Inception

James: I’ve seen this already.  It’s the best film of the year so far and already amongst my favorite films ever.  What do I have to do to get you to go see it?  You’re not going yet?  Go.  Now.  No seriously, now.

Benn:  Best movie of the summer by far, and probably amongst the best of the year.

Dylan: My only concern is that I don’t have high enough expectations. Everytime I see the trailer, I get a little chubby in my pantaloons. Seeing it A.S.A.P.

Fil: I’m very obviously excited about this.  Hopefully some people (JAMES) don’t hype it too much.  Definitely going to see this tonight, go see it and form your own opinions people.

The Sorcerer’s Apprentice

James: This looks like it could be passably fun, but the reviews haven’t been great.

Benn:  Looks fun, and for some odd reason, Nick Cage looks very entertaining.

Dylan: These are the kind of roles that Nick Cage should be playing, the goofy, silly, wacky character (like his should-be Oscar nominated performance in Kick Ass!). If this doesn’t try to be serious in any way, then I wouldn’t be opposed to seeing it.

Fil: I’ve been dying to see a wizard battle on screen for a long time.  Harry Potter get’s close, but this looks like it might finally give me what I want.  Netflix’d

Despicable Me

James: The trailers look cute but forgettable and I’m still not 100% sure what this is even about.  I’m predicting this to be a decent rental.

Benn:  Looks fun, but not my thing really.

Dylan: I’m not really sure why I should care about this movie. There are yellow freaks and Steve Carell and that’s about all I gathered from the trailer. Not the top movie on my list.

Fil: I think this might be kind of a fun movie to see.  Not exactly something I expect greatness out of, but it might surprise us.  Focusing on the ancillary characters in trailers is usually a bad sign though. <-Formatting error…or subtle hint that my opinion is more important?

Anna: The teasers looked like shit, but I recently saw a full trailer and it looked fun. I’d give it a try.

Predators

James: I remember loving the first Predator when I was a kid, but I haven’t seen it in a long time.  I’m wary of reboots like this, but Robert Rodriguez did write the script so that’s saying something.

Benn:  I’m very, VERY curious to see how this film will turn out.  I’m totally in.

Dylan: It’s getting good buzz so far and like the original as a mindless action film. For nostalgia’s sake, I’ll try and catch this a few weeks down the line.

Fil:Vurry excited to see this, even though I’m assuming it will suck.  I’m never wary of anything, cuz I got BALLS, but we’ll see, I suppose.

Anna: I’m seeing it Sunday and I’m going in without expectations. It is my duty.

The Kids Are All Right [limited]

James: Y’know, I actually really liked this trailer.  I don’t expect to see this in theaters but it looks like it could be a pretty good film.

Benn:  Looks like a pretty good film.  Plus, its got Mark Ruffalo; ain’t nothing wrong with that.

Dylan: I’ve got a weird thing for Julianne Moore, so this trailer calls out to me in an awkward way that I won’t go into the details. The story looks fun and interesting, plus the rest of cast ain’t that bad either. In for this.

Fil:I agree with James, for once, this was a fun trailer, and it’s something I wouldn’t say no to seeing.  Plus, I love all the people in it, especially lesbian Julianne Moore.

Anna: Looks like a nice heartwarmer, but I’ll never make an effort to see it.

The Girl Who Played with Fire [limited]

James: I haven’t seen The Girl With the Dragon Tattoo yet, but the buzz is huge.  I take it this is the sequel?  Or just by the same author?  I’m unclear.

Benn:  This is the sequel to “The Girl With the Dragon Tattoo,” which was a phenomenal film.  Its a safe bet that “The Girl Who Played With Fire” will be just as great, if not even better.  This is the must see of the week.  Seriously, go to the University 6 theater at UCI and see it.

Dylan: The first film was a phenomenal mystery/thriller with that distinct Scandinavian style. It looks like this one will have more of an up tempo, action pace than the slower, putting-the-pieces-together pace of the first film. I’ll definitely see the sequel.

Fil:I also have not seen The Girl With the Dragon Tattoo but this looks pretty cool.  The images of fire, especially, are pretty striking in this trailer.  Probably should see the first one though.  Or set fire to some shit myself.

