With the upcoming Star Trek film creating such a huge buzz, I decided to look back and rank the 10 movies that came before it.  Some have been considered well-made films and other have been flat-out awful. The original TV show may have started one of the biggest cult followings ever, but the movies made it a commercial success.  I hope Abrams vision of Star Trek is successful because it certainly needs a shot of adrenaline. I hope to rank his high on my new list, but for now, here’s the current ten.

1. Star Trek IV: The Voyage Home (1986)

Often referred to as “the one with the whales,” this one involves the Enterprise crew going back in time (in a captured Klingon ship) to 1986 to retrieve two Humpback whales in which they would communicate with an ancient alien space probe threatening earth in the 23^rd century. Yes, the plot on paper sounds ridiculous, but this is the best of the series and appeals to any non-Trek fan. Directed by Leonard Nimoy (Spock), this one is easy to relate to because it takes place in (then) contemporary times, is very character driven, has no bombastic villain with an evil plot or over-the-top special effects. This one also dishes out a lot of humor and it certainly will not disappoint.  I recommend it simply as just a very good movie, Star Trek or not.

2. Star Trek: First Contact (1996)

The best from the Next Generation cast, First Contact is more action-oriented than previous Trek films and it features by far the coolest antagonists, The Borg. When the Borg’s (half-machine/half-human cyborgs) attempt to assimilate and destroy Earth fails, they proceed in time to 2063 to stop “first contact” between human and aliens and conquer Earth in the past.  Captain Jean-Luc Picard (Patrick Stewart) and Co. follow the Borg in time to stop their plan. Directed by Jonathan Frakes (first officer Riker), First Contact also involves the element of time-travel. It too has a lot of humor and has a memorable performance by James Cromwell as Zefram Cochrane, the inventor of warp speed. He also utters perhaps the greatest line in Trek history while talking to the Enterprise crew, “So, you’re all… astronauts, on…some kind of star trek.”

3. Star Trek II: The Wrath of Khan (1982)

Considered the best of the films (except on this list), Star Trek II has Kahn (Ricardo Montablan) seeking revenge on Kirk (William Shatner) after he left him on a once hospitable, but now baron planet. When Pavol Chekov (Walter Koeing) and Capt. Terrell (Paul Winfield) are looking for a supposed dead planet to start the Genesis project, a technology used to create a new life, they accidentally stumble upon Kahn and his followers. Kahn captures the two and then hijacks their ship, the U.S.S. Reliant. Kahn uses the ship to hunt down Kirk to find the location of Genesis, which he will use as a weapon of mass destruction. Kirk, who’s training new recruits on the Enterprise, must stop Kahn from executing his plans. Director and co-writer Nicholas Meyer single-handedly saved Star Trek after the disaster of the first film. He breathed new life into the franchise and came out with a fast-paced, nicely-written movie about revenge, life and death.

4. Star Trek VI: The Undiscovered Country (1991)

Nicholas Meyer once again saves Star Trek after the god-awful Star Trek V. This was also the last movie to feature the original cast and they ended on a high note. After years of fighting, the Federation and the Klingons decide to negotiate for peace. Kirk and crew, on their last mission aboard the Enterprise, are sent to escort the Klingon Chancellor, Gorkon (David Warner) to Earth. When the Enterprise fires upon Gorkon’s ship and sends a crew to kill Gorkon, the event almost launches the Federation and Klingons into a full-scale war.  Kirk says the Enterprise didn’t fire upon the ship and wasn’t aware of the boarding party sent to kill Gorkon. After Kirk and Leonard McCoy (DeForest Kelley) beam aboard the ship to save the chancellor’s life fails, they are accused of murder by General Chang (Christopher Plummer) and sentenced to death in a Klingon mining colony.  Meanwhile, Spock leads an investigation to prove Kirk and McCoy are innocent. A very underrated Star Trek movie, Undiscovered Country echoed the parallels to the fall of communism and the end of the Cold War. Star Trek VI never has a dull moment.

5. Star Trek III: The Search for Spock (1984)

After Spock’s death in Part II, his body is sent to the newly created Genesis planet. With McCoy now inheriting Spock’s “essence,” Spock’s father Sarek (Mark Lenard) persuades Kirk and his crew to go back to Genesis to retrieve his body. Meanwhile, the Klingons, led by Commander Kruge (Christopher Lloyd), have gained knowledge of the Genesis project and want to use it as a super weapon. Kirk, given the order to not return to Genesis, steals the Enterprise and is forced to deal with the Klingons in a deadly encounter. Directed by Leonard Nimoy, Search for Spock is a good sequel to Wrath of Khan, but doesn’t have the same impact that film had.  It does have a few minor plot holes, like Spock being “regenerated” by the planet. It’s an enjoyable watch, but obviously not on par with Star Trek II or IV.

6. Star Trek: Generations (1994)

The original cast passes the torch to the Next Generation and this was the last to feature William Shatner as Kirk.  The meeting between Picard and Kirk was certainly an enticing plot point, but Generations was somewhat of a disappointment. Kirk is supposedly killed on the maiden voyage of the Enterprise B by an energy beam called the Nexus. When scientist Dr. Tolian Soran (Malcolm McDowell) threatens the destruction of planets to get back to the Nexus, the Enterprise must him stop before millions of life-forms are killed. Despite the hype this movie displays between the two captains, the outcome is pretty weak. Also, Data is exceptionally annoying when he decides to get an emotion chip to have human feeling. His feelings, however, go haywire and he goes crazy. McDowell was very good as the villain, but the meeting between Picard and Kirk plays like an afterthought.

7. Star Trek: Nemesis (2002)

This is the last movie to feature the Next Generation cast and also the last Trek film altogether, until the Abrams one.  When a younger clone of Picard named Shinzon (Tom Hardy) overthrows the Romulan senate to become praetor, the Enterprise must go on a diplomatic mission to meet Shinzon. They later find out that Shinzon actually wants to use Picard’s DNA to keep himself alive and disrupt the human race with his unstoppable ship, the Scimitar. The only thing that kept this movie from being terrible was the action, which is the most Star Trek has ever seen.  The whole Picard clone thing and Data discovering an android brother were both weak. It also featured perhaps the ugliest alien villains, the Remans.

8. Star Trek:  The Motion Picture (1979)

This movie isn’t the best example of ushering in a popular TV show to the silver screen. Essentially a rip-off of 2001: A Space Odyssey, The Motion Picture follows the Enterprise crew intercepting a mysterious cloud named V’Ger. V’Ger is destroying everything in its path and is threatening Earth. Directed by the legendary Robert Wise, the movie seems to focus more on special effects (by Douglas Trumbull, 2001) and less on story. The movie was plagued with problems from the beginning and easily went over budget. It’s very boring and has by far the worst costumes of any sci-fi movie. This also marked the first appearance of the hideous Klingon make-up.

9. Star Trek: Insurrection (1998)

Insurrection feels like a two-part miniseries than an actual movie. When the Son’a (not that ugly, surprisingly) is forcing a group of people named the Bak’u off their unique planet, the Enterprise must stop the Son’a extraction at all cost, even committing a direct violation of their orders.  Because of the worthless script, this was by far the worst Next Generation movie. It featured the worst villain, Adhar Ru’afo (F. Murray Abraham) and the worst villainous plot. Ru’afo wants to remove a group of people from a planet so he can become young again. Wow, so exciting. Not good at all.

10. Star Trek V: The Final Frontier (1989)

This piece of crap is why people bash Star Trek and give it a bad name. Directed and co-written by William Shatner, this horrid excuse for a movie has the Enterprise being hijacked by Spock’s half-brother, Sybok (Laurence Luckinbill). Sybok, thinking he’s the next messiah, commands the Enterprise to the mysterious Sha Ka Ree (Vulcan version of Heaven) to find God (not kidding about this part). Meanwhile, the Klingons just decide out of the blue to go after Kirk because they don’t like him.  It also has embarrassing moments like Scotty (James Doohan) saying he knows the Enterprise like the back of his hand and then proceed to knock himself out or a middle-aged Uhura (Nichelle Nichols) doing an “exotic dance.” It has horrendous special effects and it could easily be one of the worst movies of the 80′s. It was also the proud winner of three Razzies, including worst actor (Shatner), worst director (Shatner) and worst picture. Completely avoid this.

