The Front Runner

The Front Runner (2018)

Starring Hugh Jackman, Vera Farmiga, J.K. Simmons, Mark O'Brien, Molly Ephraim, Sara Paxton, Kaitlyn Dever, Alfred Molina, Mamoudou Athie, Josh Brener, Tommy Dewey, Ari Graynor, Bill Burr, and Kevin Pollak

Directed by Jason Reitman

Written by Jason Reitman

Click here for my Letterboxd review

The RyMickey Rating: B-

The Missing Link

The Missing Link (2019)

Featuring the vocal talents of Hugh Jackman, Zach Galifianakis, Zoe Saldana, Stephen Fry, Timothy Olyphant, and Emma Thompson

Directed by Chris Butler

Written by Chris Butler

Click here for my Letterboxd review

The RyMickey Rating: B

The Greatest Showman

The Greatest Showman (2017)

Starring Hugh Jackman, Zac Efron, Michelle Williams, Zendaya, Paul Strong, and Rebecca Ferguson

Directed by Michael Gracey

Written by Jenny Bicks and Bill Condon

Summary (in 500 words or less):  P.T. Barnum's life story from how he went from rags to riches thanks to his unique concept of a circus.

Click here for my Letterboxd review

The RyMickey Rating: D+

Movie Review - Eddie the Eagle

Eddie the Eagle (2016)

Starring Taron Egerton, Hugh Jackman, Jo Hartley, and Keith Allen

Directed by Dexter Fletcher
***This film is currently streaming via HBO Now/Go***

Straightforward as can be, Eddie the Eagle is an inspirational sports movie that hits all the notes expected as it explores the true story of Eddie Edwards (played here by Taron Egerton), a young British man who has dreamed of being an Olympian despite being awkward (to say the least) when it comes to sports.  With the Summer Olympics necessitating strength and speed which is out of the question for the lanky twentysomething, Eddie shifts his attention to the Winter Olympics and ski jumping -- a sport in which Great Britain hadn't competed for over six decades as of the 1980s.  Eddie decides to self-train at a ski jumping facility in Germany where he meets American Bronson Peary (Hugh Jackman), a former Olympic ski jumper who now tends to the snow at the training center.  Bronson eventually (and reluctantly) takes Eddie under his wing, helping him prepare for the Olympic games and also convince the British Olympic Committee to allow him to compete.

Steeped in low budget 1980s-style movie quirkiness including some fantastically retro music, Eddie the Eagle is just offbeat enough to make the clichéd aspects of the stereotypical "sports movie" work here.  Director Dexter Fletcher embraces the kitschy nature of stylized aesthetic -- which includes a somewhat over-the-top, but oddly totally believable and utterly engaging performance from Taron Egerton -- and makes this film better than I expected.  It's a family friendly piece in the best way possible -- it doesn't cater to the kids despite being totally acceptable for all ages with the exception of maybe a curse word or two, but it causes us adults to embrace the wild abandon we've pushed aside for years.  This true story is one with which I wasn't the least bit familiar, but I was thoroughly engaged its entire runtime.

The RyMickey Rating:  B

Movie Review - X-Men: Days of Future Past

X-Men: Days of Future Past (2014)

Starring Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Halle Berry, Nicholas Hoult, Ellen Page, Peter Dinklage, Shawn Ashmore, Omar Sy, Evan Peters, Ian McKellan, and Patrick Stewart

Directed by Bryan Singer

While perhaps an unpopular opinion, I think that X-Men: First Class is one of the best superhero movies of all time.  Upon a second watch right before viewing its sequel, I once again was captivated by the flick's stories, direction, 1960s setting, and acting.  So, X-Men: Days of Future Past admittedly had a tough act to follow and while it doesn't quite live up to the high water mark of its predecessor, the film's attempt to bridge both the current generation of 2010's X-Men franchise with the 2000s X-Men franchise is solid.