Anna: I usually take the time to read the book first, but the books have never interested me, nor have I seen the first movie. If the trailer for, “The Girl with the Dragon Tattoo” is just as cool, I’d give it a try for a cheap ticket.

[Rec] 2 [limited]

James: I saw the American remake of [Rec] (Quarantine), it was kind of fun in a watch it and forget it way.  I hear the original was better and this is its sequel but once again that’s a few too many steps away for me to consider watching it.

Benn:  I would really like to see the first film; it got fantastic reviews.  By the looks of the trailer, it looks really good.  I love the claustrophobic, documentary style filmmaking that went into this.

Dylan: Didn’t see the first one, but it doesn’t seem to matter for the looks of the sequel’s trailer. I have an affinity for shocker, virus films. I doubt this will be playing anywhere near me, so this will be a Netflixer film.

Fil: The original [Rec] was really pretty good, and I thought that Quarantine sucked monkey balls because it was essentially the same film.  This looks like the logical continuation of the story, so I’d definitely like to see this.

Anna: The mood of this movie looks pretty creepy, but I fucking hate zombie movies.

Great Directors [limited]

James: This looks kind of fascinating.  I’d watch it, but I’m a bit biased.

Benn:  I’m totally down to watch 10 directors discuss what it means to make films.  Plus, come on, David Lynch dude.  Who doesn’t want to hear what he has to say about anything.  I’d listen to this guy do weather forecasts all day long.

Dylan: The film studies minor in me is jumping at this and the documentary lover really wants to see this. I’m in.

Fil:My gut reaction to this kind of thing is that it’s pretentious nonsense, but I can see this being kinda interesting.  Not my kind of interesting, though.

Anna: Seems like they talk about everything that “artists” should already know, just filmed in a very pompous manner.

Grease (Sing-A-Long)

James: Most have seen this before.  If you haven’t, you’re not the audience for this.  If you have, singing along will be encouraged at these showings, I guess.  I’ll keep away myself.

Benn:  I’m not sure what I find worse: a Grease sing-a-long, or the legion of music theater geeks singing along with the film in the theater.

Dylan: Ug… not happening.

Fil: I’ve never seen Grease, so this means nothing to me.

Anna: I saw half of it and wasn’t impressed, but I’d rather see this than ever see any of the High School musicals. Plus John Travolta looks kinda cute.

The Twilight Saga: Eclipse

James: What do I say about Twilight that hasn’t been said on this site 100 times already?  The trailer looks better than the first two?  That doesn’t take much.

Benn:  You know what?  I’ve said everything that needs to be said about this terrible, terrible thing.  Google “Fur and Loathing, Lock Stock” for my summation of “Twilight.”

Dylan: I’ve heard this is the best of the Twilight movies thus far. It’s like ranking S.T.D’s in order of most tolerable. This represents all that is bad in the world.

Fil: I, for one, am so excited about this.  GO TEAM BUFFY!

Anna: All I’m going to say is that there was a trailer for this before Iron Man 2. Everybody in the theater made noises of disgust. I joined in.

The Last Airbender

James: Worst reviewed movie of the year?  I’m morbidly curious now, I think I’ll rent it at some point just to see.  Supposedly the show is fantastic, go watch that.

Benn:  I might see this just to see what a colossal failure looks like.

Dylan: M. Night Shamalamadingdong hasn’t given me a reason to trust him in a long time. That and this is getting scathing reviews. Plus, why are all the main characters, who are either Asian or Inuit in the show, cast as whities?

Fil:  Dude, I love the show, but this…I just can’t believe he messed up this bad.  This is supposed to be worse than The Happening.

Anna: The trailer for this looks really, really cool. But like everyone else, I’m wary from Shyamalan’s history. Plus I’ve heard of the flaming reviews. Fil probably won’t let me see it anyway until I watch the show.

Love Ranch

James: This just looks so unnotable, which is disappointing for Taylor Hackford.

Benn:  Good principal cast, but…eh.  I take this time to cross off “Seven Samurai” off of my list of shame.

Dylan: “There’s no business like ho-business.” Since there’s not much this week… I’m going to hit up the instant watch on Netflix. Time to play catch-up.

Fil: I think of all the movies coming out this weekend, this looks like the one I would be most likely to divert to after not wanting to see the others.