Often times, rappers are trying to create a persona for themselves to stand out from the crowd in a music industry that covets personality more than talent. Therefore, it is an almost natural transition for many rappers to try to make the plunge into acting. With the Black Eyed Peas front man Will I. Am’s first film role coming in this summer’s Wolverine, I figured I would compile a list of rappers turned actors (or at least dabbling in acting) in studio films. You can call these guys rapper actors if you like.  I look at those in studio films because tons of these guys (and gals) are doing smaller fare and putting it out themselves, see the blueprint set by Master P. A few rules for the list: the artist has to have been a legitimately known MC (so no Gravy aka Jamal Woolard from Notorious.) Also, you have to also have done more than one film as well (Will I. Am excluded since he is inspiration for the piece), so you will not see Eminem (8 Mile) below. Here are 21 Rappers Turned Big Screen Actors. This is not an entirely comprehensive list by any means, so feel free to add any you see as necessary or comment on those you see here.

Ice-T

The former gangster rap star is still going strong on TV with “Law & Order” (9 years in!), but lest we forget he was in Trespass, New Jack City, and Ricochet back in the day. He actually kind of started this whole movement. He has the longest list of credits of any rapper you will find with more than 70 acting credits to his name. It is amusing that he played a cop in “New Jack” and a detective in “Law” considering he boastfully sang “Cop Killer” more than 15 years ago. He obviously has something that works to get him by, so respect is due.

Andre Benjamin aka Andre 3000

He seems a natural to try his hand at this but has been hit or miss in my view so far. He had Be Cool, Four Brothers and Guy Ritchie’s underseen Revolver, but Idlewild with partner Big Boi (ATL, Who’s Your Caddy?) flopped. Still, he was good in the indy Battle In Seattle proving that he has a chance in acting for the foreseeable future. To his credit, he is willing to stretch himself and is seemingly serious about the craft at least.

Bow Wow

The youngster had Like Mike, which put him on the map, and roles in Roll Bounce and Fast and the Furious: Tokyo Drift. Will he be forever known as a child rapper/actor or can he transition as a man? It remains to be seen but has as few projects in the works.

Will I. Am

Getting a role as Wraith in Wolverine is surprising only because it is his first acting role ever and now he gets to turn up in what is anticipated to be one of this summer’s biggest films and a possible franchise. Slightly curious to see how he does. Here is his somewhat convincing Wraith spot in case you missed it.

LL Cool J aka James Todd Smith

The man dubbed “Ladies Love” has had enough opportunities to turn this into a legitimate big screen career and I don’t think it is happening at this point. Deep Blue Sea, Any Given Sunday and S.W.A.T. showed what he can do, but it appears he is going to be sticking with smaller TV roles at this point. It’s always been hard for me to see him as anything other than LL for the most part, since he was a pretty big star.

50 Cent aka Curtis Jackson

The man who was shot 9 times (and still lived!) seems to be more focused on acting nowadays after becoming among the biggest music stars on the planet at one point. He has done his Get Rich or Die Tryin’ biopic but then was in Righteous Kill and has the busiest slate of anyone on the list with at least 6 projects coming in the next two years. I wonder if he can stick around, now that he is out of the music limelight (at this juncture).

Mark Wahlberg aka Marky Mark

While some may find him a stretch to be included as a rapper, he was a pretty big star with his Funky Bunch hits (“Good Vibrations”, “Wildside”) back in the day and has been highly successful as an actor by any measure. Boogie Nights’ Dirk Diggler showed he could act and he has parlayed it well into countless acting roles with considerable range (A Perfect Storm, I Heart Huckabees) and producing hit TV show “Entourage” to boot.

T.I. aka Tip Harris

The slim one who calls himself “King of the South” on the mic showed up in ATL and American Gangster to mixed results. He has charisma but not sure he has any real range as an actor. His recent gun charges will stem the tide from him showing up in anything in the near future with Takers being his next acting project due in 2010.

Ice Cube don’t call me O’Shea Jackson

The former gangster rap star and would be greatest MC ever (that’s a different discussion, but accurate) is one of the bigger successes as far as this list goes. He went from Boyz ‘N the Hood to Friday to xXx 2 and now routinely shows up in his own produced projects (family fare, no less). He was once more promising as an actor than it has turned out in my eyes, but it is interesting that he somewhat has played against type. As a financial and box office success, he can’t be denied.

Eve

The “pitbull in a skirt” was in two Barbershop films, xXx, and The Woodsman with Kevin Bacon but seems like she might have run her course on the big screen for the time being. She is still getting TV roles though as she battles some legal issues (hip-hop streed cred—cool!). A multi-hyphenate interested in fashion as well, she may never just been seen as an actress.

Mos Def

A backpack rapper known for thinking-man rhymes, he was really an actor before he became an MC, so he seemed a natural fit for the big screen, that is until…you hear him talk. Too often he uses a particularly annoying voice when trying to create characters for film. Still, he has a varied string of film credits from The Hitchhiker’s Guide to the Galaxy, 16 Blocks with Bruce Willis, Be Kind Rewind, and he earned raves for HBO’s Something The Lord Made (a pretty solid film too). In the end, might have more respect as an actor than rapper (debatable) as he has Next Day Air hitting soon.

2Pac aka Tupac Shakur

The notorious, fallen icon might have been the biggest star out of any one on here (and may still be), but died young. An artist who showcased his acting in Juice, Gridlock’d, and Poetic Justice, which all showed off his undeniable charisma but we’ll never know how far he might have gone. See Film-U-Missed, Tupac: Resurrection for a look at his life from his perspective.

Snoop Dogg

The “slim with the tilted brim” star was surprisingly good in Training Day but it’s tough to see him as anything other than Snoop. Need I mention Bones? I thought not. His former partner and sometimes collaborator Dr. Dre is less convincing, something he himself acknowledges and it will keep him out of the mix as an actor.

Puffy/P.Diddy aka Sean Combs

The producer/rapper is trying to be taken seriously as an actor. Though he hasn’t had a real big studio film, he did get respect for 2001’s Monster’s Ball and last years “Raisin In The Sun” TV work was lauded. First acting role was in the Jon Favreau/Vince Vaughn teaming part-deux, Made. He claims he will win an Oscar someday, and surprisingly, he is tough to doubt.

Queen Latifah aka Dana Owens

From her CD “All Hail The Queen” as one of the original female rap stars to acting in Chicago and earning a Golden Globe in the process, Latifah is now a full-fledged acting star. She participated in the huge hit Bringing Down The House and the Barbershop spin-off Beauty Shop. She has been removed from the rap scene a long time now and is only seen as an actress these days, though she recently put out a Jazz album lest we forget she has other interests.

Common

The Chi-town MC had put out several albums before getting a big hit and venturing into acting. He is an another guy that seems to be a natural for this and I think he has a chance to be one of the more successful on the list. He’s been in a lot of actioners to some surprise with Wanted, American Gangster and Smokin’ Aces and he will be in Terminator: Salvation with Christian Bale this summer.

Ja Rule/DMX

Jeffrey Atkins was a big rap star at one point with commercial and hardcore hits which he used to get into other avenues like acting. He had his chance in both film and music but is next to off the map in both these days. Did 50 Cent kill his career? As an actor he had Scary Movie 3 as well as Half Past Dead with Steven Segal and that title was apropos for his career as it turned out. DMX aka Earl Simmons, the gravelly voiced, barking rapper on the other hand, was in independent ‘hood film Belly, Romeo Must Die and Exit Wounds (another Segal film) but has the range of a cardboard box and simply can’t be taken seriously. Hence, I lumped these two together.

Xzibit aka Alvin Joiner

The West Coast underground rap legend who rose to fame on MTV’s “Pimp My Ride,” has had a pretty good go of things as an actor. He got Derailed with Jennifer Aniston and Clive Owen and did xXx 2, X-Files 2, 8 Mile and Gridiron Gang which all showed off the X to the Z. He may not be a great actor (yet?), but he is likable and charismatic. Known for a muscular build, he has had to be stronger inside than out as Xzibit recently lost his infant son to a rare lung disorder. He still has projects acting coming through 2011.

