The Dark Knight Rises Review

Wrapping up a trilogy is not supposed to be easy. Especially one that has for the most part flipped the superhero genre on its head, making a superhero very real, human and grounding him and his world in reality in part, the way that Christopher Nolan’s new Batman trilogy has. With The Dark Knight Rises, Nolan says goodbye to his take on Gotham’s Dark Knight in grand-scale style.

To look at Rises, we have to look back to know the trilogy. The film opens on the thoughts of the end of The Dark Knight, with a city remembering the death of Harvey Dent. Commissioner Gordon wants to reveal the cover up of Dent’s death, as Gordon has been living a lie with the city, but he can’t bring himself to do it. Eight years have passed sine The Dark Knight became villain to the city and he has gone into retirement. Gotham’s organized crime is non-existent and cops are left filling the hours idly.

But Bane, a terrorist of origins not-unlike Batman, has a plot to rip Gotham to pieces. Tom Hardy’s Bane speaks through a gravely voice box that helps keep him alive. Indeed, without his mask, Bane is not so tough. Bane’s plot, coupled with an introduction to a thief in skintight gear known as Selina Kyle, aka Catwoman, marks an apt time for Christian Bale’s Batman to make a return to protect the city he cherishes. But Batman has been idle too long, almost crippled from his previous Dark Knight duties and never seen outside. His reintroduction doesn’t go over so smoothly.

What plays out over a nearly three hour running time is Nolan playing on his filmmaking from the previous two films. Nolan uses lines and plot points as perfect feeders for those who have followed his Dark Knight to his story’s conclusion.  Almost all the players from films past, save for The Joker, due to Ledger’s passing, have some sort of role to play here. All the while, Nolan introduces new members fairly seamlessly into the last film.

Nolan wisely doesn’t attempt to top The Dark Knight, but he successfully melds the themes, characters and stories of the previous two films into The Dark Knight Rises. Bane serves as a fairly apt villain; Catwoman serves as a difficult puzzle to put together and the scale can’t be under mentioned. This is epic filmmaking while Nolan infuses the all-important human element into the film.

The movie is not without it’s flaws in my estimation. Much of the film is predictable, in particular for those who have paid close attention to the way Nolan has laid out previous films in the series. Bane is a good villain, but his tussle with Batman maybe lacks a little of the individual scope that it might have. Perhaps he gives into convention a bit in rounding out this tale. The film takes one shot too many at the very end for my personal liking, all the while causing a few opportunities for strong emotional reactions to the end of his Batman story.

Nolan has done the near impossible with his three films – he’s managed to make a hero seem utterly real, with a performance by Bale that deserves recognition as his tortured crusader runs the gamut of emotions throughout the series. The Dark Knight Rises, though marred by tragedy recently, as Nolan’s previous film both benefitted and hurt from in Heath ledger’s untimely death, still wraps up an immersive trilogy of a man who is going to be hard for many filmgoers to let do….The Dark Knight. Cut to black and cue the music!

‘Moonrise Kingdom’ Review, Wes Anderson Directs Bruce Willis and Edward Norton

Moonrise Kingdom is a return to the vintage form of Wes Anderson’s most famous works, like Rushmore and The Royal Tenenbaums. Kingdom stars Jared Gilman and Kara Hayward as Sam and Suzy, fish out of water types that find eachother and embrace an adventure of their own. Anderson delivers the film in his notorious style, setting the camera in the middle of every set piece and building the direction around that. The adventure-love story delivers the goods that you’d expect in an Anderson film, with pitch perfect locations, quirky characters, revengeful kids, germane adults and a creative story that is both familiar and fresh at the same time.

The film begins with Sam skipping out of a crowded Scout camp, feeling he doesn’t belong – at least that is the company line. In truth, he has hatched a plot to meet up with Suzy, a cute but troubled gal, who feels alone in a family of boys. Sam’s Scout survival skills play front and center as he pitches tents, catches fish, climbs mountains, kayaks waters and scales the terrain of New Penzance, with a freshly escaped from her home Suzy in tow. Their departures set off a massive search on the New England island, which propels the action.

