No Country for Old Men.

No Country for Old Men is a not an overhyped blockbuster movie. If you have seen the trailer, you probably thought it looked rather strange. You would be right, but in a wonderful way. (Audio review here.)

The movie is difficult to pigeonhole, but the story, set in 1980 in rural Texas, is fairly straightforward. Josh Brolin plays Llewelyn Moss, a rugged native who stumbles across a deserted murder scene where he discovers and absconds with a case full of money. From that point on, two men head up two very different methods of pursuit. Tommy Lee Jones is small town sheriff Ed Tom Bell (phenomenal name), who is trying to figure out what happened. Javier Bardem, whom you might recognize from The Sea Inside or a small role in Collateral, is a ferociously single-minded individual who has been hired by less than scrupulous people to track down the missing cash.

The movie is directed by the Coen Brothers, who have put together high quality offbeat films like O Brother Where Art Thou, Fargo, and Blood Simple. In those movies and many of their others, the brothers combine familiar movie elements into a single amalgam that defies being defined as a single genre. With No Country for Old Men, they have done the same thing, creating a movie that might be best described as a neo-western. Its deliberate pace, scenic framing, and South Texas location call to mind classic westerns. The tagline for the movie is that "There are no clean getaways," which implies that this is a heist movie. There are parts of that genre, and there are major components of a chase picture, all tweaked to fit the technologically crude era of 1980.

Now, that's the setup, but is this offbeat movie any good? The critics sure think so. Plenty of critics societies have already named this the best picture of 2007, including groups from from New York, Chicago, Boston, Dallas, D.C., and the National Board of Review. It's also probably the current favorite to win the Best Picture Oscar, for praiseworthy reasons that are easy to spot and completely justified.

The three lead performances have grabbed the headlines, and understandably so. Javier Bardem is absolutely terrifying in his atypical villainous role. There is no gimmicky mask or superpower, just pure evil. With merely a look or a stride, he exudes menace, more force of nature than mere bad guy. He is a bad dude, both fantastic and frightening. Because Bardem is so good, he overshadows Josh Brolin, who disappears into his self-confident Texas denizen, playing the chasee with a confidence that makes him an excellent anti-hero. Tommy Lee Jones is stellar as usual. He embodies a world-weary sheriff with one of the best combinations of drawl and lingo that you will ever hear. His drawl is accompanied by a script that is taken in large part directly from the book on which the film is based. The words are rife with a vernacular that could not be more perfect, eliciting grins from the viewer with both their humor and suitability. Even when you don't know what is said, you know precisely what it means. Of these three turns, Bardem has won many awards already, and will almost certainly be nominated for and win an Academy Award. Even though Brolin and Jones have not yet received many accolades, both are worthy of such honors; the problem being that that they are frequently eclipsed by Bardem's chilling portrayal.

Due to the magnetic acting of the leads and the character actors, who are great as they look and sound as though they have spent their entire lives baking in the dry heat near the Mexican border, the movie is extremely compelling despite a deliberate pace and almost no background music during its two-hour running length. Most chase-type movies are fast-paced and action-packed, leaving little time for suspense to grow; this is the opposite. There are no quick-cutting action scenes, but instead heart-pounding scenes that slowly ramp up the tension. Those intense parts are complemented by quieter scenes of conversation or investigation that maintain a foreboding dramatic undertone of upcoming conflict. While the film loses some of its building momentum late in the story, and the denouement does not quite match the brilliance of the preceding hundred minutes, the closing moments remain appropriate for a movie that doesn't offer any easy questions or answers.

All in all, this is a movie that is definitely worthy of the countless honors that it is receiving from critics across the country. Assuming the writer's strike doesn't waylay the Oscars, I suspect that this will be the frontrunner for Best Picture, and I'd bet a good chunk of money that Bardem will snag a Best Supporting Actor trophy. His performance and the film on the whole stand out from the year's crowd and are worth seeing, not for the popcorn movie crowd, but for fans of good, well-crafted cinema and story-telling.

Bottom Line: One of the best of the year. 8 of 10.

Disclaimer: This movie is rated R, for pervasive blood and brutal violence, and to a lesser extent, language. DO NOT take kids to this movie. Some adults won't want to see it either.

You are not alone.

I Am Legend debuted last weekend with a monstrous $77 million weekend, but is an atypical Will Smith blockbuster, largely bereft of the slam-bang action and/or comedy common to his big movies like Men in Black or Enemy of the State. (Audio review here.)

As learned from the tagline and excellent first trailer, the premise is simple: Smith is Dr. Robert Neville, the last man left in a desolate New York City, but he is not alone. Someone or something lingers, a mystery that drives the first hour, which is absolutely fantastic. With the exception of a few flashbacks that gradually answer the hows and whys generated by the plot progression, Smith interacts with no one except Sam, his loyal German Shepherd.