Ludacris aka Chris Bridges

The former radio DJ (Chris Lover Lover) turned punch-line rapper, has had some higher profile films as an actor including Oscar-winner Crash and last year’s Max Payne. He initially stretched himself for Hustle & Flow (I kid). Was in Guy Ritchie’s RocknRolla in a small role, where he was at the very least, efficient. Chris some talent here and it will be interesting to see how things turn out for him as I suspect he is going to try to be in it for the long haul.

Will Smith aka The Fresh Prince

The former fun and charming rapper is now the most successful box office star on the planet. Need I say more? He was once accepted to M.I.T. and was the first rapper to win a Grammy for “Parents Just Don’t Understand.” He once exquisitely portrayed Ali, has been nominated for many awards, regularly stretches himself, and is among the most personable stars you can imagine. Will is the undisputed box office champ who may never be topped. His string of $100m hits just was broken with Seven Pounds last year and he is currently on a bit of a hiatus. We eagerly anticipate seeing how he will react.

Is there a city more infamous than Las Vegas? Lovingly deemed “Sin City,” it’s where Tupac was gunned down. The NBA All-Star game will no longer be held there after Adam “Pacman” Jones made it rain with dollar bills and then bullets after a strip club altercation. It’s a gambler’s paradise where lives can be made and lost in just the yank of a slot machine handle. Hollywood loves playing with stories surrounded in the world without rules city limits. Steven Soderbergh depicted the heist of casino millions in the remake of Ocean’s Eleven, forty years after Vegas should have been wiped clean by the original. Martin Scorcese’s 1995 opus, Casino merged the world of Goodfellas with that of the city of sin. However, the city has been immortalized in my cinematic mind by Swingers. It shall forever be known as “Vegas, baby. Vegas,” even though the film probably has no more than 15 minutes of screen-time set there. If there’s only one other thing Las Vegas is known for, it’s probably bachelor parties. Hence, we have the newest entry into the Las Vegas oeuvre, The Hangover.

Doug is set to be married to Tracy. Aside from getting cold feet, the pre-marriage routine calls for a bachelor party and Doug is scheduled to celebrate one last taste of freedom with his best friends, as well as Tracy’s brother, Alan. Put bluntly, Alan is sort of a strange individual. He shirks at the tailor measuring his inner thigh for his tuxedo fitting, but then drops trou to embrace his soon-to-be brother-in-law in only a jockstrap, like he’s Chris Farley in Tommy Boy. However, in an odd way, Alan is the fourth wheel that balances out the vehicle of Doug and his friends Phil and Stu. Phil is a married father who teaches grade school, but embraces any time away from home. He is the knowledgeable player of the group, who encourages Vegas’ no rules motto, but ultimately adheres to them himself. Stu is the worrywart of the group. A dentist who fancies himself a doctor, suffers from an overbearing girlfriend he must lie to in order to join his friends. Once it’s on though, it’s destination Vegas.

Bachelor parties are supposed to be about having fun and for most, that’s what Las Vegas personifies. It’s no different for our fearless foursome as – much to Stu’s chagrin – they throw caution completely into the wind and go for broke. Upon arrival, they immediately upgrade their quaint shared rooms to a multi-thousand-dollar-per-night suite. He who visits Vegas, must party like it. They trek up to the roof of the hotel/casino (“catel?” “hosino?”) for a toast and vow to make it the best night possible. Alan provides the drinks. The debauchery begins.

Then, the debauchery ends. We fade to black and open back up in the suite the next morning. A tornado, localized entirely within their suite, hit. A pack of jungle animals stampeded and then left. At least those explanations would make sense. Actually, that second one is party true. Stu wakes up with a missing incisor and bloodstains on his shirt. Alan, bleary-eyed, wakes up in his underwear (not that surprising, really) to go to the bathroom while a Bengal tiger stares him down. A baby, whom Alan dubs Carlos, cries in a closet.  The worst thing though, is there’s no sign of Doug and nobody can remember a thing from the night before. Hence, the title. Doug is slated to be married the next day, so they have to retrace their steps from the few clues they are given and bring their friend to his wedding on time.

"I'm sorry, I don't touch money. You'll have to put it in my mouth."

Director Todd Phillips has specialized in the male bonding group comedy. He strayed from the formula with Mr. Woodcock, and that film failed, whether it was his fault or not. He built his name through Road Trip and Old School and The Hangover seemed a naural fit for him. He does seem back at home, as he’s able to juggle multiple characters all having their own agenda. He’s aided by what’s easily the best produced script by Jon Lucas and Scott Moore, whose strongest competitors are Rebound, Four Christmases and Ghosts of Girlfriends Past. The detective-like work Phil, Stu and Alan must do to find their friend and ringleader is a great storytelling device, especially for use in comedy. The creative team deserves and extra bit of kudos for making the best use of an end credits sequence I’ve seen to-date. It’s very much ingrained in the story, but would be superfluous to show in the body of the film. It adds an exclamation point to the story and the viewer is duly rewarded for the additional few minutes in their seat.

It is kind of odd to have the main character – or at least the character the entire premise of the film is built around – absent for the vast majority of the film’s runtime. Obviously, that’s why Justin Bartha played the role of Doug and not someone with a bigger name. Bradley Cooper and Ed Helms play Phil and Stu respectively, and you feel them truly embody their characters. Cooper’s golden-boy tan gives Phil a hint of sliminess, while Helms typifies the zeta-male, cowering to the whim of his alpha girlfriend. Alan, on the other hand, is the manic creation of Zach Galafianakis. Go ahead and start committing that name to memory right now. You’d better be able to spell it, too. I’d seen some YouTube clips of him in the recent past and wasn’t quite set up for what I received here. Alan is someone who’s “not all there,” but he isn’t’ completely detached from the world, either. He still retains some shreds of societal values and this balance helps make him a unique character. Galafianakis is destined for a Danny McBride-esque ascent and this is the role to start it.

The film remains consistently funny throughout, only occasionally throwing in a joke that doesn’t hit. It takes you to some Vegas staples, like the quick-marry chapels, but brings some new twists with a Mike Tyson cameo and an Asian gang (are there any other?) led by Mr. Chow, played by Ken Jeong. This type of comedy was a complete breath of fresh air after suffering the brutal wounds of Observe and Report. It’s ultimately a lighthearted R-rated comedy that doesn’t pull any punches, but also isn’t aiming for the solar plexus. Just the funny bone. Some movies are made purely for entertainment and enjoyment purposes. On each level this film wholly satisfies its goals.

Vegas, the city, and Vegas films have been struggling as of late (can we please forget about What Happens in Vegas?), but The Hangover can be proud to enter the pantheon of respectable Vegas-set films. It has a creative and humorous script married to a director perfect for the material, and it presents us with a great new talent we should be seeing emerge in larger and larger roles in the near future. It might not be as fun as a night full of partying in Sin City, but it could be the next best thing. Gather your buddies for one last toast and prepare for The Hangover. It’s one you’ll actually enjoy having.

I’ll admit, growing up an athlete and major sports fan, boxer Mike Tyson was a near idol to me at one point in my life. It’s hard to imagine now, looking back on the man who became almost a beast of sorts, inside and outside of the ring, but at the height of Tyson’s fame, he was as popular as Michael Jordan, known the world-over for his devastating knockout power and prowess in the ring. James Toback’s documentary Tyson is an insightful and unmasked portrayal of the fallen boxer as delivered by Iron Mike himself. The documentary it most resembles in style is our recent film-u-missed, Tupac: Resurrection, as it is told in Mike’s words, and the only voice you hear throughout the entire film is his, with the exception of some clips from his earlier boxing life. Tyson might alternatively be called “Tyson on Tyson” or any other derivative thereof.

Tyson opens with flashback footage of a 20 year-old man-child who has just earned his first Heavyweight Championship belt. As the noise from the mania in the ring fades out, the screen reveals a subdued individual, 20 years removed from that crowning moment, tribal tattoo on his face, sitting on his couch while talking frankly and openly about his life. A shell of his former self, this man is a confused individual and he spends the next 90 minutes or so taking you deep into his world, reflecting on what he has done, and in the process revealing his psyche.