Anna: I’ll probably be seeing this a few weeks before the Academy Awards, because it looks suspiciously like it’s going to make it there.

Midnight Run is not an obscure movie, but its starting to get old enough that most audiences may not have heard of it.  And yet, there’s beginning to be some interest in a sequel to the film in the past few months.  Because I enjoy Charles Grodin in everything I’ve seen him in (you may know him from Beethoven, Dave, or So I Married an Axe Murderer), and it’s hard to miss with DeNiro, I decided to check it out.  The plot is very simple, it’s a road buddy movie in which DeNiro plays Jack Walsh, a bounty hunter hired to track down Charles Grodin’s white collar criminal and bring him across the country.  Shennanigans ensue.  Not only is the setup elegantly simple, but the film does a fantastic job of creating big stakes and lots of conflict.  After acquiring Grodin, DeNiro’s character has not one, not two, not three, but four different groups trying to track him down and get Grodin for their own very different desires and needs.  Complex character motivations from both DeNiro and Grodin’s characters really push them against each other nicely and create interesting dynamics alongside the different groups who are after them.

But the real charm of this film is the chemistry between the two leads.  The dynamic between the hard-ass Robert DeNiro and the overly well balanced and put-together Charles Grodin is just, to put it simply, entertaining.  Robert DeNiro does his job comedically but I think it’s Charles Grodin that really makes this pairing shine.  He usually is relegated to more supportive roles, but here he has a whole movie with which to pester his straight man.  And which really is the straight man?  Charles Grodin normally takes that role but here he has all the good lines.  There’s something about his ability with facial expressions that can get laughs on that alone, they’re not silly or over the top, but they manage to express a world of disapproval with just his eyes and a few wrinkles in his face.  A scene in which he imitates a government official is a particular highlight as he brings his stern sense of comedy forth.

This is a chase movie in every sense of the word and they find a lot to do.  At 130 minutes I was worried that the jig would wear out its welcome a little early, but, aside from the usual bits of ADD on my part (it seems to be getting bad of late) I had no problem sitting down and taking in the full duration of the film.  There’s plenty of twists and turns (not shocking, but logical and dynamic) to keep the plot going and it comes to a relatively climactic conclusion that keeps the focus on the characters.  It should be said that this is more than just a comedy, it’s also a well executed thriller as well.  Props also go to the supporting players, particularly Joe Pantoliano, who I always enjoy seeing, and Dennis Farina, who curses funnier than, well, anyone.

Those just looking for a fun entertaining night of movie watching tend to go straight for the new release wall, thinking that watching older films can be a chore.  That’s not the case even remotely with this film, I had a really good time watching it and anyone who appreciates a good comedy with some great acting and good character chemistry will too.  Check it out if you can find it.

As usual the podcast is available for download on iTunes and Podcast Alley. Please leave a review there if you haven’t yet, we need more listeners. And you can always listen to it right here on our web page.

Knight and Day

James: Cruise looks to be kind of back on his game, but Diaz looks way out of place. I guess that’s the point, but I’m still not too interested.

Benn:  Diaz is terrible, but Cruise looks like he’s having fun, and that goes a long way.  I won’t be lining up for the film, but I’ll say this, “Hey, its better than ‘The Killers’.”

Dylan: I remember when the early trailer came out that made this film look like a comedy/action flick. Cruise was playing a goofy character which works for him now (especially after Tropic Thunder). But now they’ve made it look like an action flick and I’ve lost all interest in seeing it.

Fil: Yeah this looks kind of fun. I mean, it’s not something I’d seek out, but it looks better than The Killers. Then again, watching paint peel was probably better than that film.

Anna: Looks kinda fun.

Grown Ups

James: Wasn’t interested at all until Ebert gave it a good review. I mean in the past I found these guys funny, could they do it again? Probably not.

Benn:  Watch old SNL episodes from the early 90′s instead.

Dylan: Rob Schneider is still alive?! Damn! This is anti-funny.

Fil: No. Not interested. None of these guys are funny anymore. And the comedy looks too…um…I guess the word I’m looking for is [pee turning blue because of the chemicals, but it's the adults who pee, not the kids]-ish. Fuck it.

Anna: I love most of the cast. I’d see it for $5 if I felt like watching something stupid and fun.

Restrepo [limited]

James: I feel like I heard good things about this, but it’s just not the kind of thing I’m that excited about.