Sometime in the future, robots known as Sentinels are killing all of the mutants and Professor X and Magneto (Patrick Stewart and Ian McKellan) have devised a plan using Kitty Pryde's (Ellen Page) powers to send Wolverine (Hugh Jackman) back in time in order to try and change their present.  It's determined that post-Vietnam War, Mystique (Jennifer Lawrence) was captured by the US government and her DNA was studied by military scientist Bolivar Trask (Peter Dinklage) in order to create the shape-shifting beings known as the Sentinals.  By sending Wolverine back to right before Mystique is caught, Professor X and Magneto are hoping that they can change the course of history and prevent the Sentinels from even existing.

Fortunately, the dank, dark, overly computerized world of the future takes a backseat to Wolverine's trip down the 1970s memory lane and the large majority of Days of Future Past takes place in the past with James McAvoy and Michael Fassbender reprising their roles as the younger versions of Charles Xavier and Eric Lehnsherr (Professor X and Magneto, respectively).  Once again, director Bryan Singer does a really great job creating a believable 1970s world for the X-Men to inhabit and it creates a landscape we don't often see in superhero movies that are so often told in the present day.  This retro feel continues to work to this X-Men iteration's advantage.

For the most part, the acting ensemble works well together, although I found the focus on Jennifer Lawrence's Mystique to leave a little to be desired.  Behind all that make-up and computer-generated blueness for her character, Lawrence's emoting stays a bit hidden which is a bit of a shame.  Additionally, the actors that make up the "future" segment of the film aren't given a whole lot to do and what they are tasked with gets repetitive pretty darn quickly.

While X-Men: Days of Future Past isn't as interesting or compelling as First Class, I give the film credit for refusing to back down from its conceit of pitting the X-Men against one another as they struggle to figure out whether the US government wants to help or hurt them.  This creates a constant feeling of uncertainty amongst the characters that gives them all much more depth than we have come to expect in superhero movies and it's one of the biggest reasons I think this X-Men series has been so successful.

The RyMickey Rating:  B

Movie Review - Prisoners

Prisoners (2013)

Starring Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Bello, Terrence Howard, Paul Dano, and Melissa Leo

Directed by Denis Villeneuve

I'm not sure there's something more horrific than being a parent and having something devastating happen to your children.  In Prisoners, when two young girls are kidnapped on Thanksgiving Day from their Pennsylvania neighborhood, I can only imagine the horror going through the heads of parents Keller and Grace Dover (Hugh Jackman and Maria Bello) and Franklin and Nancy Birch (Terrence Howard and Viola Davis).  The pain, anguish, and anger is all on display in Denis Villeneuve's direction of Aaron Guzikowski's script, but the emotional connection with the characters wasn't there for me and it's something that I really long for in a movie like this.

Take my favorite film of last year -- The Impossible -- or one of the best films of the past few years that you've never heard of -- Trust (seriously, check it out) -- and you'll find yourself becoming completely invested in all the characters -- the kids and the adults alike.  In Prisoners, I never felt that emotional tug I desired.  Maybe it's because the two girls go missing so early and we never get an opportunity to really get to know them.  Or maybe it's because Jackman's Keller takes a rather unique approach to enacting revenge on Alex Jones (Paul Dano), the young man initially accused and then cleared of kidnapping the girls, thus maybe subliminally making me not feel so bad for the tortured father.  Regardless, I kept waiting to have some type of guttural response to the story, but that never really happened.

Performances are good, but oftentimes in movies similar to this, they'll be a character(s) that you immediately find yourself connecting with and rallying behind.  Hugh Jackman is certainly supposed to be that guy and I'm sure I was supposed to be affected by Maria Bello's debilitating anguish, but the film never took me there.  Once again, this isn't to say that Jackman and Bello are disappointing.  In fact, this is probably Jackman's best role yet (and I quite liked his role in Les Miserables), taking a very tricky character and making his motivations understandable.

