Good Company

Directed by - Paul Weitz

Starring - Dennis Quaid, Topher Grace, Scarlett Johansson, Marg Helgenberger, Selma Blair, David Paymer, Phillip Baker Hall and Malcolm McDowell

When About a Boy came out almost three years ago, Paul Weitz (American Pie, Down to Earth) was praised for his ability to throw vibrant, charming characters into very real situations that truly touch the heart. With In Good Company, it almost feels like deja vu, but fitter.
Dennis Quaid pulls off a much needed, and memorable performance as Dan Foreman, head of marketing for Sports America magazine. Upon the selling of the parent's company to a conglomerate, Dan is demoted by a young hot shot Carter Duryea, played lovingly by Topher Grace. Dan is a middle aged family man, who is in need of any position thrown at him, due to his wife Ann (Marg Hegenberger) being pregnant, and his daughter Alex (Scarlett Johansson) being accepted into NYU. Carter is a new, young workhorse who looks at work as the only thing he has going for him, especially after his wife (Selma Blair) of six months left him. Throwing together Sunday work meetings just to find someone to go out with, Carter manages to latch onto Dan and proceed to his house for dinner with the family. Soon after, Carter and Alex strike up a relationship that goes behind Dan's back, and will cause both to take a look at their personal and professional lives.
Filled with exuberant performances by Dennis Quaid, Topher Grace and Scarlett Johansson, In Good Company glistens with fantastic and charm-able characters that really add to the rich environment. Paul Weitz has managed to add just the right amount of humor, wit and charm into one picture, that it doesn't only work, it works with precision. Each character goes through real life situations that are just great to watch. Most people will recognize what the characters are going through, and that is true cinematic magic. The initial build up and break down, and vice versa, of each character is intriguing to it's fullest. Who knew a mid life crisis could be so interesting?
Dennis Quaid pulls off the middle aged family man perfectly, who must deal with two teenage daughters, that it seems as if your watching a real family go through their everyday life. Dennis manages to bring to the screen the perfect comfort level from his enamoring smile to his transition from working man to absorbing father. Everything about his role seems perfect and real, and that works inconceivably in this picture.
Topher Grace brings a much sought out wit to the screen. Taking on a role that is completely different from those that usually pertain to him, he soars with his charm of young business man who seemed to have stepped into the adult world a bit too soon. The like-ability of his character seems to come from the connection that sparks when on screen with Dennis, in which both work magic.
Scarlett Johansson has only been in a brash of wonderful films recently with Lost in Translation and Girl With a Pearl Earring, and she doesn't disappoint in this. With her lovable character in Lost in Translation, you just couldn't grow to hate her. With In Good Company, you can either love her or hate her. Coming off as a sweet college student, she quickly grows to what seems like a selfish, impulsive sleaze.
Not only does In Good Company show off Paul Weitz's talent and growth as a director, but it features some fantastic and surprising performances from Dennis Quaid and Topher Grace. Occasionally stumbling in attempting to find its true voice, In Good Company is a film that should be welcomed with open arms as a refreshing film in a mix of awful January releases.