This is how some of us choose to remember Iron Mike.

Mike discusses his childhood; his relationship with father figure and manager/trainer, Cus D’Amato (which is the most moving portion of the film early on), as well as his relationship with first wife Robin Givens. He discusses the Desiree Washington rape charge, revealing it as a sham, something I have long agreed with in concept (which ruined what might have been the most anticipated boxing match in modern history at the time, between he and Evander Holyfield in 1991). He discusses promoter Don King, creatively labeling him “a wretched, slimy, reptallion muthafucker.” None of this is earth-shattering, but while Tyson offers little regret or remorse that doesn’t mean there isn’t strong sadness and softness within him.

Visually there is not too much going on so Toback plays with the camera, often utilizing split screen during Tyson’s multiple monologues. Tyson, as those that know anything about him would expect, often contradicts himself. He is a man clearly grappling with inner demons. He talks about his passion for sexual conquest, his love of money and also of family. He waxes lyrically to the camera, often to comic effect, yet never recognizing it as such himself. A man’s soul is bared for all to hear, at least as much of his soul as Tyson is capable of delivering.

Or will we remember him as a man with many demons?

While it’s well done and interesting, real fans of Tyson won’t uncover an abundance of new information here. For you, it is more a trip down memory lane, as told by the former heavyweight champion of the world. In contrast, for those curious for a portrait of a human being who defied the odds and has turned out to be an intriguing and perplexing subject, this comes highly recommended.

Postscript: In a post-screening interview, director Toback, who likely “knows” Tyson as well as anyone at this point, revealed a few things from his perspective, I was hoping to find out from the film itself. I’ll note that this is mainly for fight/Tyson fans. First off, he is no longer in touch with Kevin Rooney, the trainer in D’Amato’s camp who helped make Tyson so successful as a kid. Tyson rarely discusses his boxing days or boxing in general, unless it is to talk of some of the famous fighters of years past, like Jack Johnson or Joe Louis.

Additionally, Toback, with his Harvard background, believes there to be no reason why Tyson would have turned out any different as either a fighter or in life, were Cus to have lived another 5 years say, versus when he died and Tyson was still only 19. Toback interestingly argues that he would have merely been a sheltered 24 year-old, versus the naive 19, and therefore he would have likely succumbed to the same pitfalls that his career ultimately took. This is one point of contention that fight fans worldwide like to make in favor of Tyson; speculating that he could/would have been different if Cus or Rooney were never out of the mix. I would have liked to hear from Tyson directly on this, but he seems to no longer be interested in such matters. But Tyson himself regularly talks of dogging it in preparation for certain opponents, one can only wonder as to whether or not D’Amato’s or Rooney’s influence would have changed that down the road.Tyson doesn’t seem to care or think about it, for whatever that’s worth.

Never come between a man and his daughter. This is a simple truth known at least to the man once his child emerges from the womb. I remember one of the first things my brother said when my niece was born was he’d have to buy a shotgun once she was of dating age. This innate urge to protect was recently exploited in one of the biggest box office surprises of the year in Taken. A man allows his daughter to go on an overseas adventure. She is kidnapped and he’s forced into action to avenge her disappearance. Ten years prior, a similar father-on-a-mission flick was released in the form of The Limey.

Wilson, an Englishman who’d been locked in prison for a third term for armed robbery, is sent a letter soon after his release into the harsh reality of the outside world. The letter contains a newspaper clipping stating his daughter, Jenny, had died in a mysterious car crash. He sets off to Los Angeles to find the sender of the letter, hoping to uncover clues surrounding the mystery, which he believes to be a cover-up of something larger.

A fool and his life are soon parted.

The man who sent the letter to Wilson is Ed Roel (not Edward Role, but Eduardo Ro-el). Ed met Jenny in an acting class. He tells Wilson of a drug deal he and Jenny played witness to at a warehouse, orchestrated by music producer Terry Valentine (Peter Fonda). Valentine also happened to be Jenny’s lover at the time of her death. Wilson takes this newly acquired information and goes in search of Valentine. His first stop, the warehouse where the drug deal went down. Wilson is able to gather Valentine’s home address through physical means and leaves the lone survivor of the warehouse with a message for Valentine. “Tell him I’m coming.”

Ed introduces Wilson to Elaine, Jenny’s best friend and acting coach. She reveals details about Jenny that Wilson couldn’t have received elsewhere and it only serves to fuel his fire to avenge his daughter’s death. Although he’s most certainly capable of performing his act alone, he elicits the help of Ed and Elaine to aid him on his quest to right where his daughter and their friend was wronged.

Can you believe this isn't Denise Richards? Nor any sort of relative?

Steven Soderbergh was just entering his directing prowess when he undertook The Limey. It was right after he directed Out of Sight and right before he was nominated twice in the same year for directing Erin Brockovich and Traffic (he won for Traffic). Perhaps it’s because the film was sandwiched in between those works that The Limey has gone underseen. However, it could also very well be due to the somewhat more experimental nature of the direction and the leading man being white-haired Terrance Stamp, not the most household of names.

Soderbergh imbues a unique creative flourish in the film. During scenes flashing back to a past time in Wilson’s life, depicting his relationship with Jenny and her mother, Soderbergh doesn’t bring in younger actors to play the roles, but rather uses scenes from a 1967 Stamp-starring film, Poor Cow. Some of these scenes fit so perfectly into the fabric of the storyline it’s almost as if the film was written with Poor Cow in mind. Another technique Soderbergh employs is a jumping timeline. Some scenes are shown that take place before and after the scene just shown. This isn’t a patchwork timeline like Babel or 21 Grams, but are more small inserts in a larger cohesive story. Sound is used to enhance this process as a conversation might take place at one time and the conversation continues in a completely different setting at another time. These aspects elevate the film above any other revenge-oriented fare.

Terrance Stamp’s Wilson is great. He speaks in cockney rhyming slang that you have to admire for it inventiveness. He calls Ed his new China. China = China Plate = Mate. Tea Leaves = Thieves. Butcher = Butcher’s Hook = Look. E-40, eat your heart out. The man isn’t a trained killer like Liam Neeson’s character in Taken. He’s a criminal and knows his way around a gun, but it’s the revenge for his daughter’s life that truly takes a hold of him. Although he may not have been the man that was always there for his little girl, his path toward redemption is always only a bullet away.

Mad dogging through the fence.

All of the acting is superb here. Peter Fonda doesn’t play Valentine with the slickness a drug-involved-record-producer normally would be shown in film, but rather a man who tries to move on with the only life he’s known after he disposes of Jenny. Luis Guzman has a smaller role here as Ed and gives him likeability and willingness to help that his characters usually don’t possess. Even with his small amount of screen time, though, the stand-out performance belongs to Nicky Katt. He plays a long-haired mustachioed career hitman, hired to knock off Wilson for Valentine. A scene where he and his partner follow Wilson and Elaine to a film set and he proceeds to skewer the environment and industry with verbal barbs is pure enjoyment. “Why don’t they make shows about people’s daily lives you’d be interested in watching? You know, like ‘Sick Old Man’ or ‘Skinny Little Weakling.’ ‘Big Fat Guy.’ Wouldn’t you watch a show called ‘Big Fat Guy?’ I’d watch that f***ing show.” Brilliant. The character ought to have his own spin-off and Katt ought to be a star.

Of course you don’t necessarily need to take my word for it. The Limey was nominated for five Independent Spirit Awards. It didn’t win any, but lest we forget, this was 1999, one of the best years for film. For anybody that saw and enjoyed Taken, and I know it was a lot of you, I urge you to check out this similarly-themed film. Anybody that hasn’t, you still ought to expose yourself to this film. The visual and non-linear storytelling is entirely mesmerizing and there are performances you’ll no doubt enjoy. The Limey is a mission-fueled Film U Missed.

Buy this Film U Missed here.

