2.40:1 Widescreen (16:9)

The conclusion of the wildly popular Twilight saga last fall left a nation of haters high-fiving each other, but it also created a giant, heart-shaped vacuum in Hollywood. Where is the industry’s next big young adult-oriented, human-on-supernatural romance franchise going to come from? This past Valentine’s Day was as good a time as any to find out if Beautiful Creatures — based on Kami Garcia and Margaret Stohl’s “Caster Chronicles” series — was up to the task.

Ethan Wate (Alden Ehrenreich) can’t wait to get out of Gatlin, South Carolina. Thanks to some nimble narration, Ethan explains why he feels trapped in his fictional dead-end town, where virtually every important piece of literature is on the banned list and people enthusiastically re-enact the Civil War as if they’re expecting a different result. Ethan’s spirits brighten when he meets moody outsider Lena Duchannes (Alice Englert), who is literally the girl of his dreams. You see, Ethan has been having the same dream every night about a mysterious dark-haired beauty; unfortunately, he always dies at the end. After a rocky start (is there any other kind?), the two grow closer and Ethan discovers that Lena is a witch.

In 1363, the Black Plague had done its damage, leaving most infected areas uninhabitable. Escape — known in Norway as Flukt — is the story of a family that sets out into the countryside to get away from the plague and hopefully find a new place to rebuild their lives. But just as I’m thinking this is going to be a movie about sticking together and fighting to survive the elements, it shifts gears to something far darker but not all that original.

The small family is attacked and most are brutally slain; only Signe (Isabel Christine Andeasen), the daughter, manages to survive. Instead of simply killing the girl, the attackers decide to keep her around. When this decision was made by the attackers my mind instantly went to thinking they were going to torture and rape the girl. It seems extreme, but after seeing these attackers shoot down a young boy with a crossbow, well it should be safe to assume these killers are ruthless. Insert twist; back at their camp they have a little girl named Frigg. It seems all they want is for Frigg to have a sister.

“Whose move is it?”

To be honest, I’m not much of a chess player. I know how all the pieces move and I enjoy the mental challenge, but I never really committed to becoming proficient at the game. (Now, if we’re talking Connect Four, you don’t want to run into me in a dark alley.) Pawn establishes its intriguing chess motif early on, before almost completely abandoning it in favor of becoming more of a generically twisty thriller.

 Looking back, it’s amazing how far visual effects have come since 1988.  I can remember sitting in the theater watching Willow for the first time and believing everything I saw up on the screen wasn’t the work of movie magic, but I believed it to be reality.  Perhaps some far off land where there are swordsmen fighting evil sorcerers and trolls lurk in the shadows of abandoned castles.  This is a thought I’d like to believe I’m not the only one that hoped this was a reality, but if I am I’m fine with that.  Willow came out at a time when Hollywood was trying to bring large-scale fantasy to the screen with other releases like Excalibur, Legend and Conan.  Though these films are their own kind of awesome, the digital effects still hadn’t quite reached the level they needed to be to make these worlds as immersive as the Lord of the Rings films, for instance.  Where the film may not have held up over the years with the special effects, it’s the story that manages to captivate this viewer 25 years later.

Willow Ufgood (Warwick Davis) is not your ordinary hero, and for 1988 seeing a little person as the star of a film is even further for ordinary.  But Willow isn’t about ordinary; it’s about a journey of fantastic proportions where even the tiniest of men can be the biggest of heroes.  When Willow is tasked to return a baby to her people, he must venture away from his village to a land that seems to be on the verge of war, something Willow and his fellow dwarves want nothing to do with.  During Willow’s journey to find a proper protector for the baby, he encounters Madmartigan (Val Kilmer), who claims to be the greatest swordsmen that ever lived; unfortunately when he’s found he’s been left for dead in a cage.  This is one of the roles that has me wondering what happened to Kilmer; in this role he is simply fun to watch and dripping with charisma; the guy was meant to be a star.  And when we do get to see Madmartigan in action, I couldn’t help but wonder what it would be like if Madmartigan and Aragorn were to ever cross paths.