Benn:  This actually looks like a really good war documentary.  It will be interesting to see the lifestyles and struggles from the soldiers’ raw, true perspectives.  Equal parts raw and noble, which is always the best mix.

Dylan: I’m really interested in seeing this, if it were in close proximity. It’s the kind of doc that is for or against the war, rather taking you through what soldiers are dealing with… and there aren’t any bad old guy jokes from comedians past their prime.

Fil: This looks pretty damn good. Always interested to see a war doc. Somehow I doubt I’ll be seeing it until it’s streaming on Netflix.

Anna: I have a hard enough time watching war movies. And the trailer suggest elements of reality TV – I wouldn’t watch it.

Wild Grass [LA/NY]

James: Trailer looks kind of interesting.

Benn:  The cinematography looks good, but…. the romantic element is just plain creepy.  Despite the onslaught of apparent critical acclaim, I can’t get over the idea of the whole romantic stalker thing going on here.

Dylan: Yeah… I don’t think so.

Fil: I’ve gotta say, this looks to be the best release this week. Still won’t see it. BECAUSE THERE ARE NO DINOSAURS IN IT.

Anna: Looks like a normal drama with a psyched up trailer.

Toy Story 3

James: My love for Pixar is endless, and these characters are the ones that started it all (well technically a VHS of their previous shorts was, but you get the idea).  I already have plans to see this Friday night.

Benn:  Come on, did you not read my review?

Dylan: Pixar can do no wrong. I’ve never seen a bad Pixar film and I don’t think I’ll be seeing on any time soon. See it!

Fil: Do I really need to say anything about this?  I don’t know anyone who hates Pixar.  I’m sure I’ll see this at some point, and I’ll love it.

Anna: I’ll be seeing this after I get home from Sacramento. Pixar hasn’t failed yet. I’ve been waiting eagerly ever since it was rumored on IMDB.

Jonah Hex

James: I wanted this to be good, but I think it’s pretty clear that it’s not going to be.  I’ve already heard it compared to Wild Wild West and Ghost Rider.  Too bad.  Go read the comic, it’s a good straightforward western.

Benn:  Looks weak.  Pass.

Dylan: Josh Brolin it too good for this. Megan Fox, however, is perfect as a trashy harlot in this trashy film. Avoiding it like the plague.

Fil: I like the character, and my fondest memory is definitely of an episode of Batman: TAS that he appeared on with Ra’s Al Ghul.  Cool stuff, but I really doubt this will be a good film.  Unfortunately, we have to wait for good DC movies.

Anna: This looks like a good idea (and comic) ruined by the rush to top Iron Man and Batman movies.

I Am Love [limited]

James: Despite the awesome Bernard Hermann-like score in the trailer, nothing here really grabbed my and I haven’t heard any critics muttering about this one.  Maybe if I hear more.

Benn:  Well, it looks visually stunning, and the sometimes cliched “trapped wife of rich family” story actually looks interesting.  I’d give it a go.

Dylan: I have no idea what’s going on. There’s a white chick and Italian food and melodrama… that’s about all I could gather.

Fil: I have no idea what this is about.  The trailer was…pretty?  I dunno, this is a bad trailer.

Anna: The trailer was enticing, but it looks like an artsy drama. Not my kind of movie.

Cyrus [limited]

James: I’ve heard nothing but good things about this movie, I really look forward to catching it when it gets close to me.

Benn:  I’m ambivalent towards the Duplass Brothers; some of their improvisational mumblecore stuff works and other parts don’t.  John C. Reilly is a solid actor though, and I enjoy films with a bigger budget that still retain indie sensibilities.

Dylan: It looks like a comedy that will try too hard to be awkwardly funny. I like J.C.R and Marisa Tomei is nice eye candy (and talented. A good combination). I’d give it a shot if someone talked me into it.

Fil: You know, this just isn’t my kind of movie.  I’m sure it’s good, but I doubt I’ll watch it until it’s streaming on Netflix.

Anna: I think it’s too early for Jonah Hill to try a serious role. This movie looks very awkward.

8: The Mormon Proposition [limited]

James: Trailer makes it look worthwhile, but it’s probably not something I’ll seek out with a lot on my plate.