It’s no secret that I love hip-hop.  Music. Culture.  Whatever you want to call it, it is in me and I enjoy it.  Of course that love and appreciation for hip-hop extends to film.  I am the resident writer here for all things that involve hip-hop in movies.  I find any way to share this with you that I can and incorporate it into The Film Nest.  I was on the scene to review Notorious and The Wackness early.  I gave you a Film-U-Missed covering the controversial 2pac with Tupac: Resurrection.  I delivered a Classic Scene from Boyz N The Hood.  I even recently posted a (loosely) film related post in the form of a new music video for Eminem’s “We Made You.” I enjoy sharing this passion with anyone who will listen.  So, I decided to do a list on the 10 Movies The Hood Loves The Most.

Admittedly, this is a difficult task.  There are tons of ‘hood movies.  But what type of movies does the proverbial ‘hood love?  Well, for starters, it has to incorporate some form of or connection to hip-hop.  Whether it is with the actors, the lifestyle, or simply the music, a ‘hood movie needs that element to it, to bring enjoyment to the discerning eyes of those who stay up late at night and sleep during the day.  It also has to be about the ‘hood in some way.  It could be location, a character that is particularly gangster, something about the drug game (a prominent hood profession), or rising against all odds.  All traits the ‘hood respects.

The movies that could fall into this category are many.  A movie could be about cops and robbers (cops regularly are targeted with the hood’s angst).  Action helps, but is not completely necessary for ‘the hood to be down with it.  I need some inspiration here, so fortunately, I have my iTunes playing what is essentially 90% or more hip-hop in the background now to help me out.  Finally, I must re-iterate that these are movies that the ‘hood loves.  That doesn’t mean that they are the best movies by any means.  Nor does it mean that they are in the order of the best made films within the list.  The ‘hood doesn’t always think technically in that way.  Hood denizens want to be entertained, just like anyone, and these movies clearly do the trick for them.

10. I’m Bout It (1997)

The rapper and entrepreneurial icon, Master P, wrote, directed and starred in this movie that practically started it all as far as rappers doing things themselves in movies.  This movie was released straight to video and was taken as a serious attempt to make money with a foray into film.  I admit it’s been years since I have seen this, and I remember being it nearly atrociously unwatchable, but for P and for the ‘hood, it is about the hustle. P played guinea pig while showing MCs the way to think for themselves and make their own money.  The man is a business genius even if he can’t act or (really) rap at all.  This film featured him and his whole No Limit stable acting in a film loosely based on the premise “if a man hasn’t discovered something to die for, he isn’t fit to live.”  In a lot of ways I agree with the statement and even if the movie is so-low budget it was probably made for pennies, I am certain P cashed in from it.  You don’t have to like P, or the movie, to respect what he is all about here.  Making money and being self-made.  The ‘hood can dig it.

9. Belly (1998)

Nas contemplates the plot while starring in "Belly"

Belly is essentially hip-hop video director Hype Williams’ answer to P’s I’m Bout It.  Written in part by hip-hop icon Nas and starring both he and DMX, Belly is a stylish, if still largely disjointed film.  Not an easy movie to sit through, but due to it’s stars, distinct style and set pieces, it sneaks by.  With the plot about the drug trade and two friends going in opposite directions, the ‘hood has always felt strong about this movie.  Hype does take the camera to some cool angles, and as a fan, it is marginally (only marginally) interesting to watch Nas and DMX try to act, but that’s about all there is to it.  Nas is actually not bad, but DMX isn’t good as an actor, though if you recall at the time, he was a major star, as he followed this up with Romeo Must Die with Jet Li and Exit Wounds with Steven Seagal. It’s the plot that’s just wack, with a strange religiously twisted end.  Trying to follow the jumping of scenes (are they even connected to one another?) isn’t easy but there is some violence, decent music, and enough style to perhaps make it watchable. Once.

8. Colors (1988)

The first good film on the list, Colors has Sean Penn and Robert Duvall as cops in the middle of LA where gangs are strongly at war.  The acting is obviously excellent, the soundtrack is one of the first to feature nearly all hip-hop on a major film, and the plot works.  The ‘hood begrudgingly respects Duvall’s Hodges as a veteran in the tough area, whereas Sean Penn’s “Pac-Man” is trying to learn the ropes.  This shares alot of themes with Training Day, just 15 years earlier.  The scene where they arrest all the Bloods and Crips and put them in jail cells next to each other is exciting, especially knowing that there were numerous real gang members involved there.  Dennis Hopper (yes, him) directs.  Look out for a young Don Cheadle as gang-member “Rocket” and Courtney Gaines “Whitey” cholo.  For those who don’t know him, this is his follow up film after Can’t Buy Me Love‘s, Kenneth.  “You shit on my house!”  Don’t miss Colors, it’s strongly recommended.

7. Do The Right Thing (1989)

Spike's "Mookie" delivers the 'hood's 7th most loved film.

More about a neighborhood than the ‘hood, Spike’s seminal work (although 25^th Hour fans might argue) is a classic that covers a sweltering day on a diverse Brooklyn block.  This is much more focused on racial relations, but the ‘hood saw someone they felt they could identify with at the time in Spike.  Strong casting and a plot with mounting tensions keeps this one moving towards it’s ultimate conclusion.  Public Enemy’s “Fight The Power” was a featured track on Radio Raheem’s boombox, and his unneeded death leads to a powerful climax.  The complexities of this are worth revisiting over and over, as viewers and characters alike wonder why all the madness had to take place.  Martin Lawrence makes his first big screen appearance as a local jackass and Danny Aiello, John Turturro and Spike hold down the fort as the main characters.  Appointment viewing.

Interlude, Mobb Deep’s “Win Or Lose” is playing, I have to take a little break.  The sample is off the hook! “Federal Note fetish”…classic.

6. New Jack City (1991)

Ice-T is cocked and ready in the classic "New Jack City"

The ‘hood loves Mario Van  Peebles ode to Scarface with Wesley Snipes as drug kingpin Nino Brown.  Snipes has never been better (except at evading taxes), Chris Rock as junkie “Pookie”, Ice-T as an edgy cop with Judd Nelson, of all people, as his partner.  Allen Payne is “G. Money” who helped Nino build their drug empire, but sees tension over Brown’s recklessness and their crossing up over a girl, leads to their demise.  The “Am I my brother’s keeper” line during the scene where their friendship ultimately fizzles, is oft-repeated and revered to this day.  This one is not a great film, but has plenty to entertain throughout (several times over, if you are me) and you really can’t call yourself a ‘hood film fan without seeing it.  “I want to shoot you so bad, it makes my dick hard.”  Eat your heart out, Seth Rogen.

5. Friday (1995)

I partied with Deebo from "Friday" in Vegas once.

Ice Cube’s first comedy entry is easily his best comic film to date.  The man who would have been gangster rap’s King shocked us all by going funny here, as the straight man opposite a young comic named Chris Tucker.  Tucker has never been better; he can do as many Rush Hour‘s as he wants and never be this funny.  What charisma and what an impression he makes.  Tiny Lister as “Deebo,” Faizon Love as “Big Worm” and an appearance from the sultry Nia Long, make this the classic ‘hood comedy.  An ode to marijuana.  When Tucker’s “Smokey” declares about a woman, “The older the berry, the sweeter the juice,” Cube’s Craig replies “it’s the blacker the berry.”  Not a moment too late, Smokey replies, “She’s blacker than a muthafucker too.”  Hilarious stuff.  One of the best experiences I have had watching a movie in a theater.  The whole crowd was singing the songs when they were on.  One of my great moments in my cinema going history is also the ‘hood’s indisputable most respected comedy.

4. Juice (1992)

Tupac Shakur makes an indelible screen impression as “Bishop,” a man with the “juice” once he gets a hold of a gun.  Moments after securing the gun from his best friend, trouble ensues and said best friend loses his life.  That’s “juice” for ya.  Omar Epps is “Q”, a more morally grounded DJ in the crew, where Bishop fiends for power and Jermaine Hopkins’ “Steel” (Lean On Me‘s “Sams”) also hang.  While Q is out to get a record deal, spinning in a contest hosted by Queen Latifah, in an early role, Bishop’s aggressive search for power haunts the crew and Pac’s charisma lingers long after the film ends.  The climactic battle leaves a new man (I won’t spoil it) with the “juice”, but he doesn’t want it.  Ernest Dickerson directs this great film about black youth struggling with their identities and peer pressure while growing up in the confines of a group.  Oh, and the search for “juice.”  Gripping stuff.