This is a review that I’ve been dreading.  It’s been a while since a movie has gotten me so worked up over its thoughtless execution that I struggle to find something redeeming out of it.  For those unfamiliar with non-linear storytelling, a simple definition would be a story told out of order, for instance Memento or Pulp Fiction.  Those two examples are of films that execute non-linear storytelling and use the structural device as a means to further their story.  As for the filmmakers involved with The Devil’s in the Details, they took a decent story and then tore it up into shreds, tossed it in the air, and pieced it together however they saw fit.

I feel sympathy for the performers here; even though what the actors had to work with was flimsy at best, they still deliver.  Ray Liotta plays Dr. Bruce Michaels, a former Navy Seal who now is a shrink to soldiers coming home from the war.  The performance is subtle and a far cry from the intensity he brought to Narc or his most notable role of Henry Hill in Goodfellas.  For those who are fans of Liotta, at least his performance is worth watching here.

"Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation, so conceived and so dedicated, can long endure."

These were strong words, and the man who spoke them was certainly a dominant figure in American history. He's been portrayed hundreds of times on film and television. Rarely have any of these efforts been able to capture the true essence of a great man. You can't blame the actors or the production teams. There are those tasks which some say just can't be done. Lincoln heard those arguments himself. I'm sure that Steven Spielberg must have been haunted by the same thoughts when he set out to do Lincoln. Fortunately, he found another remarkable man who was up to the task. Daniel Day-Lewis does get the Oscar for his performance as Abraham Lincoln. We might well believe that all men are created equal. It's a true enough axiom. That doesn't mean that all men process equal ability in all things. Just two and a half hours with Daniel Day-Lewis and you'll find the point well illustrated. The film also took an Oscar for its wonderful production design.

It’s tradition. The night before a wedding, the groomsmen throw a party for the groom and the bridesmaids do the same for the bride. Usually, the bachelorette parties are tamer than their male counterparts. Unless, of course, the bride has the absolute worst bridesmaids in the history of weddings; like the ones Becky (Rebel Wilson, Pitch Perfect, Bridesmaids) chooses for her bridal party in Bachelorette.

When Becky asks Regan (Kirsten Dunst, the Spider-man trilogy) to be her maid of honor, Regan immediately calls her other two friends from high school: airhead Katie (Isla Fisher, Wedding Crashers, Rise of the Guardians) and sarcastic Gena (Lizzy Caplan, Cloverfield, TV’s The Class). Completely enraged that “Pig-Face” — Regan’s cruel high school nickname for Becky — is getting married before her, Regan flips out. Fast-forward to the day before the wedding. Katie and Gena have flown in for the rehearsal dinner determined to liven up the “boring” bachelorette party, with Katie hiring a male stripper and Gena toting a purse full of cocaine. When the drugs and the stripper ruin the party, Becky storms off. Left alone in the bridal suite with champagne and cocaine, the three friends decide to get drunk, high, and generally feel sorry for themselves.

"My dear Frodo, you asked me once if I had told you everything there was to know about my adventures. Well, I can honestly say I've told you the truth, but I may not have told you all of it..."

It's hard to believe that it's been a decade since Peter Jackson last brought us to the fantastic lands of Middle Earth. It was one of Hollywood's most ambitious projects ever. Jackson took on the perilous journey of adapting J.R.R. Tolkien's famous Lord Of The Rings trilogy, perilous because of the beloved place the works hold in the hearts of those who have read them over the years. There is such a wonderfully detailed world delivered by Tolkien that we already had very vivid ideas of these places and characters. To his credit, Jackson proved to be up to the task and delivered a trilogy that one can only describe as brilliant. The lands and people were just as I had envisioned them since I first encountered them in my own youth. Expanded versions hit the home video market, and about 12 hours of story have made it to our screens. And there it has sat for the better part of that decade.

"I'm bad, and that's good. I will never be good, and that's not bad."

One of the easiest ways to let your age show is to talk about your favorite video games. If you're old enough, you even remember a time when there weren't any video games at all. Most people refer to this era as The Dark Ages. But I'm willing to admit that I put a deposit down on an Atari 2600 system these many years ago. If you have a love of all things video games and a great appreciation for the history of the field, Wreck-It Ralph was built just for you.