Perhaps it is, in fact, his interactions with Paul Dano that make this movie so difficult to create an emotional resonance for me.  <<MODERATE SPOILERS FOLLOW, ALTHOUGH THE TRAILER ESSENTIALLY REVEALS WHAT I'M ABOUT TO DISCUSS.>>  Dano's Alex Jones is obviously emotionally stunted and psychologically marred.  When Jackman's Keller essentially kidnaps him, we understand Keller's response, but we can't condone it.  And it's maybe this reason why we in the audience can't exactly become as invested in these parents' horror as we'd like.  <<SPOILERS DONE.>>  Dano is creepily fantastic here, though, excelling in a tricky role that somehow manages to walk the line between having the audience both despise and sympathize with him.  Nice turns from Melissa Leo, Viola Davis (who's just great in everything I've seen her in recently) and Jake Gyllenhaal (who, even in this, is a bit overrated in my opinion) round out the cast, but can't fulfill that dramatic oomph I desired.

Listen, it may seem like I'm being overly critical of Prisoners by harping on one particular issue and, quite honestly, I am.  However, Prisoners is good.  It's a smart adult drama with enough twists and turns that make its lengthy running time seem to fly by rather quickly.  Overall, it's the kind of movie that I wish Hollywood created more often.  Admittedly, I think the thing the film prides itself upon -- playing with morality and questioning who's right and who's wrong in certain situations -- hurt its overall resonance with me, yet made it intriguing at the same time.  And, it's for that reason that despite my qualms, it still gets the decidedly good rating I've given it below.

The RyMickey Rating:  B

Movie Review - Les Misérables

Les Misérables (2012)

Starring Hugh Jackman, Russell Crowe, Anne Hathaway, Eddie Redmayne, Amanda Seyfried, Samantha Barks, Aaron Tveit, Isabelle Allen, Daniel Huttlestone, Sacha Baron Cohen, and Helena Bonham Carter

Directed by Tom Hooper

Goodness, there really isn't any modicum of happiness in Les Misérables.  The title is certainly apropos, hinting about the miserable existence of the characters we'll meet, but I still expected maybe a hint of joy.  However, you certainly don't feel uplifted walking out of the film.  That being said, I mean that not as a slight towards Tom Hooper's adaptation of the long-running and tremendously popular musical version of Victor Hugo's lengthy tome.  Many claim that Hooper stole away David Fincher's Best Director Oscar when he triumphed over The Social Network with The King's Speech back in 2010, but my RyMickey Awards crowned Hooper the winner that year and Les Misérables does show that The King's Speech wasn't just a fluke.  More on Hooper later, though...

***Moderate spoilers ahead only if you've lived under a rock during this awards season***

The epic Les Mis is overarchingly the story of Jean Valjean (Hugh Jackman), a man imprisoned for over a decade for stealing a loaf of bread in early nineteenth century France.  When released, Valjean is told that as a parolee he must periodically check in or else face heading back to prison.  Valjean, however, wants to leave his past behind him and manages to find himself a successful businessman running a factory of sorts that employs a bunch of lower income women, one of whom is Fantine (Anne Hathaway).  It is soon discovered that Fantine has a young child which I guess implies she's a whore (although I found myself questioning this whole plotline), throwing the other ladies into a tizzy causing Fantine to be fired and thrown out onto the streets unbeknown to Valjean.  Forced to do whatever she can to provide for her child whom she has sent to live with others, Fantine sells all that she can (her hair, her teeth, and her body) and eventually dies, but not before Valjean meets up with her again and promises her that he will take care of her young child Cosette (Isabelle Allen).

Time passes and Cosette grows up (and is now played by Amanda Seyfried), but Valjean still finds himself constantly on the run from his former captor, Officer Javert (Russell Crowe) who is on a mission to get Valjean back behind bars for breaking his parole.  Every time Javert discovers their location, Valjean and Cosette are forced to move, but when Cosette sees the dashing Marius (Eddie Redmayne) across a crowded street, she instantly falls in love with him (and he with her), wanting to stay with him rather than travel elsewhere with Valjean. Marius is quite politically minded, wishing to overthrow the French government to provide a better environment for the lower classes (or something like that...it's probably a pretty important part of French history that's glossed over in terms of depth here).  We then add Eponine (Samantha Barks) into the mix who secretly loves Marius and also happens to have a connection to Cosette in that Eponine's father and mother (Sacha Baron Cohen and Helena Bonham Carter) were the ones who watched after young Cosette over a decade before.