A massive storm has been foreshadowed, so there is inherent danger in the kids’ getaway, placing an urgency to the matter that may not otherwise be there. The search party, led by Police Captain Sharp (Bruce Willis) and Scout Master Ward (Edward Norton), struggles with finding the elusive duo, what with Sam’s skills being utilized to their max. It’s part of the reason Sam was loathed by his fellow Scouts, particularly advanced at what he does, which withdraws him from their good favor. Suzy has her own issues, dealing with anger management issues common to teens going through puberty. The tale unwinds in expected, but still fun, ways.

Bruce Willis and Edward Norton Lead a Cast of Stars in "Moonrise Kingdom."

Norton, Willis and Bill Murray provide the headlines and star quality to help sell the film, but it’s the teenage leads who carry most frames and who the story is entirely centered around. The stars merely fill in the blanks to help round out the cast and assist in the action. The film is not without some minor faults, such as secondary storylines that are unfulfilled (an implied affair between Captain Sharp and Laura Bishop – Frances McDormand – comes to mind) and don’t need to be there, but all in all Kingdom delivers the goods on a cute and convincing tale of newborn love. It’s the humor and quirk of Anderson’s characters that usually win out

Despite Stars, Director Wes Anderson Takes Chances on Unknowns

Anderson, though he may not be credited for doing so, is actually a pretty risky director. He has taken chances on unknown actors and by giving them lead roles in his films, he’s largely helped them into the public consciousness and aided in turning them into stars. For Bottle Rocket, his earliest film venture, he gave the world notice of Owen Wilson. In Rushmore, he handed the lead role to Jason Schwartzmann (who has a great scene stealing mini role in Kingdom). Here, he features two young actors who have never worked in film before and both turn in convincing, solid performances. Both kids may be names to watch in the future. Anderson deserves credit for taking chances, when many may simply see his films as cute, cult pieces.

When Scouts escape, weapons are yielded in Wes Anderson's new movie.

Moonrise Kingdom ultimately succeeds through the delivery of a unique story, in a style that fans are sure to embrace. This is his best film since Tenenbaums and one that will provide fans with a satisfying theatrical experience. For those, it’s required viewing. However, with many things Anderson, for others, an acquired taste. I, however, am a fan.

Movie Review of Sacha Baron Cohen’s ‘The Dictator’

Sacha Baron Cohen is perhaps best known for his turn as Borat, here in the U.S. While Borat balances innocence with hints of shamelessness, The Dictator is simply crude, willing to bash any and all comers. Far less innocent, but this mostly works. In The Dictator, SBC plays General Admiral Aladeen, the ruler of a small middle eastern country Wadiya. Aladeen rules Wadiya with an iron fist, preferring to execute those that disagree with him or even hint at mocking his lack of intelligence.

Larry Charles Directs Sacha Baron Cohen in ‘The Dictator’

Admiral Aladeen basically does whatever he wants. He is so clever and proud of himself that he renamed 300 words in the dictionary to “aladeen.” This has been the source of some confusion in certain circumstances. Aladeen has won his own Golden Globes, 14 gold medals in his own Olympics and apparently remixes American songs, from Marvin Gaye’s “Let’s Get it On” to Dr. Dre’s “The Next Episode.” Alas, the General is lonely inside, preferring to bang wealthy American stars, but not just the names you might suspect. Anyway, in general, Aladeen is simply a bit nuts.

Megan Fox is not the only celeb that General Aladeen gets out of their underwear.

People close to him conspire against him though. Thus, Aladeen is forced to come to America to address the United Nations, advising them that he will not sign a treaty to turn his country into a democracy. However, his plot is foiled when he is kidnapped and replaced by a lesser form of human being. Aladeen’s right hand man (Ben Kingsley) plans to turn his country into said democracy, and handsomely profit by doing so. SBC’s Aladeen must stop this at all costs.

Sacha Baron Cohen’s ‘The Dictator’ Riffs On Everything

To give too much more away about the plot would ruin it, despite the fact that the plot merely serves as a loose framework to load on the gags and crude jokes. Alas, SBC provides them in spades. He leaves few stones unturned, fearing not to offend any race, gender, belief system, political standing and more. At one point, Aladeen – with his feminist love interest Zoe (Anna Faris) – has an incident with a cell phone during a child’s birth. The man just doesn’t stop, and it’s something you have to respect.

Anna Faris plays a mostly unwilling accomplice to Baron Cohen's creation.