Benn:  I love a documentaries like this.  Anything that puts the spotlight on the hypocritical, the corrupt, the shady, and the flat-dumb who have abused their power gets my nod of approval.

Dylan: This is a subject that pushes my buttons. The documentary looks very interesting, like a Watergate “follow the money” type of narrative. I’d see it if it were in close proximity and I had people to go with.

Fil: Man, don’t even get me started on Prop 8.  But this looks like a really good explanation to all those people who were flabbergasted when the results came up.  I’ll try to see this.

Anna: Fuck yeah, I’m seeing this.

For those unaware, The Descent is the 2005 horror film out of England written and directed by Neil Marshall.  It features what is essentially an all-female, all-British cast of adrenaline junkies who go spelunking in an uncharted set of caverns who find, to cop a cliché, more than they bargained for.  It’s a simple set-up and the plot stays simple throughout.  The leanness of the script is part of what makes it work so well.  It uses classic horror expediency to introduce its characters, using just a few lines of dialogue to really tell you exactly what each character is about before any of the action begins.  Instead of complex plotting it relies more on our central fears to execute its scenes of horror.  The scariest scenes rely on claustrophobia, fear of heights, or fear of the dark.  And one of the most effective screenwriting tactics, putting the characters in a place from the very beginning where they are truly trapped and there’s no way out.

These may seem like obvious tactics for a horror film, but the execution here is so excellent.  While certainly there’s a lot of geographical ground to cover, the script does not feel unlike the very common “entire episode trapped in an elevator, phone booth, apartment” type plot.  The movie takes place almost entirely in a cave.  And even though it’s a complex cave, that’s still all it is.  And yet, the screenwriters find plenty for the characters to do, and for them to be afraid of.  As with all isolating horror films (such as The Thing and The Mist), more horror is derived from the way humans can turn against each other or fail to cooperate properly than from the outside forces.  This is what can make horror truly interesting, a focus on the characters and their interactions, or lack thereof.  Splitting up the characters in the story has some interesting effects all its own.

The setting provides some really intriguing cinematographic opportunities.  Because there’s no sunlight in the caves, all the lights have to be motivated practically, either from flashlights or headlights or lanterns.  This allows the cinematographer to really paint the frame with light in a way that’s always intriguing and well composed.  The film also has a really interesting cast of almost a monochrome red, which is a welcome relief from the constant monochrome blue or the slightly less popular but simultaneously more irritating monochrome yellow.  The color scheme gives the film energy and frankly a violent feel that it might otherwise lack from the enclosed space.  Creative blocking of scenes as well as the use of various liquids also helps give it a really great atmosphere.

The Descent is a simple, well executed horror film that simply does its job and provides some great action.  It does complex things with its screenwriting and with its themes that many other horror films don’t manage, and it doesn’t shy away from much of anything.  Basically it’s a really good thrill ride for anyone with the strength of heart to endure it.  I highly recommend it if you like this style of film.

Get Him to the Greek

James: Aldous Snow was the highlight of Forgetting Sarah Marshall for me.  I’d be down to see more of this character.

Benn:  Love Brand’s Aldous Snow character, but I’m not crazy about Jonah Hill in anything but very small roles.  Still, it just might be worth.

Dylan: I’m in a small minority that doesn’t think Russel Brand is entertaining. However, I did like Forgetting Sarah Marshall for reasons other than Brand, and P. Diddy (Diddy Dome Diddy Doo, or whatever he’s called now) looks kind of funny. If a group is going, I wouldn’t be opposed.

Fil:  Russell Brand was the best part of Forgetting Sarah Marshall (that bitch) – so if given a choice between this and anything else but Splice, I’d probably see this.

Anna: I really liked Forgetting Sarah Marshall, so I probably wouldn’t go into this kicking and screaming. But it’s really not worth the movie ticket.

Killers

James: I feel like both of these two are usually the lesser of their normal romantic pairings, throw them into a tried and true formula and you get… sludge?  This isn’t being screened for critics, a really bad sign for a comedy.

Benn:  Whoever wrote the line,”Let’s just say I work for the blah blah blah and have a license to blah” should be publicly beaten with reeds.

Dylan: Just…. just, just no.

Fil:  I think I’ll stay home and watch Mr. and Mrs. Smith True Lies instead.  Then I’ll quietly drown myself for allowing this movie to be made.