Whew...that seems like a lot to take in...and it is.  However, with all that story and character connections, you'd think there'd be more depth and weight to the story.  Unfortunately, the fact that this is a musical takes away a bit of the gravitas that I imagine is present in the novel.  I am certainly someone who appreciates musicals and am definitely aware that most musicals utilize their songs in order to advance the story.  Because of this technique, oftentimes the plot in musicals is simplified, but Les Misérables is a story that shouldn't be simplified.  The songs, while beautiful (though perhaps not as memorable as I expected them to be seeing as how I was not familiar with this musical at all), made this heavy story seem more one-note than it should be.

For the most part, the performances were fairly solid.  Mr. Hooper did a smart thing considering the operatic nature of the piece in having his actors sing live rather than lip sync as is the case in most musicals.  This allows for quite emotional, real, and true moments to be present, best exemplified in Anne Hathaway's showstopping number "I Dreamed a Dream."  Utilizing one long take with the camera focused solely on Fantine, Hathaway won herself the Best Supporting Actress Oscar with a riveting and heartbreaking rendition of the only song I'd heard from this musical prior to watching the film.  For some reason or another, I had never listened to the lyrics clearly enough to comprehend the utter sadness and devastation that Fantine feels while singing this song, but Hathaway made me fully understand the pain of her once hopeful character.

The other standout to me in the ensemble was Eddie Redmayne who has a lovely voice and is also granted a Hathaway/Fantine-like moment at the film's conclusion with "Empty Chairs at Empty Tables" as he looks back on the revolution of the lower class and the many friends he lost in the battle.  There is also nice work from West End performer Samantha Barks in her first film role.  Hugh Jackman has been a bit overpraised for his work here, but it was still perfectly acceptable, and, on the other end of the spectrum, Russell Crowe has been a bit too harshly criticized as I thought his gruffer voice suited his part fine.

Tom Hooper has done a nice job filming this operatic musical, but even he is unable to assist the hefty story not coming across with the importance it likely should.  That's just an inherent flaw of the musicalization of a work such as this.  When French Revolution aspects are thrown aside for a love story between characters simply because it suits the music better, there isn't much Hooper can do.  Yes, the film has a murky, grayish-brown quality that does grow a bit tiresome as it heads into hour two, but I fully respected Hooper's hand-held, close-up style that he's actually been taken to task for.  It does allow for the focus to be placed on the characters rather than their surroundings, bringing more emotional power to the songs.  Still, despite some nice music, I can't help but think Les Misérables shouldn't have ever been made into an opera as the story seems to call for much more plot than a simplified musical can allow...then again, millions upon millions of theatergoers will disagree with me on that one.

The RyMickey Rating: B-

Movie Review - Butter

Butter (2012)

Starring Jennifer Garner, Ty Burrell, Olivia Wilde, Alicia Silverstone, Rob Corddry, Yara Shahidi, and Hugh Jackman

Directed by Jim Field Smith

***This film is currently streaming on Netflix***

For some reason or another, Butter got trashed by the critics upon its very limited release earlier this year.  While it's a skewering of sorts of Midwestern conservatives, it's only a mild roasting and from this conservative's perspective, there are times when we deserve some slight jabs aimed our way.  I think maybe some felt Butter didn't go far enough, but I thought it was a surprisingly amusing comedy with some decent performances and a pleasant enough script that never overstays its welcome at any point.