Fortunately, several of Hollywood’s big names are name-dropped and at least a few are in on the jokes. Baron Cohen pushes as many buttons as he can in The Dictator and while this can’t always pay off, it works enough to keep you laughing, forced or embarrassingly so or not, throughout the proceedings. A word of warning though, this is a film that plans to offend. Women, minorities and more will be demolished, so stay away if you can’t handle the consequences. For those that like this sort of madness, The Dictator will rule your funny bone for a while I’m certain. (By the way, stay through the end for some good outtakes and a little more pushing of the storyline.)

Drake Doremus’ ‘Like Crazy’ is Part of an Independent Movement

Like Crazy made the rounds in the news late last year, hailed as a film of the new independent movement. It was touted for being shot on the Canon 5D and 7D DSLR cameras. The result is a picture of great intimacy. Like Crazy stars Anton Yelchin and Felicity Jones as young lovers who share an affection that is as the title suggests. The film is about love, relationships and the struggle to capitalize on and understand the emotions of youthful bliss.

Directed by newcomer Drake Doremus, Crazy begins in a college classroom where a note signals the desire of Anna (Jones) to meet Jacob (Yelchin). This sets off a love story that spans continents and several years. An issue arises when Anna, an exchange student, overstays her allotted time in America on an expired visa. How do the lovers make their relationship work when separated by thousands of miles between Los Angeles and England? This is the central dilemma to the film, which finds the lovers doing anything they can to stay together, then seemingly everything they can to forget about eachother, only to find that their emotions run so strong that letting go is not that simple.

Anna was a little shocked by Jacob's "compromising and unusual request."

The Movie ‘Like Crazy’ Suffers From a Complex Time Structure

The film captures the difficulty of youthful longing – the changes that occur when kids turn into young adults – and the things they will do for love. Both lovers eventually seek the comfort of new arms, with a nice guest shot by Hunger Games star Jennifer Lawrence as Sam, but their complex relationship continues to permeate their existences, separate or together. Like Crazy is an intimate portrait of love, but suffers from a muddled timeline and a lack of any wide shots, one of the limitations of the cameras used in the filming.

How much time has passed in the film is difficult to discern as the couple goes from together to apart, falling into new arms, then getting married, then still failing to end up together, to, well…you get the point. The film is not without its merits as the soft touch of two people sharing the same space is deftly handled for the most part, even while the end of the film leaves the audience to draw their own conclusions as to the lovers ultimate outcome. The film looks gorgeous and is a credit to Doremus and cinematographer John Guleserian, as well as the power of the little indy cameras that are changing the landscape of filmmaking. Still, in the end, it’s the writing, story, direction and performances that make a movie and Crazy is actually a little too tame to be a breakout film.

Scorcese’s 2011 Family Film Hugo: A Movie Review

If there was ever a movie that solidified Martin Scorcese’s love of filmmaking, Hugo is that film. Hugo stars unknown Asa Butterfield as the titular hero, an orphan boy living in a clock tower in the dream-like animated city of Paris. When Hugo’s father (Jude Law) dies tragically, he leaves behind an unfinished automaton – a mechanical robot – with a potentially important message. Hugo’s life’s mission is to complete the robot and uncover the message.

Hugo, the movie, is attractive to look at. Scorcese captures an animated Paris and bustling travel center complete with all the towns’ denizens. There is a security guard/station inspector (Bruno’s Sacha Baron Cohen), whom Hugo has to dodge at all costs or fear the repurcussions of being sent back to an orphanage. There is a toy shopkeeper with a mysterious past named Georges (The Wackness’ Ben Kingsley) and his niece Isabelle (Chloe Grace Moretz), who seeks and finds adventure with Hugo. All the requisite characters are in place for hijinx and wonder.

The robot automaton was depressed that he couldn't draw a circle.

The story centers on Hugo, Georges and the automaton. What unravels is a unique film that remains interesting, but slow for a kids/family film. The pacing hinders the film from being more raucous and fun, focusing instead more on story and dream fulfillment. The acting and directing are excellent. There is little point in discussing the plot, as with a kid’s film it is easy enough to discern how things work out in the end.

Director Martin Scorcese Clearly Loves Movies and Hugo Proves That

What shines through is Scorcese’s love for film and his fable for following your dreams. It’s a common theme in kids films, though this one seems to have been caught a bit between pleasing adult audiences and kids, which is where it struggles to find a perfect balance. It is understandable why the Academy loved the film, bestowing it with 5 Oscars, but equally understandable why it failed to break through with audiences, crafting a middling $67 million in the U.S. to this point off an estimated $170 million budget.

