“You were always such a clever troublemaker.”

When Audrey Parker (Emily Rose) entered the barn in the conclusion of season 3 of Haven, all “the Troubles” were supposed to come to an end for the small seaside town of Haven, Maine.  Sure everything seemed to go as planned, that is until Duke (Eric Balfour) took the plunge into the barn before it disappeared, leaving Sheriff Nathan Wuornos (Lucas Bryant) behind.  As cliffhangers go, this ranked right up there with the season 1 finale when we discovered that there were two Audrey Parkers.  I loved season 3 of Haven; the pursuit of the “Bolt Gun Killer” as well as the show’s exploration into Audrey Parker’s past was excellent storytelling that continues to remind me of the David Lynch classic series Twin Peaks.

The pleasure of The November Man is seeing an ex-James Bond come out of retirement being all cool and mean and efficiently lethal. The ex-James Bond is Pierce... Pierce Bronson. He's not as old as Sean Connery, but he's pretty old, and too old to look this good killing people. The November Man is nothing but a cheap and easy, end-of-August bit of popcorn fodder, but it works well. It works so well it already has a sequel planned. I don't think the budget on this is very large, so it probably was a no-brainer. The locations are all over middle Europe and Russia, but I think that's cheaper than New York City or London. Pierce is clearly enjoying doing all his old Bond tricks, except this time he's Patrick Devereaux, which really isn't as cool a name as James Bond, but we all know that this all about Bond. We like to see Pierce bash guys with lead pipes and shoot henchmen, because we know he's getting too old for this stuff. But truthfully, Devereaux is not Bond. He's a different character with a completely different set of motivations for his actions. Bond seems to have suppressed nearly all human emotions; Devereaux knows he shouldn't care about people, but for reasons I won't mention, he does care. He even tells a young protege not to care, and then Devereaux doesn't follow his own advice. So Devereaux  isn't James Bond, but don't tell Pierce that, because he's bringing back the famous squint with every fiber of his being.

There are lots of familiar faces supporting Pierce in this movie, but not necessarily familiar names. Will Patton (Falling Skies, The Postman) and Bill Smitrovich (Without A Trace, Life Goes On) are high-level CIA managers who are both closely associated with former field agent Devereaux. Olga Kurylenko is probably best known as Vera from the TV show Magic City but was also a Bond girl in Quantum of Solace. Olga plays Alice and is the woman that everyone wants in the movie, because she has some information. Devereaux needs to protect her so no one gets the information. Luke Bracy is fairly new on the scene and will soon be playing Johnny Utah in the Point Break remake. Luke plays the young protege who screwed up a mission and got on Devereaux's bad side. When that mission went bad, Devereaux quit. Now a few years later, things are getting personal. There are many twists and turns and double-crosses and triple-crosses. There are many bad guys and even more henchmen. All of this would play like a spoof if Pierce wasn't so darn serious. It's a little reminiscent of the recent Kevin Costner crazy spy movie Three Days To Kill, but not as over-the-top goofy. Spy movies are either pure entertainment or super-serious. We've had some of the serious kind recently, like the two recent John Le Carre adaptations, Tinker Tailor Soldier Spy and A Most Wanted Man. The November Man is safely in the middle.

Considering the state the world is in, I’m a little surprised there isn’t more talk about a possible World War 3 scenario being played out.  This isn’t something I want, but watching the news, it is certainly something that resonates in the back of my mind and gives a moment of reflection.  Aftermath is the film that preys upon that fear of what a possible World War 3 could be. The results are far from promising, and it succeeds in telling the inevitable fate of the world, despite how bleak the outcome may be.

The film opens with Hunter (C.J. Thomason) hiking in the wastelands of Texas.  Along the highway he comes across a mother and her son; together they witness what appears to be the beginning of a nuclear war.  Hunter is quick to react, using his medical training to do what he can for the young boy who looked directly into the impact light and has now gone blind.  The three set off together to find food and shelter, knowing they do not have long before the radiation spreads and begins to have its effects.

“You have just seen an authentic disclosure of conditions which unfortunately exist in some of our high schools today. The job of policemen will not be finished until this insidious menace to the schools of our country is exposed and destroyed.”

“Authentic” is probably a stretch, but High School Confidential! is certainly fascinating for a variety of reasons. Every generation has an alleged scourge that invades high schools and threatens to rip apart the very fabric of society. (Cue masterpiece eye roll.) In 1958, that menace went by the name “Mary Jane.”