3. Boyz N The Hood (1991)

Cube in his iconic state during the "Boyz" shoot.

What has long been one of my favorite films ever, Boyz N The Hood succeeds as a great tale of “growing up in the ‘hood.”  John Singleton, fresh out of USC Film School, gives us his best film to date (by far) with Cuba Gooding Jr. bursting on to the scene, and the aforementioned Ice Cube in his first film role (still rockin’ the Jheri Curl).  Cube is the gun-toting hard ass “Doughboy,” Cuba the good guy raised by Furious Styles (a stellar Larry Fishburne) and Morris Chestnut is Ricky, the football prospect who is his families ticket out of the ghetto.  Ricky’s football dreams are dashed as he ends up a tragic victim of local hoods leaving retribution to come in the form of retaliation, Doughboy style. Like all things Singleton, this is sometimes preachy but its ultimately a real and revealing film about the struggles of growing up and making adult decisions, perhaps before you are ready to make them.  It echoes real life in that way.  Good subplots and great music, with a brilliant score to boot by John Williams.  A true classic.

2. Menace II Society (1993)

Caine & O-Dog stare down some marks.

Remember when I reiterated that this was in the order that “the ‘hood” places these films?  Here is a classic example.  The ‘hood loves “Menace” more than “Boyz,” deeming it the “real” version of life in the ghetto.  I don’t concur entirely, but The Hughes Brothers did make a solid film that made a star out of Larenz Tate.  Tate’s “O-Dog” is a gun-happy gangster and homie to Caine, a boy trying to be a man while raising a child with Jada Pinkett’s “Ronnie.”  It’s a different film from “Boyz” that is still rooted in the problems of youth growing up in a tough area and making decisions sometimes beyond their capabilities.  Allen and Albert hold it all together through unflinching visuals and yes, violence.  The directing and story are solid but overall it doesn’t seem on par with “Boyz” and the two films will always be linked, regardless of time.  While I enjoy the film, I have never held it in quite the same high regard as Singleton’s pic.  Perhaps I will see it again (though I have seen it multiple times) to continue to try to uncover its layers.

1. Scarface (1983)

Pacino's "Scarface" takes his rightful place atop our list.

What were you expecting to see here, Deep Cover?  Clockers? New Jersey Drive?  South Central?  No, there was never a doubt about the movie the ‘hood loves the most.  Scarface is the epitome of a rags to riches tale.  Tony Montana is a man who came from nothing to be king of the drug trade, only to see it all fall apart.  Brian DePalma put Al Pacino in the lead in what should have won him the Best Actor Oscar, hands down.  To not even be nominated is criminal.  Hence the Academy hasn’t had credibility for years, here or in the ‘hood!  Pacino may have taken some flack for his dialect, but it is perfect for the film and his depth shines throughout.  Watching his reaction as his friend is ripped apart by a chainsaw or his heightened sense of theater when he is coked-out to the hilt in the final scene, you know Pacino was on his game.  His Montana is the most quoted character in all of hip-hop history (and perhaps film history) and rightfully so.  Living by a true code, all he has is “his balls and his word.” And he “don’t break ‘em for nobody.”  A lesson for all men of any moral fabric to understand and strive for.  Really, the world would be a better place if we all lived by that credo…just with far less violence.  This pic may have been before hip-hop in large respect but it has defined the music and culture better than any film has since.

Thanks for finishing the list.  If you feel something is overlooked, trust me I considered tons of movies but probably not all, please share. I’d love to hear your thoughts on some great movies that “the ‘hood” (or even you!) love.  Peace.

Perhaps it was the emergence of The 40-Year-Old Virgin that marked a change in cinematic comedy. Hollywood has since moved away from quaint PG-13 humor, forever in search of a “hard R.” Virgin certainly wasn’t the first comedy to earn an R rating and succeed, but the rating seems to be the predominant one in the genre ever since it touched down four summers ago. Hollywood turned its back on the Mike Myers and Jim Carrey slightly distasteful forms of laughs and it has yet to turn back. This change was welcomed by me, as I was never one for feature length comedy to that point and I was given Borat, Knocked Up and Superbad almost immediately afterward. However, things may have reached a ceiling where it’s too much. Such is the case with Observe & Report.

Ronnie Barnhardt is a mall cop (not unlike our friend Paul Blart). Oops, strike that. He’d correct me. He’s “head of mall security.” Most likely, this is due to seniority since he doesn’t appear to have any other ambitions in life, except for maybe scoring with Brandy, the make-up-counter girl. Then, something profound happens to him, or at least he perceives it as happening to him. A flasher emerges, taking the mall parking lot by storm. He runs up to cars as women pull into spots, exposing himself to his victims by the mere opening of his tan trench coat. He lurks behind bushes and pick out his next target. When he takes it out (“It?” “It.” “Out?” “Out.) for Brandy is when Ronnie is forced into action. He figures finding “the pervert” will bring him closer to Brandy and vows to do so.

The mall director has other plans, however. He doesn’t believe Ronnie has what it takes to catch the flasher and bring him to justice. Detective Harrison is brought aboard to help work the case. Ronnie is immediately taken aback. So confident he is in his ability to catch the flasher and use it to finagle a path to Brandy, he takes issue with Detective Harrison horning in on his turf and his job. Ronnie proceeds to make things difficult on Detective Harrison as he attempts to ascertain information which may help in determining the culprit, while Ronnie’s only concerned with his own reputation and ego. Detective Harrison erupts in Ronnie’s face, insinuating he was a “rent-a-cop” and not capable of handling the situation. This ignites a fire in Ronnie and his next round of business is to become a police officer himself.

Without the interference of Detective Harrison, Ronnie escorts Brandy back to her vehicle one night and cons her into going on a date with him. Although she blatantly disses him, or “forgets” as she says, Ronnie is persistent and willing to wait and they go out for drinks at a restaurant. Ronnie is infatuated with her and although she acts like the consummate slut, he declares to “accept” her. The date culminates in copulation, but is never mentioned again. Ronnie then proceeds with his newfound purpose in life, to enforce the law along the likes of Detective Harrison. What will happen if things don’t go according to plan, though? How will the bi-polar Ronnie react to the eclipsing of the one dream he’s ever had?

"Ha. You take Cialis? That's like the old person's Viagra."

Observe and Report was written and directed by Jody Hill. Hill emerged a few years ago when his debut, The Foot Fist Way was seen and loved by Hollywood comedy giants, Will Ferrell, Adam McKay and Judd Apatow. The star of that film, Danny McBride has rocketed in fame since its screenings and he and Hill just finished working on “Eastbound and Down” for HBO. The humor in this and his first film are very similar. Both feature somewhat unlikeable protagonists that are full of themselves for ultimately no reason. What about being a mall cop provides Ronnie with the arrogance he carries? Perhaps it’s his home life, handed the pressure of being the only man in the family, having to deal with his permanently drunk mother. Hill injects an anger in his lead character, which never seems to waver, but is always on the verge of boiling over.

Seth Rogen has been permanently fixated with the role of foul-mouthed outsider and he succeeds in bringing his typical talent to the table, but as has been proven in his past couple of roles, he can’t elevate a script and a story into something it’s not. Known as a master of improvisation, either he didn’t bring his “A” game to the set or wasn’t given the reign necessary to utilize him to maximum effect. His persona has steadily declined in laugh ratio in recent projects, making you wonder if he really achieved the heights you thought he did starting out. However, I’m confident Judd Apatow can get the best from him later this year in Funny People. The unsung comic force in the film is Michael Pena, as Ronnie’s partner in crime, Dennis. He flexes his comedic muscle in a way never seen before. He will get noticed and expect to see him distributing more laughs your way, soon.

