DreamWorks

One of the more popular characters from the Shrek franchise steps into the starring spotlight here, in an adventure whose locale is rather different from the familiar swamp-forest-castle fairy-tale settings of the parent films. Seeking to steel magic beans from the husband-and-wife thugs Jack and Jill, Puss (Antonio Banderas) and rival Kitty Softpaws (Salma Hayek) become caught up in a wild scheme masterminded by the duplicitous Humpty Dumpty (Zach Galifianakis).

"Long ago in ancient China, the peacocks ruled over Gongmen City. They brought great joy and prosperity to the city, for they had invented fireworks. But their son, Lord Shen, saw darker power in the fireworks. What had brought color and joy could also bring darkness and destruction. Shen's troubled parents consulted a soothsayer. She foretold that if he continued down this dark path, he would be defeated by a warrior of black and white."

We all know who that warrior is, don't we?

Most film-goers could identify a Michael Bay film just by the techniques he uses — quick edits, sun drenched color palette, and lots of action. This usually means that Bay is suited more for low-brow action movies as opposed to high-concept films. In Pearl Harbor, Bay proved that he couldn’t handle anything that didn’t explode — resulting in a lopsided film. The first hour was a tedious love story; the last 90 minutes were better — including an excellent recreation of the surprise attack.

It's funny how the zeitgeist works, in that it is hardly unusual for two films with very similar high concepts to hit the screens at close to the same time. Dante's Peak and Volcano. Deep Impact and Armageddon. Hell, The Towering Inferno came about as a result of Fox and Warner cooperating in order to avoid making identical films. And this year, two animated features with super-villains as their protagonists: Despicable Me and our current subject: Megamind.

Alan Ball was pretty much an unknown to anyone but a few Hollywood insiders and fans of such television shows as Grace Under Fire and Cybill, where he wrote a mere total 10 episodes combined. When he began to shop the idea for American Beauty, he had originally conceived it as a stage production. Truth be told, he wasn't sure that there was a studio out there that would touch the awkward dark idea. But Dreamworks was still a young company with big ideas. If there was a studio out there that was going to take a flyer on a young talent with an oddball script, it was Dreamworks.

The cast and crew of I Love You, Man constantly refer to the film as a “bromance”. I’m not exactly sure what they mean by that, but I was actually pretty pleased with the clever turn on the typically droll romantic comedy. Maybe someone’s finally come up with a romantic comedy that actually can appeal to men. Whatever you call it, I Love You, Man is a bit of a refreshing take on today’s innuendo comedy. Writer/director John Hamburg has turned a pretty inane idea into a rather funny little comedy that just might be the compromise between a chick flick and something we won’t have to squirm in our seats just to make our dates happy.

The Soloist is based on a book written by Los Angeles Times columnist Steve Lopez. The book was based on a series of columns the writer assembled involving his relationship with a street musician he happened upon while searching for material. Lopez was touched by the musician, Nathaniel Ayers, who was playing a violin with only two remaining strings. Still he was able to produce music that made the writer do a double take and begin to wonder what he was doing out on the street. Ayers’ ramblings made it immediately obvious that the man was suffering from mental illness. Their first contact revealed that the street performer was once a student at Juilliard.

The Uninvited is yet another in a long string of Asian films that are translated and retooled for American audiences. It’s been a rather strong and long running trend that was kicked off with the wildly successful The Ring, from the Asian classic, Ringu. But, for every effective spooky thriller that comes out of this Asian pipeline, there appear to be a dozen or more complete failures. Some American directors think that all they need to do is throw fast moving creepy ghosts at us and often have them inhabit some modern electronic device. Presto! You have a horror movie for the purposes of generated cash. I’m happy to report that The Uninvited is a fresh approach

Citing personal history, I don’t do really well with horror films. As mentioned in other reviews, my parents let me see scary movies such as Exorcist & Poltergeist (as well as R-rated action films) when I was no more than ten years old. While, Poltergeist sits proudly in my DVD collection, I still have trouble to this day with Exorcist. Yes, I can be a scaredy cat at times. To be also perfectly honest, I was a bit worried when I received The Uninvited in the mail to review. After all, it proclaims proudly on the cover that it is made by the producers of the Ring(which I absolutely hated) & Disturbia. By the end of the movie, I was very pleasantly surprised.

The Last Kiss is based on the internationally acclaimed Italian movie L’ultimo bacio which was written by Gabriele Muccino and adapted for this American version by screenwriter Paul Haggis. From all reports the movie is remarkably similar to the Italian classic with only the ending modified. Haggis tells us in the extras of this release that he attempted to merely translate the original work and performed little in the way of modifications. From the looks of things, the ending was a bit of a struggle for these filmmakers,