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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.

His childhood consistently ruined by the budding Metro Man (Brad Pitt), Megamind (Will Ferrell) becomes the super-villain he feels he was destined to be. But when his latest scheme actually succeeds in destroying Metro Man, he finds life curiously empty, and so sets about creating a new super-hero: Tighten (Jonah Hill). But Tighten, it turns out, is more villain than hero, while Megamind, thanks in no small part to a budding relationship with reporter Roxanne Ritchie (Tina Fey), moves ever closer to hero territory.

A Chicago man has a strange genetic disorder that makes him involuntarily travel through time. This film follows the unimaginably complicated romance he has with a woman who he has known since she was a little girl and they never get to age chronologically together, and sometimes share different memories of the past (which might be the future for the other...I know...I told you its complicated).

Based on the extremely popular book of the same name, this film sometimes seems to be more an exercise in adapting a very challenging screenplay than it is an engrossing romance. Rachel McAdams and Eric Bana do glow when interacting, as they make the love their characters share convincing and helps us stay with the story when the time line gets a bit convoluted. Meanwhile, the dialogue doesn't do them any favours and occasionally bogs things down.

"I've always believed that, done properly, armed robbery doesn't have to be a totally unpleasant experience."

You would think that Thelma And Louise would have been a blockbuster film. It's certainly become entrenched in our pop culture. The famous ending has been spoofed to death in other films and television shows, including the latest Star Trek, if you can believe that. You would think, but you'd be completely wrong. This was one of the movies that got a ton of critical attention and even some Academy Award attention. Ridley Scott, Geena Davis and Susan Sarandon all got nominated for statues. The film ended up only taking one for the screenplay. Silence Of The Lambs took the actress and director Oscars that year. The film only pulled in $45 million, hardly a blockbuster but more than enough to cover the $17 million budget. The truth is that 28 films finished with better numbers in 1991, but few of them still have the enduring fame that Thelma And Louise has in 2010.

"This despicable remake of the despicable 1978 film, I Spit On Your Grave adds yet another offense: a phony moral equivalency."

Roger Ebert is at it again. Over thirty years ago he pretty much hated the original film, but he didn't stop there. He extended his hatred to the fellow movie-goers he encountered as well. The 2010 remake appears to retain his disgust, and couldn't be prouder of the slight. Go figure.

"You're traveling through another dimension, a dimension not only of sight and sound but of mind; a journey into a wondrous land whose boundaries are that of imagination. That's the signpost up ahead  your next stop, the Twilight Zone."

"At the top of the world, there's a job only a few would dare. The Ice Road Truckers are back. Last year they chased their fortune over the frozen gauntlet of the Daulton. But this season, Alaska's most fearsome road is just the beginning...."

It was the peak of the 1970's, and CW McCall was teaching ordinary people like us about Cabover Petes with reefers on and getting by those Smokeys. The man practically started a new genre of music with the hit song Convoy. The song was so popular that the backup band used their cut to start a little project of their own. They became Mannheim Steamroller and used the cash to cut their own music. The movies started giving us things like Smokey And The Bear. Truckin' was in fashion, and a good time was had by all.

"Earth: a unique planet. Restless and dynamic. Continents shift and clash. Volcanoes erupt. Glaciers grow and recede. Titanic forces that are constantly at work, leaving a trail of geological mysteries behind."

I saw a bumper sticker recently that read; "Geologists dig classic rock". I should have taken it as an omen that I would be spending some quality time with a few geologists over these last couple of weeks. It started with the excellent BBC mini-series How The Earth Changed History and culminated with the 13 episodes of the second season of How The Earth Was Made. It might be easy to confuse these titles in your video store. But make no mistake about it. They are very different shows down to their core, pun intended.

"A vile bag of garbage named I Spit On Your Grave is playing in Chicago theaters this week. It is a movie so sick, reprehensible and contemptible that I can hardly believe it's playing in respectable theaters..."

Seldom has a film been so proud of a bad review like the one Roger Ebert delivered when he saw the film in 1980 during its limited Chicago area run that year. The rest of the review continues its rant against the violence and despicable nature of the film. But Ebert doesn't stop there. He extends his contempt for the audience who shared the film with him. He describes them as a "profoundly disturbing" crowd. He continued to describe the audience: "they were vicarious sex criminals." The man's certainly entitled to his opinion. Give those associated with I Spit On Your Grave some credit for refusing to engage in the insult. Instead they wore it like badge of honor and used it in several of the film's later release campaigns. Good for them.

You know you're in a lot of trouble when a movie opens up with the wedding of two dogs. Hi, I'm Baby. I'm the German Shepherd who runs security here at Upcomingdiscs. If you work for either UPS or Fed Ex, no introductions are necessary, and that spells R U N. I want to know why it is that you humans think that dogs want to look and act like people. We don't need no stinkin' sweaters. We don't want to walk on our hind legs. And we don't want to get married. Now I know why some politicians want a law to protect the definition of marriage. The truth is I get along just fine being a dog. I kind of have it made here. Someone always brings me my breakfast. I get belly rubs and treats all day long. The only job I have is protectin' this place, and that job's a cinch. Sure, it would be great to be able to open that fridge door by myself and the whole opposable-thumbs challenge gets in the way every now and again. But at the end of the day, it's a dog's life after all. There's a reason why people say stuff like that. You may think you have all the power, but when I give those delivery guys a piece of my mind, who do you think does all the runnin'? 'Nuff said.

Every now and then Gino asks me to look at some dog movies that get sent here. Okay, yeah, some of these things do happen to slip through my security net. Gino likes that, for the most part but, I'm afraid I really fell asleep on the job for letting Beverly Hills Chihuahua 2 get through the door. And someone's gonna pay down the road for that one. But it was my mistake, so it was only fair I had to watch the stupid thing and then write the review while Gino sits here and plays his pinball machine doing something called "poppin" all the dang time while I'm trying to concentrate. Sensitive ears here, by the way. Anyway... here's what I found out.

Character studies. They might be the most misunderstood movies in the business. Those who do understand them love them when they're done right. When the perfect balance of performance and direction create dynamic moments through character and to a lesser extent the story, we get pretty excited. I watched Stone recently, and I got pretty excited. But that's not the experience a lot of folks had. Perhaps because the film had a limited release in just over 100 theaters nationwide, the idea that it was an art-house or festival film might have put the mainstream folks off a bit. I would have thought that a cast that featured both Robert De Niro and Edward Norton would have more than compensated for the perception. Still, the film has not been treated very kindly by moviegoers and many critics. Again, I think that's because there are still a lot of people out there, critics included, who still don't understand the nature of a character study.

Jack (De Niro) works at a prison. He's a probation officer who must evaluate potential parolees for the parole board. His job is to sit with them and hold conversations akin to counseling sessions to get a feel for where their head is at. He makes his recommendation, and it carries a lot of weight, so he literally has these men's future in his hands. His wife (Conroy) is deeply religious, and the couple read from the Bible each night. The film's opening vignette reveals that Jack was a violent and unstable man in his youth and has obviously settled down. But now he appears to go through life numb. He's about to retire, and he's searching rather desperately for some meaning in his life. His worldview is about to be shaken with his final case.