Here is a film that delves into a subject not many people care to openly discuss but poses a question that everyone who’s lost someone they love can relate to.  When prayer and faith don’t seem to deliver the answers you want for those that need closure that therapy can’t seem to provide, where does one turn?  It’s this hopeless feeling of loss that seems to be what attracts Michael King (Shane Johnson) to investigate the possibility of the supernatural.

The approach to this film is actually something that I’d like to see done in a real documentary form.  Here we get to watch Michael, a self-admitted atheist, document himself as he meets with everyone from priests and demonologists to necromancers and psychics.  His hope is to either document evidence or prove without a doubt that there truly is nothing that awaits us beyond the grave.

Is there anyone out there who hasn’t noticed that William Shatner the actor has become William Shatner the character over the years?  Give the man some credit for finding ways to reinvent himself. After Star Trek he was the only actor to find himself another regular television character and shakes the typecasting that most actors in the franchise have been victimized by. When TJ Hooker was gone, he found a few other shows and ways to take advantage of what could have been fleeting fame. By the time he did Boston Legal, he had completely reinvented himself as a somewhat humorous character and wonderful mate for James Spader. But all along there was and always will be more than a little Captain Kirk in the actor. And over time the two began to meld into a being that has been the fodder for jokes for most of the world. Shatner’s laughing, too, but not in the way you might think. Shatner’s been laughing all the way to the bank.

Part of his newfound shtick has been putting together these "films" that explore the mythology of Star Trek. As we climb ever closer to the 50th anniversary, expect Shatner to continue to cash in. His latest gets its name from an old Saturday Night Live skit in which Shatner admonishes some diehard fans at a convention to do just that. It's still one of the best SNL skits in decades, and it's an appropriate opening for this release. Unfortunately, we don't get the entire skit. We only get enough for Shatner to deliver the titular line.

Adam Sandler took a bit of a beating with Blended. His previous, non-Grown Ups outing (That’s My Boy) was Sandler’s first comedy in a while to severely underperform at the box office, suggesting audiences might be tiring of the comic’s (critic-proof) brand of humor. Then came Sandler’s pre-release admission that he makes movies based on where he’d like to get paid to vacation. Blended went on to underwhelm at the box office, at least by the reliable standards of Sandler comedies. (It brought in $123 million worldwide on a reported $40 million budget, though only $46 million of that came from the U.S.) Maybe it was the lowered expectations, but I kinda liked Blended.

“Love is a many blended thing.”

"It's like Prohibition never happened but for one thing. Prices will increase twenty-fold. We got a product a fellah's gotta have. Even better is that, we got a product he ain't allowed to have."

The fourth season of Boardwalk Empire began pretty much the only way it could have after the bloodbath that ended the previous season. It was an explosive season that delivered the best gangland war in television history. Now there has to be some kind of peace or at least status quo after the end of the violence. Nucky is making his peace with Arnold Rothstein and his people. He also owes Chalky White for saving his behind when war broke out. It's all going to cost him: money to Rothstein and the rebuilt club on the boardwalk for Chalky. The new Onyx club is now run by a man who is not allowed to sit in the front section of his own club.

Cartoon Network has just released yet another collection of episodes of Regular Show, only this time they are all based around Rigby.  For those new to the show who want in on the obsession that kids, friends, and other cartoon addicts have for this show, here is a little need-to-know info about the Regular Show.  The show centers on Mordecai (a blue jay) and Rigby (a raccoon) and the crazy adventures they find themselves stuck in the middle of.

The Rigby pack is filled with 16 hilarious episodes that are sure to please the longtime fans of the show, but also work as a DVD to introduce those who are new to the show as well.  That’s the great thing about these smaller episode packs that Cartoon Network has been churning out between the releases of the full seasons; it gives you a taste without hurting your pocketbook too much.

“Could you please reduce your level of hysteria?”

There is a lot of yelling and a lot of outrage in The Normal Heart. The film chronicles the confusing, terrifying onset of the HIV-AIDS crisis in the early 1980s and how a group of gay men (and one intrepid doctor) in New York fought to draw attention to the deadly disease. Their efforts are alternately frustrating and futile, which leads to a higher decibel level for much of the movie’s second half. Thankfully, The Normal Heart is shrewd enough to note that there’s more than one way to make a point. More importantly, the film does a strong job of illustrating the different ways the yelling and outrage were justified.