At only 86 minutes, Observe and Report goes by quickly, but not necessarily efficiently. There’s a subplot involving Dennis, which is good for a montage of laughs, but you can’t help but feel it was added purely to pad the running time. Although bi-polar, Ronnie’s character is uneven. He’s obviously ready to burst, and we see his home life as a reason for it, but it’s not something that even occurs to him. Why is he so upset at life if he appears so content? It’s a contradiction in character. The humor in the film itself comes from a very angry place. A visceral comedy if ever there was one. The film beats you over the head both verbally and physically. It’s loud and in-your-face. This would all be forgiven if the film was funnier, but alas it isn’t. Although the brutality may be absurd, it’s still brutal to endure.

I’m not at all saying comedy needs to be tame. I love “Comedy Central’s Roast of Pamela Anderson” with a passion. I enjoy the insults. I just think that filmmakers are now using cursing as a crutch. Larry David once said on a “Curb Your Enthusiasm” episode, “you throw in a f*ck, you double your laughs,” yet he tries to curtail the amount of cursing on the show. I’m all for it, when it’s funny. However, as some very recent R-rated comedies have shown, there needs to be something more to it than that. Just because you can, doesn’t mean you should. Observe and Report isn’t the first offender, nor its worst, only the latest and it suffers accordingly. Hopefully, we’ll soon get another comedic revolution. We’re due.

I’ve been to a lot of theme parks in my life, and although I’ve now outgrown them in size – a 6’4″ frame makes for some very uncomfortable rides – I’ve always wondered what it would be like to work for one. I never had the opportunity or the inclination to find out for myself, but since moving to Southern California and being able to buy an annual pass to Disneyland, that interest has crept up once again. I recently bought a book titled “Mouse Tales: A Behind the Ears Look at Disneyland,” which details a lot of darker truths and untold stories about “The Happiest Place on Earth.” There are numerous interviews with current and former employees, in which they reveal secrets about what the Disneyland employee experience is like. It’s a great read that helps answer some nagging questions about what being a theme park employee is all about. Although I know Disneyland is unlike most amusement parks, it works as a written tale of the experience, whereas Adventureland gives you the fictional visual take.

James Brennan has just graduated from college and looks to take a trip to Europe before he comes back to start grad school at Columbia University. He receives a rude awakening from his parents over his first post-graduation meal. He needs a bit more money from them to fund the Europe trip, but it’s revealed that his dad has been transferred and demoted at work. This has a two-pronged affect on James’ plans. It means they can’t provide him with the required amount of money he needs for his planned vacation, nor can they pay for his rent during his upcoming school year. His European dream is effectively dead and if he wants to continue down the path to grad school, he must get a job over the summer.

Never having held a true job before, he doesn’t have anything on his resume except for his education and some neighborhood lawn-mowing duties. This makes him less than accessible for most employers and he ends up at the desperate-for-labor theme park, Adventureland. Even then he gets stuck in the park of the park he didn’t want, the games area. Joel, a pipe-smoking Russian literature major, introduces him to the scams of their area, including glued-on hats costumers are supposed to knock off mannequins heads and a ring-toss milk bottle game designed to be impossible even from three inches away. New co-workers are introduced to him as well, including Connell, the “legend” of the park, who has a band which has supposedly jammed with the likes of Lou Reed, but for some reason prefers to keep his job as maintenance worker at a theme park. James is also introduced to Em, a fellow games employee, long acclimated to her position, knowing it needn’t be taken seriously.

James is smitten with Em after she saves him from a shanking at the hands of a customer demanding a “giant ass panda” he’s not supposed to lose. She seems interested as well, spending some alone time together at a house party she hosts. They strike up a relationship and James confides in Connell his feelings for Em. What he doesn’t know is Connell, although married, has been carrying out an affair with the young Em, before and throughout James and Em’s relationship. The lesson James learns as a result of his relationship and his time at Adventureland could be more than any amount of time at grad school would’ve granted him.

"Get outta here. That was you in 'Panic Room?' I thought it was a boy."

Jesse Eisenberg stars as James. It’s a character he seems particularly suited for and has spent most of his career building toward. He played world-weary adolescent, seeking girl advice in Roger Dodger and was son to two intellectuals in The Squid and the Whale. James is the character he’d most likely grow up to be if he were to survive both films. I like what I’ve seen from Eisenberg, and I think he could do the more intellectual Michael Cera-type roles. Kristen Stewart continues her ascension as the love interest Em, and manages to convincingly convey attractiveness to James’ age, as well as Connell’s. Ryan Reynolds as Connell, although a smaller role, is significant and he’s no stranger to the wise veteran of a go-nowhere job, having played a similar character in Waiting. The acting was strong all around.

Adventureland was written and directed by Greg Mottola, who also directed Superbad. Due to his resume, you may be tempted to think this is a similar film to the Michael Cera/Jonah Hill-starrer. I wouldn’t blame you for thinking this way, especially after viewing the R-rated trailer. It’s obviously what the marketing department would like you to think, but you’d be wrong. This film is nothing like Superbad. Some of the humor may be foul, but it’s hardly an outright comedy. Most of the time it isn’t even gunning for laughs. It’s far more concerned with telling a coming-of-age story, which it does a decent job of. Mottola’s visual style isn’t flashy, but it’s effective. It’s suited well for this type of film and is fine for comedy, even if that’s not what the film is striving for. As long as you aren’t expecting a college-age sequel to Mottola’s last film, you might not be disappointed.

There are a lot of things I admired about the film. Set in 1987, there are a lot of 80′s-era clothing styles ported over to this, such as the off-the-shoulder hanging female shirts. One of James’ friends, Frigo, looks exactly like a Karate Kid-era Ralph Macchio. I enjoyed the depiction of how a bad day can affect one’s work performance during that time in one’s life. A lot of it rang very true. There were also things that seemed off to me, including the post-college setting. I was never truly convinced these characters were out of college, as opposed to just out of high school. A lot of the concerns the characters expressed were more of a post-high school kind, rather than the fear of having to find a career. Overall, however, I felt the good outweighed the not-so.

I enjoy the subject matter of films like these. The somewhat awkward male meets the experienced girl of his dreams. Adventureland reminds me of two movies I’ve seen recently in Youth in Revolt and The Wackness. In terms of quality, I think Adventureland is sandwiched between them. I like the nuances that came with the underbelly exposure of theme park employment, but the coming-of-age tale was less than revelatory. If you buy a ticket to Adventureland, don’t expect to be blown away with humor and excitement, but it can still be a decently fun ride.

When I approached high school age, it seemed everybody around me lovingly remembered this time in their lives and proceeded to tell me I should anticipate the next four years of my life. I no longer speak to those people. They’re all wrong. High school sucked. “The worst four years of my life,” is how I fondly choose to remember it. It was a time when hormones rage and perhaps whether you’re able to do something about them or not determines your enjoyment level of your last formative years. I’m sure you can tell which category I found myself in. Most of my frustration stemmed from the lack of a female counterpart. I even feigned depression, hoping a psychologist could help me not be bothered so much by that fact. It didn’t help me find a mate, and had Youth in Revolt been around back then, it might’ve given me another solution.

Nick Twisp is a high school kid who doesn’t particularly care for where he currently stands in life. His main complaint lies with not having a girlfriend. Due to this, he doesn’t really like who he is as a person, even embarrassed by his last name. His best friend is named Lefty, for the direction his penis has a proclivity for leaning towards. Their main topic of conversation consists of the young women in school they have a thing for. Nick also introduces us to his home life, consisting of a mother whose only source of income are the child support payments she receives from Nick’s father, and his mother’s current boyfriend, Jerry, who’s the kind of sexed, redneck, grease-monkey Nick can’t possibly be expected to look up as the man of house.

Jerry schemes a pack of sailors, selling them a car which can only rival Adam Sandler’s lyrical vehicle in terms of poor performance. To avoid physical confrontation, Jerry thinks it’d be a good idea to pack up Nick and his mother to hide out in rural Ukiah, California for the summer. They situate themselves in a motor home at a semi-permanent campsite. While there, Nick runs into Sheeni, who instantly captures his attention and lust. Sheeni lives with her parents in their permanent trailer home at the park. Nick can’t believe his luck, but Sheeni tells him she has a boyfriend, Trent. Nick’s a nice guy, but he can’t compete with the French-speaking, prose-writing, beholder of Sheeni’s heart. Nevertheless, because Trent isn’t physically present to disapprove, Nick and Sheeni strike up a summer-long relationship, brought to an abrupt halt when Jerry no longer fears the pack of sailors and he moves the family back to Oakland, leaving Nick and Sheeni’s burgeoning relationship in jeopardy.