Review - Cellular


Directed by - David R. Ellis

Starring - Kim Basinger, Chris Evans, Jason Statham and William H. Macy

Cell phone commercials. All you ever see and hear nowadays is commercials and advertisements about cell phone deals, cell phone plans and cell phone gadgets. Now, with Cellular, the new thriller from David R. Ellis (Final Destination 2) and screenwriter Larry Cohen (Phone Booth), we get an entire film focused on a cell phone call that must stay connected.
Imagine the possibility; Your hanging with your friend on the boardwalk one day, when your cell phone gets a call from a woman who has been kidnapped, and must rely on you to save her and her loved ones. Well, that is the situation for Ryan (Chris Evans) who's cell phone gets a call from Jessica Martin (Kim Bassinger), a 10th grade Biology teacher who has been kidnapped by men (Jason Statham), who plan on killing her and her family if they don't get what they want.
Written by Larry Cohen, who brought you Phone Booth, seems to have taken a vacation from writing tense, taut thrillers that leave you on the edge of your seat. The story takes place in what seems to be real time, giving you the sense that all that is coming at you is as real as it can get. Mixed within the story are predictable outcomes that leave you patting yourself on the back for assuming correctly what was going to happen. Everything that happens seems to happen due to sheer luck and coincidence, yet ultimately goes in favor of the good guys.
Thrown into the frantic running around is humor that attempts to make the picture seem real, but only makes your eyes roll back into your head. From the son of Jessica's name being Ricky, to the many obnoxious characters Ryan seems to always run head long into, Cellular gives you a giggle or two, then drops you like a bad cell phone plane.
The story doesn't give the audience enough time to take a liking to the characters, who just come off as annoying and meaningless. Kim Basinger only comes off annoying and at times incoherent as the wailing victim. Her dribbling character only makes us want her death to be quick and easy. Who are we suppose to be rooting for anyway? I know who I am, and it isn't a female. Chris Evans plays the role of a sarcastic, at times selfish beach boy perfectly, giving you hope that some reality may come to this loosely built story. All hope is lost however as his character quickly makes all the wrong decisions, leaving a red mark on your forehead from where you smacked yourself. I guess what they say is true, cell phone rays do fry your brain.
William H. Macy plays his role perfectly as the long running, neighborly cop who, while on his last day, gets thrown into the mix of things and must save the day. Pulling off a Ned Flanders look, Macy not only gets the look right, but the performance as well, as a stern, set man who knows when something is amiss and will go at nothing to solve his hopefully last crime. Jason Statham hits the nail on the head as the tough, at times calm kidnapper who frustratingly seems to make the most idiotic of moves, and doesn't seem to always be on the ball.
If you can let go of a predictable story strewn with incidental situations, that makes all the wrong moves when it comes to being a tense thriller, then you'll enjoy Cellular. If not, then Cellular may not be the best plane for your minutes.

Review - The Forgotten

The Forgotten

Directed by - Joseph Ruben

Starring - Julianne Moore, Dominic West, Gary Sinise, Alfre Woodard, Linus Roache and Anthony Edwards

Much like a jig saw puzzle, The Forgotten's story appears interesting and enjoyable. But once you begin to put the pieces together, that's when it becomes a tiring mess that leaves you disappointed once the final piece is put into place.
"Where is my son?" That is the question being asked in this supernatural thriller from director Joseph Ruben (Return to Paradise) who has crafted what seems to be a simple story of a woman who has lost her only child in a plane accident. Telly Paretta (Julianne Moore) remembers every single minute of her son Sam's eight year old life, right down to his boarding of his plane, and can't let go after fourteen months. Through psychiatric treatment from Dr. Munice (Gary Sinise), she attempts to work through the pain, as well as her estrangement from her husband Jim (Anthony Edwards).
One evening, without any evidence, everything she has ever loved changes. From the video tapes, to the two photo albums muddled with photos, her dead son is ripped from any evidence she ever had of his existence. Confused, Telly points an incriminating finger at her husband, who has to recollection of a son. Convinced of her husbands actions, Telly seeks the confirmation of Dr. Munice, only to be faced with what seems to be a cock-and-bull story that her son has never existed.
Convinced she is going insane, Telly seeks Ash (Dominic West), one of her sons friends father who has an untimely drinking problem. Convincing Ash of having a daughter, the two undertake a journey to prove the existence of their children. What lies ahead for Telly and Ash is more then what meets the eye.
At first, The Forgotten seems like a simple story of one woman's grief from the lose of her son, but soon spirals downhill into a mess of supernatural spills, with little thrills. The director doesn't seem to enjoy his audience to think, because The Forgotten spells out just about everything it throws at you. From the first signs of disappearance, to the hints of conspiracy, The Forgotten holds your hand all the way through. Although predictable, many questions are left unanswered, which feels like a missing piece in the unfinished jig saw.
Throwing in a mix of supernatural, The Forgotten doesn't just want you to think that someone is watching the protagonists, but it wants you to fully understand it. Using an overhead shot of the city in more ways then we could count, the director sinks the feeling that someone or something is out there, watching your every move. Upon its second or third aeriel shot, you feel frustrated at how much the director is giving away.
Filled with names you have either seen or heard before, the performances by Julianne Moore, Alfre Woodard and Anthony Edwards don't seem to exceed expectations. Lines seem strained, and emotions seem to run rampant. Through most of the film, you say to yourself, "I've seen these people pull off better. What's holding them back?" The script is loosely put together, pulling off a limp job, and not attempting to go the extra mile. Dominic West shines though, pulling of an alcoholic ex - hockey star.
The Forgotten feels exactly like what it is. A supernatural thriller that goes in all the wrong directions, leaving you with a dissatisfying taste in your mouth. Loosely put together with inconsiderable thrills, the only thing that can be appreciated is the CGI that is rather impressive, although used as one of the missing pieces in what could have been a completed puzzle.

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