Anna: I like Heigl, but this story is so unappealing.

Marmaduke

James: I always hated the Marmaduke comic strip, and the fact that he talks in this makes it even worse.

Benn: Go f*ck yourself.

Dylan: It’s movies like this that have me questioning Hollywood: Are they so scared to take a chance on an original idea that they resort to a stretch of an adaptation like this?

Fil:  Is this movie based on the hilarious comic strip with the same name?  Yeah? Then my answer is Fuck. No.

Anna: When I went and saw How to Train Your Dragon, there was a trailer for this. I must have been in a really good mood for this to look appealing, especially since it has Owen Wilson in it. But there is really no good reason to see this.

Splice

James: I hear this is kind of mis-marketed, and it’s a much different movie than it looks.  I’ve also heard it’s pretty good, but pretty fucked up.  I usually prefer to see these kinds of fucked up films at home where I can run away or take a break if necessary.

Benn:  Director Vincenzo Natali has never been one to write a simple, high-concept scifi film (see: Cube).  This looks like it will combine easy scares with very complex ideas.

Dylan: I’ve heard people talk about it with anticipation, and I do like Adrien Brody, but this doesn’t do anything for me.

Fil:  Of all the movies out this week, I think this is the one I’m most excited about – I love the actors, and the premise seems sufficiently creepy.  I’ll definitely be seeing this one.  And James?  You’re a pussy.

Anna: I’d rather go watch the Alien quadrology again.

Ondine [limited]

James:  Trailer lost me about halfway through, it seems like it could be alright but simply not for me.

Benn:  You know what?  I think it looks charming and well acted.  Besides, what else are you going to see, Marmaduke? (if answer is yes, see prior response to the film)

Dylan: Were they speaking English in the trailer? From what I was able to decipher, it The Little Mermaid with drinking and potential stabbing.

Fil:  I wouldn’t say no to this – I guess we’re looking at a serious take on a mermaid movie?  Sure, why not?

Anna: I honestly couldn’t understand a word they were saying in the trailer.

Finding Bliss [LA/NY]

James: I’m sure this is pretty bad, but I did laugh a couple times during the trailer.  Anyways I won’t be seeing it.

Benn:  Eh….. it is what it is.

Dylan: Generally, any trailer that starts off with, “For (character’s name)” and tells you what the movie is about lacks any creativity and originality. So no, pass.

Fil:  This…is not my kind of film, but I would totally watch it to hear all the funny porn titles.  Also, I think a friend of a friend of a friend might have done a webseries that was along these lines?

Anna: This looks very poorly made.

The plot here is pretty simple, as it should be.  There’s an important MaGuffin that needs to be brought from point A to point B by Jake Gyllenhaal’s Dastan, who after being adopted by the local king became a “prince of Persia.”  Oddly enough, after a brief prologue, the plot gets going with a premature invasion of another civilization because they are wrongly suspected of possessing weapons.  Sound familiar?  Throw in the Middle Eastern setting and the allegory becomes none-too-subtle.  Dastan carries guilt over not stopping the invasion when he knew better, just as many of the audience members might carry a similar guilt as Americans who willingly or unwillingly participated in an unjust war.  The message is that the truly noble would speak their mind, and those in charge should listen to advise but follow their heart.  Is it good that this summer blockbuster has something to say, even if it is a bit simplistic?  I suppose so, but the characters seem to get swept away by the political leanings of the film, instead of dictating the plot for their own reasons.

Speaking of plot, the script for this film is not structured as well as it could be.  There are some interesting ideas, but they’re put forth in a manner that is far too episodic for my tastes.  While this is common for “Road Movies,” which this film is structurally, the movie does aspire to have a grander narrative thread.  Because of this it would be far more fitting if the many different plot threads were introduced quicker so that they could be woven together more naturally.  Instead we have these plotlines, such as the entrepreneurial camel racers, that are designed to open up action set pieces and then fade away completely.  On the other hand, the Hassansins, who become one of the primary threats in the last act, aren’t introduced until late in act two.  This makes them feel like they come out of nowhere, doesn’t give them proper time to be set up as the dangerous entities that they should be, and perhaps more importantly, leaves Prince Dastan and his love interest without a proper villain to run from.  I was glad to see that Alfred Molina’s appearance as the sleazy camel racer was not a cameo, but there’s a way to make the plotlines build to something rather than take them on one at a time and then move to the next one.  I’ll give the script this, though, once it entered its final act I was finally able to move my mind outside of the architecture of the film and just become involved in the story that was going on.  It had finally built to a place where I was invested in the action, and could enjoy the movie for what it was.