In Iowa, butter carving is a huge pastime, taking a coveted prime spot at the State Fair.  For the past fifteen years, Bob Pickler (Ty Burrell) has been the champ, creating such memorable carvings as the holocaust-themed Schindler's List sculpture in 1995 or this past year's epic The Last Supper.  However, the governing board of the butter carving contest has told Bob that the time has come for him to relinquish his crown and allow someone else to have an opportunity to succeed.  While Bob agrees, his wife Laura (Jennifer Garner) is disgusted with the notion, afraid that she is going to lose the high profile awareness that comes with her gig as the wife of the best butter carver in Iowa.  Laura sets out at becoming an expert carver herself and all would seem to be going according to her plan until ten year-old Destiny (Yara Shahidi) decides to enter the competition.  A young African-American girl living with her new foster parents (Alicia Silverstone and Rob Corddry), Destiny discovers that she is fantastically adept at carving the yellow dairy product and sets up quite a showdown between herself and Laura.

There are some nice performances peppered throughout.  Jennifer Garner was over-the-top, but the role required that level of insanity to a certain degree, and I think she has proven with this and a few other roles that she's a nice comedienne.  Ty Burrell is actually nicely subdued and I found it a welcome change of pace for the sometimes frantic (though very funny) character he plays on Modern Family.  Yara Shahidi was great despite the fact that the screenwriter wanted to make her "wiser beyond her years."  Oftentimes that can prove excruciatingly annoying, but Shahidi was able to reel it in a bit and at least act like a kid.

Surprisingly, the best role in the whole flick comes from Rob Corddry and no one is more shocked than me to be saying that.  Corddry plays Destiny's foster dad Ethan and there's something incredibly natural when he's onscreen with young Shahidi.  His character never talks down to this kid who's been shipped from foster home to foster home because he knows she's been through a lot in her short life.  He recognizes that she's young, but he treats her with respect and kindness.  Considering other things I've seen Corddry in, I was shocked that he had this simple, down-to-earth, "dad" character in him...so big kudos to him.

Butter isn't some fantastic film, but I had a heckuva good time with it.  Granted, there are some faults -- Hugh Jackman pops in more than halfway through in a role he likely did as a favor for someone and Olivia Wilde plays an Asian stripper who, while quite funny, felt a tiny bit out of place -- but overall, this is well worth the ninety minutes it'll take you to watch it via Netflix's streaming.

The RyMickey Rating:  B

Movie Review - Rise of the Guardians

Rise of the Guardians (2012)

***viewed in 3D***

Featuring the voice talents of Chris Pine, Alec Baldwin, Hugh Jackman, Isla Fisher, and Jude Law

Directed by Peter Ramsey

There is certainly the potential for a great movie in Rise of the Guardians, but in the end something doesn't quite come together completely resulting in a surprisingly cold and icy film (no pun intended to the main character Jack Frost).  Despite some lovely animation and a villain whom I relished for his constantly sneering menace, the film's story just didn't work concluding with a disappointing climax that proves to be a bit of a letdown.

First off, it must be mentioned that this is not a Christmas movie.  Yes, Santa is in it (although the not-quite-so-jolly guy is known as "North"), but it's not his story and it's not Noel-centric at all.  In fact, the tale takes place three days before Easter and while we see North in his residence, this isn't a film about him or the December holiday.  I say that not as a criticism at all, but simply as a way of countering the expectations that you would likely have had going into this.  I will admit that it threw me a bit off balance at first.

Trouble is afoot for the Guardians, an Avengers-like group of childhood bigwigs -- Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), and the Sandman (a lovely Chaplin-esque voiceless character) -- who discover that the evil Pitch (AKA The Boogeyman voiced by Jude Law) is stealing the lovely dreams Sandman places into the minds of children and replacing them with nightmares.  Unable to defeat Pitch on their own, The Man in the Moon (who is essentially a faceless and voiceless omnipotent God) sends Jack Frost the guardians' way, hoping that he can help take down Pitch.  Jack (voiced by Chris Pine) doesn't necessarily want to join the exclusive club.  Unlike his Guardian counterparts, he's rather youthful and gets his kicks from making it snow which he realizes isn't exactly as exciting to a kid as Santa or the Easter Bunny.  However, before he can even walk away from the group, Jack and his fellow Guardians are forced to chase after Pitch who, having already stepped in on the Sandman's turf, has now ransacked the lair of the Tooth Fairy.  As children across the world begin to stop believing in the Guardians, their special powers start to weaken and they must join forces to defeat Pitch.