Hugo is one of the top films of the year and the craftsmanship of the film is evident. What lacks is any true surprise or child escapism, since the story has an almost adult theme bubbling underneath the surface. For those expecting a ride like in Finding Nemo, you’ll be disappointed. For those familiar with Scorcese’s adult fare (The Departed) and wondering what else he can do, you’ll be pleasantly surprised.

The Guard stars Brendan Gleeson (The General) as Boyle, a local guard in a small Irish town who stumbles upon a murder with his typical dimwittedness (or is it?) and sarcasm. This hilarious film, while not offering a ton of ‘guffaws,’ nevertheless had me chuckling from start to finish. It ranks as one of the best movies of 2011 and the best comedy of the year.

When Don Cheadle’s uptight U.S. FBI agent Wendell Everett visits to investigate a major drug movement, the film really begins to take off. Everett is not one for the chiding that Boyle provides and he never is sure of how bright the local guard truly is. In tone this film most echoes 2008’s stellar In Bruges.

Brendan Gleeson's Boyle just wants to have fun.

The plot is relevant to the film, but the movie makes its way through its wisecracking lead and strong cast of supporting characters. From the underused Mark Strong (RockNRolla) to David Wilmot’s hilarious henchman, there are plenty of laughs to be found throughout. Writer/director John Michael McDonagh makes his directorial debut one to crow about, deftly mixing interpersonal relationship interactions within a larger framework of cop work. This is a talent to keep an eye on in the future.

One of the reasons The Guard shines is the chemistry between the two leads. These two men, who, I have long admired, are both in fine form here. Cheadle obviously loved the material as he also served as a producer on the project. It also is a film that takes chances, making very politically incorrect statements to great effect that typically just don’t fly in American films. The ending is one that also is not common to films made in the U.S., which makes it all the more satisfying. Let your guard down and have fun with this film; it’s worth your time.

As a boxing fan, director David O. Russell’s new movie The Fighter has long been one of my most anticipated screenings at the cinema this year. The story, based on real life events surrounding boxer “Irish” Mickey Ward and his crazy family, was one of the more compelling that film’s had to offer in 2010. The film is more drama than action, but is both riveting and wild. Upon viewing the movie, it is easy to say it is one of the top films released this year.

Mark Wahlberg stars as Ward, the boxing warrior who (in the film) is a bit down on his luck, drives a beat up vehicle and is attached to one of the craziest film families we’ve seen since the brief glimpse we got at Brad Pitt’s gypsy family in Snatch. Mickey’s brother Dicky Eklund is a crack addict and former local boxing legend himself, and Christian Bale breathes more life into the character than Dicky inhales crack smoke. And yes, that is saying something. Meanwhile, Ward’s mother Alice is acting as a fight manager to Mickey, while being in constant denial over Dicky’s issues. Dicky has an HBO film crew following him around which only serves to add to his thoughts of local heroism, but he believes it to be more about his boxing prowess (he knocked down the famous “Sugar” Ray Leonard once) than his crack addiction. It’s not.

Mark Wahlberg and Christian Bale play brothers in The Fighter.

One night, Mickey’s father-in-law sets him up with educated bartender Charlene (Amy Adams), who eventually becomes Ward’s girlfriend. To say that his family accepts Charlene with open arms would be a monumental lie. Ward’s five sisters are ready to brawl at a moment’s notice and every family scene is riveted with heavy doses of the exciting unknown. Ward is trying to get his shot at boxing glory and win a title, but with all the drama going on around him, his training suffers and he takes fights that he shouldn’t. He needs to get his life, in the ring and out of it, on track.

The Fighter boasts some incredible acting, primarily from Bale, who in my estimation is a shoo-in for the Best Supporting Actor Oscar award. He’s captivating from the very first frame of film that O. Russell shoots; long gone is the superhero he is known for and in his place is a transformed actor at the peak of his craft. Wahlberg is solid, not showy; Adams, brazen and bold, and Melissa Leo as Ward’s mother is insanely noteworthy as well. O. Russell doesn’t add tons of visual flair to the proceedings but his lighting is superb and the fight portions of the film feel like a real boxing broadcast. Great work by his cast and crew here.