Many have complained about the casting of the film, primarily due to the fact that it does not feature actors of Middle Eastern descent.  I would’ve loved to see a genuine Middle Eastern cast, but with a movie of this budget, you do need people who can put asses in seats.  So let’s put that complaint aside for a moment.  I thought that if you just look at the actors for their performances, they weren’t bad.  I actually really liked Gyllenhaal as Dastan, he was charming, a bit roguish, and I though he fit in with epic nature of a summer blockbuster much more than I would’ve expected.  His British accent wasn’t bad either, if you’re willing to accept that Persians sound like Brits.  A quick note on this common aspect of movie making: I do believe that if characters aren’t going to speak the actual language, what’s important is that they sound foreign or exotic in a natural way, and this can be better than using another accent that is technically a mishandling of English pronunciation.  I give similar props to Gemma Arterton.  While she’s a bit fair skinned to play a character like this, I actually liked the feistiness she gave to her performance, and enjoyed what she did overall.  Ben Kingsley is always good, and with his goatee, he seemed to fit in with the classic concept of the Middle Eastern advisor, be that a stereotype or not.  I did hope that the role would be more of a departure for him than it turned out to be, but had no problems with his execution.  Alfred Molina is the one actor who feels instantly natural in his character, and is a highlight of the film, but I don’t think he’s alone in giving a good performance.  I think the actors that played Gyllenhaal’s brothers were the weak point.  Not only did they look out of place, but they played their characters weak when they should be strong, and mostly walked around looking confused as to what to do or where they were.  The characters here are all archetypes or modeled after familiar cinematic figures, primarily from the Lucas/Spielberg brand of moviemaking, but let’s face it, these characters work.

From a technical standpoint, editing is what ruined the movie for me.  This occurred on the micro and macro level, and everything in between.  The excitement of the action scenes was often destroyed by quick cutting.  This is something that should give a grand sense of space and location within its action scenes, but was constantly ruined by too many close ups and cutting through pieces of choreography.  The parkour-like movements weren’t even completed in one flow, and really seeing them executed entirely is what makes them impressive.  This goes for scenes of dialogue as well, as an unnatural amount of close-ups somehow kept me as a viewer off my game in understanding how the characters were interacting with each other.  The flow from shot to shot was terrible, as if they had not at all been designed to go together, and didn’t know exactly what frame to transition on.  The pacing from scene to scene, and of the plot in general always felt very off as well, almost as if nobody on set understood how the movie was going to be put together.  It’s too bad because the sets and cinematography are actually quite beautiful to look at, and I remember several occasions where I wanted a chance to take in a gorgeous shot and had it stolen away from me before its time.

One final quibble, and for this one I have Avatar to blame.  When the first posters came out for this film, I marveled at their modern minimalistic typography (Helvetica I assume, but haven’t examined too closely).  I liked that they seemed to be admitting to the glossiness of what they were doing, and chose the fonts to match.  So it was to my horror when the location superscripts appeared in the Papyrus font, (much as Avatar’s subtitles did).  This font looks cheap, is unclear, and ugly.  It feigns culture where there is none.  When you’re putting words on a movie screen you need them primarily to be legible, and secondarily to set tone.  Papyrus unclear and it’s tone—to me—is elementary school class project.  For a movie of this budget I believe they could’ve done something much better, the movies titles certainly didn’t look bad.  This is a trend I hope stops as quickly as possible.

Let’s break this down as simply as possible.  Should you see Prince of Persia: The Sands of Time in theaters?  No, I barely felt I got my money’s worth at the matinee price, and at full price would’ve been severely disappointed.  Could it be a fun rental?  If you have a bunch of friends and want a movie that won’t hurt to talk over, I think there’s some fun moments and some enjoyable aspects, including an awesome knife-throwing fight.  For the most part, if you don’t watch the sheer quantity of movies that I do, I think there are likely better movies that you can spend your time on.