[Fairly obvious spoiler ahead if you've watched any kid movie ever...]

There's a great premise here based off of William Joyce's series of books, but while the film starts off plenty fine, it doesn't come to any form of satisfying conclusion.  There are some great moments when Pitch faces off against the Guardians during the middle of the film -- moments that were truly exciting and tense -- but the film ends with such a thud that it nearly negates all the build-up.  Ultimately, I simply couldn't buy in to the corny and hokey way Pitch is defeated in the end.  The notion that childhood fantasies and dreams could in some way save the day rang false and provided an incredibly disappointing finale.  Add to that an incredibly corny "find your center" chakra-esque mission for Jack Frost to "discover who he really is" and hokeyness was the name of the game.

[End Spoilers.]

Design-wise, the film looks great with an admittedly different look than we've come to expect from computer-animated films.  The lines are a little more sharp and the characters are a bit more anime-esque than we're used to seeing which is a positive (and this is coming from someone who cares not a bit for the anime style of animation).  Also, the film has a great villain in Pitch, voiced to perfection by Jude Law.  While it would have been nice to see a bit more malevolence from the character, he is far and away the best part of the movie...it's just a shame that his evil power grows a bit repetitive as the film progresses.

But, Rise of the Guardians just doesn't come together in the end, not quite managing to make the most of the most popular figures in childhood lore.

The RyMickey Rating:  C+

Movie Review - X-Men Origins: Wolverine (2009)

Starring Hugh Jackman, Liev Schrieber, Danny Huston, Lynn Collins, and Will.i.Am
Directed by Gavin Hood
Written by David Benioff and Skip Woods

I really know very little about the X-Men comic book series. Yes, I saw the first two films, but I never saw the third. So, I went into this a little wet behind the ears in terms of my Wolverine knowledge. In the end, I don't think it really mattered. My lack of enjoyment in the film had nothing to do with the fact that I knew nothing about it going in...it had to do with the fact that it just wasn't a very good film.

The film opens in the 1860s with two horrible child actors discovering that the younger brother has a mutant power that allows him to push bones out of his hands and create "claw-life" appendages that he can impale people with (his brother has a similar power, to a lesser degree). Once the younger kid kills his father (for reasons I won't get into here), he and his older brother run away. Through a rather interesting credit sequence, we learn that the two brothers appear to be somewhat immortal as they have helped the United States on the battlefield in every war from the Civil War through Vietnam. The two brothers, Logan (Jackman) and Victor (Schrieber) are somewhat forced to join an elite group of other "mutants" who go around the world and try and help out the U.S. government. When Logan discovers that the group may not be on the up and up, he decides to leave rather than do harm to innocent people.

Living in Canada, Logan hoped to forget his mutant past, but he is soon called into duty by William Stryker (Huston), the head of Logan's former band of mutants. Apparently, someone is killing mutants and Stryker needs Logan's help. Logan refuses, but when it appears that his brother shows up in Canada and kills Logan's girlfriend, Logan agrees to allow Stryker to inject him with adamantium (a super-powerful metal) to make him a nearly invincible killing machine. Now deemed Wolverine, Logan sets out on a mission to stop the murderous streak of his brother (apparently now called Sabretooth...but I don't ever remember even hearing that name mentioned in the movie).