The two seasonal lovers devise a plan to reunite, despite their long physical distance. Their idea consists of Nick persuading his father to take a job in Ukiah, which Sheeni can make available through her connections. In order for Nick to move in with his dad and leave his mother without the benefits of child support, he must get kicked out of the house. He must be a bad kid for the first time in his life. He must do the opposite of every natural instinct he has, kind of like George Costanza in “The Opposite” episode of “Seinfeld.” In order to do this, he develops an alter ego named Francois. He’s like a Parisian Tyler Durden, without the philosophical ideologies. It’s up to Francois to reunite Nick with Sheeni and perhaps teach Nick a little bit about himself, along the way.

"How is that you get an orange popsicle and I get a green goiter growing out of my neck?"

The film is based on a novel by C.D. Payne titled “Youth in Revolt: The Journals of Nick Twisp.” Nick does indeed a carry a journal in the film, but it doesn’t play a particularly huge role. The script was written by Gustin Nash (Charlie Bartlett), who I’m sure to tried to port over a lot of elements from the book, but it seems he bit off more than the movie could chew. There’s a particular problem with Trent, Sheeni’s “boyfriend,” who almost seems like a figment of her imagination. It’s made clear this isn’t the case, but never having him present until the final few minutes of the film makes you call him into question. It would make some slight sense if his role was a cameo of some sort, but unless you consider Jonathan B. Wright a recognizable face, this isn’t the case. He then disappears again when less than convenient. Although the film doesn’t revolve around him, he’s a pivotal character in Nick and Sheeni’s relationship and he should have had a bigger presence than practically name only.

The success of Youth in Revolt then hinges primarily on its performers. It has at least succeeded at lining up a number of names: Michael Cera, Steve Buscemi, Ray Liotta, Fred Willard and Justin Long among them. Nick Twisp is a typical Cera character, nervous and awkward, but I like the persona he plays and enjoy it again here. He also brings a new twist in the form of Francois and although his performance here is a little less believable, it’s good to see him branch out of his comfort zone. Aside from Cera, however, only Willard succeeded in truly bringing out the laughs. All other actors I just mentioned are essentially wasted, which is extremely disheartening, given the talent.

Director, Miguel Arteta (The Good Girl), employs some unique visual stylistics. He imbues Nick’s instant falling-in-love moment with Sheeni, as he showers with slow motion drops of water bathing him in his new feeling of euphoria. He also creates some unique animated sequences, bridging the gaps from one city to another. He successfully adds a bit of flair to a story we’ve seen many times and makes it his own. The film was never boring, and constantly progressing forward, but there were times it felt a bit flat, like it was just going through the motions.

A great, but mostly misused cast elevates the material, but isn’t able to help it achieve greatness. Although this kind of story has been done numerous times, there are some fun elements throughout, namely the character of Francois as the devil on Nick’s shoulder. Its humor is its best asset, but you can’t help but think most of it was just adapted from the novel. This is the type of film I might have looked up to in my high school youth, but I have to imagine its source is the type of media that could enrich that time in one’s life, whereas the film is mostly just a diversion.

Director Steven Soderbergh made his name in Hollywood via his Sex, Lies & Videotape and eventually reached the top of the A-list with the Ocean’s Eleven franchise.  With Matt Damon on board as big business whistle-blower Mark Whitacre in his new film, Soderbergh essentially mimics another pair of A-list directors.  If you ever wondered what would happen if Steven were to try his hand at being a third Coen brother, in The Informant you have your answer.  The attempts at humor, straightforward directorial style, the confusing narrative or at least difficult to decipher plot, all reek of Coen with varying degrees of success.

Based on a true story, Damon’s Whitacre is an Ivy-League educated Ph.D for Archer Daniels Midland, ADM for short, an Ag-business company that is one of the top 50 companies on the Fortune 500 list. Whitacre was the highest-ranking executive in US history to ever blow the whistle on his company, calling them in for price-fixing tactics.  Why would someone so successful do this?  Call him crazy.  Amid increasing pressure at his company and homestead, Whitacre hatches a scheme to expose ADM’s wrongdoings and reap the rewards by moving up the chain of command there as a result.  A strange notion for one to have to say the least, which grants you insight into Whitacre’s entangled thought process.

Wearing a wire for the feds for much of the film, the film tracks Whitacre and his meetings with ADM execs on both foreign and domestic soil during the several year long process in which his case gets turned on its ear.  Through his hundreds of hours and both video and audio taped sessions, we see Whitacre expose himself as much as he does the hierarchy at his company.  What ensues is a twisted “who done it” genre film with characterizations in the vain of the Coen’s Intolerable Cruelty, one of the brothers notable attempts at the big time that failed.  This is Michael Mann’s The Insider, another movie about a big time whistle-blower, turned on it’s back as Soderbergh tries to, unsuccessfully for the most part, play it for laughs.

"It is a long, brown growler in the form of a snake."

Damon once again proves his mettle and rank as being among the best actors of our generation, excelling as the pudgy, know-it-all scientist, but the film fails to truly capture your imagination.  For most of the movie Damon’s Whitacre talks faster than Will Hunting did in his infamous “club a baby seal” scene.  He always delivers his lines straight and believes everything he is saying, even when he knows he is lying.  The film basically devolves into a dissection of trying to figure out when he is telling the truth. Unfortunately, even in the very last frame of the film, we really don’t see Whitacre become what we hope he will.  It’s a bit of an eerie, depressing feeling, considering all that he goes through.

There is some fun to be had, like when Whitacre has to move his foreign counterparts from blocking a spy-camera during a deal meet.  Or when Whitacre, strapped with his wire, talks out loud to himself detailing “who is saying what” to the agents listening in on his tap.  Damon also gives us his voiceover thoughts in various spots elaborating what is on screen.  This can all be slightly amusing but never hilarious.  It seems like The Informant is swinging for the fences and coming up short.  It’s just a ground rule double instead of a home run.

Scott Bakula (TV’s “Quantum Leap”) and Joel McHale (E!’s “Talk Soup” host) play FBI agents Brian Shepard and Robert Herndon who attempt to crack the case and make it big for the government.  They try to encapsulate a bumbling idiot alternate reality to their characters but their believability falls short.  With Shepard, Whitacre creates a relationship of trust and confidence, only to strip it all away as the film wears on.  You watch but don’t participate enough, never really being able to identify with Whitacre.  Once you see stand-up comedian, come part-time actor Patton Oswalt playing a straight arrow attorney, you know what Soderbergh is shooting for here.  To wit, there is no question that Soderbergh has made his Coen homage here.

"I'm Mark Whitacre and I approve this smile."

The visual style that has helped make Soderbergh a favorite of mine isn’t evident either.  I like my Soderbergh in the more cool vain, with unique camera techniques, as seen in films past like The Limey and Out Of Sight.  The only hints of the director that I know were a few smaller cast members that are identifiable to the keen eye and some wide-angle static shots that break up the surprisingly swift pace of the film.

For a while I thought that the set and costume design were off by about a decade.  Even for a film that takes place largely between the years of 1991-95, I didn’t want to accept that there was complete accuracy in the clothing renditions.  Whitacre and company rock paisley ties and lay on floral patterned couches. However, upon further reflection, I suppose that they were accurate to within 5 years or so anyway, and given that the films primary location is rural Illinois, I can believe the level of precision even more so, considering the Midwest is behind the coasts in fashion and trends for the most part anyway.

The film has some relevancy in these difficult economic times, as at its core is big business taking advantage of “the system.”  This isn’t a bad movie, it even has some moments of enjoyment (mostly through Damon’s performance), but it is alarmingly unimaginative from a director who only a decade ago seemed like he was going to be the next big thing.  Now you start to wonder if his check cashing through a triumvirate of Ocean’s films was really a plea that he has lost his creative juices.  I sincerely hope not, but with The Informant you can’t help but yearn for something more…informed.  The film runs a rather brisk 90 minutes but in the end leaves you with more questions than answers.