In this regard, I Am Legend is a cousin to the amazing Cast Away. While their respective tones are drastically different, both are set on islands void of humanity. Instead of a volleyball, Smith anthropormorphizes a dog. Hanks wrestled with inner demons on his deserted island, Smith confronts outer demons of some sort. The difference in supplies is noteworthy, and the two main characters are driven by widely disparate motivations, but the isolated survival instinct is similar, and watching Smith stretch himself as an actor is extremely enjoyable. Smith's character still possesses elements of the cocky, wise-cracking nature that moviegoers know well, but with merely a glance or a twitch, his confident veneer often cracks to reveal the effects of his time spent alone. Seeing that uncharacteristic vulnerability is initially disorienting, because we're not used to seeing a hero crack like this, but the awkwardness soon yields to awe at the powerhouse solo performance.

Aside from Smith's turn, the highlights of the movie are the breathtaking shots of a desolate New York City. We've seen the empty streets of a booming metropolis before, in movies like Vanilla Sky and 28 Days Later, but this is different. Not only is everything deserted, but also overgrown and eroded by nature and time. The minimal music and slow-moving cameras allow for an eerie and appropriate quiet within the movie, creating a game of I Spy in which one's eyes dart about, searching for familiar landmarks like Jumbotrons or Broadway signs.

The only downside to all this quality is that it doesn't last throughout the entire movie. Without giving too much away, I can say that following a key plot development, the third and final act transforms into a more familiar, action-type of movie, leading to a finale that satisfies, but doesn't quite match the preceding hour-plus. This dissonance is very reminiscent of 2004's Collateral, which similarly enthralled throughout before wimping out at the end, like a color scheme that matches at first glance but clashes upon closer inspection.

If you know what you are in for, you will enjoy the movie more thoroughly. I Am Legend is much more Cast Away than Independence Day, more Signs than Bad Boys. In his best performance yet, Will Smith proves that he has the acting chops to match his pretty face and ripped physique, deepening his own cinematic legend as he frequently carries this movie to great heights.

Bottom Line: Two-thirds of a great movie plus one-third of an average movie equals a good movie. 7 of 10.

Bee Movie and Batman.

As is evident from the trailer, Bee Movie is essentially what might happen if the public persona of Jerry Seinfeld were placed into the three-part body of a bee. Main character Barry B. Benson is Seinfeld, complete with wry comments, high-pitched excitement, and a slight disdain for authority. Unsurprisingly, the plot is a tad strained, but does provide a framework stable enough to sustain the various inevitable punchlines. The movie tastes sweetest when using Seinfeld's jabbing humor to poke fun at either the industrious efficiency of the hive or the oddities of humans. In this regard, Seinfeld shines as usual, leaving the engaged viewer smiling consistently, chuckling frequently, and roaring occasionally.

Determining whether or not you will like Bee Movie is a simple process. If you like Seinfeld's blend of comedy, you'll enjoy it. If you don't care for his observational humor, steer clear. It's really that simple.

Bottom Line: 6 of 10, plus one because I like Seinfeld.

Since the review was truncated, here are two fantastic new Dark Knight movie posters

I particularly love these two as a pair, with the contrast of menace and protection, frozen in what could conceivably be the same moment. Next year, this movie, Indiana Jones 4 (more on that soon), and Prince Caspian are all scheduled within a month. WOW!

Do you have any hope at all in humanity?

I haven't read any of Stephen King's books or stories, but I have learned two things from his movies. He possesses phenomenal insight into the human mind, and he is a freak. The Mist proves both points fully with a simple story: a mist engulfs a small New England town, and a few dozen of its denizens are isolated in a grocery store, forced to deal with enemies both outside and inside the store, both strange and familiar.

The best and brilliant parts of The Mist are the explorations into the psyche of the various trapped townsfolk. If someone's character is truly exposed when under pressure, then the extreme circumstances of this movie strip souls down to their essences, with frightening results. There are heroes and villains, leaders and followers, stalwarts and cowards. In previous uses of King's source material, writer/director Frank Darabont burrowed into the heart of hope in The Shawshank Redemption and delved into faith and the supernatural with The Green Mile. Both movies placed normal people into extreme circumstances, and did so exceptionally well. In that general thematic regard, Mist is similar to those two excellent films. More specifically though, it varies greatly, stressing the negative aspects of humanity rather than positive traits. Along the way, plenty of complex issues arise, and they are most frequently addressed with a rough, dull blade that gashes boldly through the moral fiber of civilization. The results are rarely pretty, but always compelling.

Lest you think this is a philosophical art house movie, let it be known that as a horror flick, independent of any deeper meaning, Mist consistently entertains, with a handful of superb knuckle-whitening scenes enhanced by an excellent cast. But a dark decision in the final act makes it impossible for even the most casual moviegoer to completely ignore the thick subtext of King and Darabont.

What prevents The Mist from being a great movie is the frayed nature of that subtext. While the story is rife with interesting points, the commentary fails to coagulate into a comprehensible bigger picture. In a sense though, the fractured themes better befit such a moody picture, one that strikes its audience at many levels, leaving the mind spinning in a mist of its own.

Bottom Line: 7 of 10 for a movie far smarter and deeper than the glut of recent horror releases.

A darker movie and a Dark Knight.

1) Prince Caspian trailer. May 16th, 2008. I'm stoked.

2) The Dark Knight. July 18th, 2008. I'm stoked.