Yes, that's a long set-up...and if you thought it took forever reading it, it took infinitely longer watching it. Despite (as mentioned above) a promising credit sequence, the film itself falls flat often. Action sequences are repetitive (there was more than one time that Sabretooth pounced at Wolverine at the start of a fight scene) and somewhat unexciting. I'm all for ridiculous action, but there was nothing here that you wouldn't have seen in any other PG-13 action movie. In fact, there's really nothing here at all that's new. How many times have we seen a movie where, as some character is dying, they say, "I'm so cold." Really? Haven't we heard that line in hundreds of other films?

The actors, with the exception of a surprisingly engaging Liev Schreiber, were either over-the-top (I'm calling out Danny Huston here) or incredibly low-key (Jackman, that'd be you). And Wolvie's love interest played by (unknown to me) Lynn Collins was so generic, I wanted to shake some life into her.

Honestly, the flick wasn't godawful, but it wasn't even remotely good. I wasn't bored, but that could entirely be because it's the first "summer" action pic of the year.

The RyMickey Rating: D+

DVD Round-Up

Here's a trio of "foreign" flicks...some of which are better than others...

I've Loved You So Long (2008)

If only this movie were a little shorter, it certainly would've ranked in the top five of 2008 movies I had seen. Nevertheless, this French film is definitely a winner because of two great female performances. Kristin Scott Thomas is Juliette, a woman who was imprisoned for fifteen years for murdering her son, and Elsa Zylberstein is Lea, Juliette's sister who longs to create a relationship that has been missing for so many years. These two actresses are really just amazing...how neither of them got Oscar nominations is beyond me. Like I said, it certainly lulls in parts, but the revelation that occurs at the end was shocking to me and threw a whole new perspective on the movie and Thomas's performance in particular.

The RyMickey Rating: B+

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Let the Right One In (2008)

I don't know if I've ever seen a Swedish movie before, but I can be certain that I've never seen a Swedish vampire movie. Definitely different, the film is good, but not as great as the raves it was getting at the end of 2008 (it showed up on many Top Ten lists). Oskar (Kåre Hedebrant) is a twelve year-old boy who is constantly bullied at school and finds some solace in Eli (Lina Leandersson), an odd girl who just moved into his apartment complex. Perhaps the reason she's so odd is that she's actually a vampire. The film focuses on some vampire lore that I've never seen before in movies and it's certainly not the least bit scary (although there is bloodsucking, but what would a vampire flick be without bloodsucking?). Although the two young leads are stellar (I really can't say enough about the two of them...they were great), the relationship set up between them feels way too adult. There were scenes between the two of them that made me incredibly uncomfortable...they were much more, for lack of a better word, sensual than anything I've seen in any American flick. Add to that uncomfortableness, the director paces the film incredibly slowly. There were definitely whole scenes that could've been removed to make it flow better. Nevertheless, not a bad movie and certainly a different movie. Worth a rental if the general idea of the film intrigues you at all.

The RyMickey Rating: B-

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Australia (2008)

This is likely the only one of these three movies that most people have heard of and it's by far the worst of the three. Unfortunately for the film, I'm liking it less and less the more time passes after watching it. Nicole Kidman is awful in this. Wide-eyed and oddly theatrical, I laughed at her when I shouldn't have. As far as Hugh Jackman goes, he was serviceable in his role, but he was nothing special. I (used to?) appreciate Baz Luhrmann as a director, but his goal to produce an "epic" film fell tremendously flat. The film veers from over-the-top in the first thirty minutes to way too serious in the last hour (with a crazed villain thrown in for good measure) and he never finds an appropriate balance. The film is a simple love story between two unlikely people and there's not enough story to last 165 minutes. Plus, the film seriously could've ended an hour earlier. The whole war saga at the end was completely and utterly unnecessary. I remember that when we first got the movie at the theater, the film broke, we had to pass the theater, and people asked me, "How much of the film was left?" I said, "At least an hour," and they said, "Really? It seemed like it was ending." Well, it could've ended after 105 minutes...in fact, Baz even throws in a montage and voice-over narration that you might expect to see at the end of a movie, but he then makes it go on for over an hour more. My appreciation for Baz certainly lessened after watching this one.

The RyMickey Rating: D+