It’s been said that this film boasts some of the most realistic boxing ever captured on celluloid. It seems that critics are quick to point this out in almost any new boxing film of quality that comes along. Clint Eastwood’s brilliant Million Dollar Baby and Michael Mann’s Ali come to mind. After The Last Round this is not, but the action (though fairly limited) is quality and Wahlberg sports a striking resemblance to the real life Ward in the ring; hair sweaty and body chiseled.

The Fighter is a special story, not about boxing as much as family, but one that captivates from frame one and doesn’t let go. Based on a true story, this is one that should be seen by all fans of film and sport. It’s a surprising holiday movie that is sure to become a major awards contender as well. Like a comeback that Ward would have made in the ring, I like it’s chances.

Any sports fan knows that boxing is a savage sport. Even those unaffiliated with it in any way are likely to come to that conclusion. It is also known as the “sweet science” and it takes skill, passion, hard work, mental toughness, and physical strength to step into the ring and face an opponent. To create a better life, to become a champion, to support a family, to fulfill a dream; all of these are reasons one enters into the sport. But what is often overlooked is what takes place outside of the ring, after the spotlight is off.  The physical toll that takes place on one’s brain, the mental fight that boxers deal with in their daily lives. These are the sides exposed and examined in the boxing documentary After The Last Round.

The film opens to the usual sights one acquaints with a sport that was once side-by-side with baseball as the most popular sport in America. From the gladiator stadium in Rome to the present day, the body blows, haymakers and knockouts that one often associates with the sport; all of that excitement and brutality is on display. After The Last Round documents the situations of five individuals who have all been into the ring, the effects that choice has had on themselves and their families, whether cautionary tale or success story.

Denny and Phil Moyer were brother boxers who entered into the ring in the 50’s at the behest of their father. Both men have suffered an inordinate amount of brain damage and their lives in recent years have left them a complete shell of their former selves. They while away in a retirement home, with only the most simplistic signs that they can still communicate. Essentially, they are living dead.

The film also follows Phil and Tony Bruno. Phil, a father to son Tony, who was seriously injured in a sparring match with a friend and now lives his life with half the side of his body in virtual paralysis. His thoughts are at a rudimentary level compared to where they were heading, when Tony was a strong academic at Colorado University.

DaVarryl Williamson is a fighter still going at 38 years old, hoping for one last shot at fulfilling his dream of a world title. He once lost a title shot on an accidental head butt against then Heavyweight Champion Vladimir Klitschko. With the undying support of his wife, he soldiers on hoping to reach his goal. Kelsey Jeffries, a female fighter who was never close to people, has achieved the titles and looks towards life after boxing. Their stories all unfold for us to see.

Some of the sport’s preeminent writers, doctors, neurosurgeons and even clips of boxing legend Muhammad Ali, all help to serve the story.  The film jumps around a bit but its well put together. In its own way, it attempts to evenly lay argument for those opposed, and for, the sport of boxing.  It’s not a surprising film by any means, but it’s eye-opening nonetheless and a worthy watch for fans of boxing, documentaries, or the human condition. The best way to track down info on the film is via its website.

Of Note: I was fortunate enough to watch this film at an intimate screening benefiting the Retired Boxers Foundation. The organization was headed up by Alex “The Bronx Bomber” Ramos, a man who has suffered frontal lobe damage due to his fight career. With the support of Bull Durham director Ron Shelton, the foundation was able to get on its feet a decade ago.  Several notable men of the sport were in attendance and spoke; the likes of referees Don Cortes and Richard Steele, champions: Tony “The Tiger” Lopez, Ray “Boom Boom” Mancini, legendary Ken Norton and even a former NFL star Dwight Hicks. They all spoke about the effects of damage from their sports, their careers, and the film. It was both engaging, spirited and sad at the same time. I encourage you to look into the Foundation and donate if the mood so strikes you. There is no question that countless former ring warriors could use the support.

How we communicate is constantly in flux. It used to be primarily via face-to-face interaction. Nowadays, it is largely via computer. In David Fincher’s riveting new movie The Social Network, based on the book “The Accidental Billionaires” by Ben Mezrich, communication is exploited and exposed in many forms. One of those uses is the heavy, atmospheric score by Nine Inch Nails’ Trent Reznor and Atticus Ross, which signals the dark mood that Fincher employs for the story of how the communication mega-site facebook was founded and the power struggle behind the scenes of who came up with the original idea for the 500 million member social phenomenon.

Computer nerd Mark Zuckerberg (Jesse Eisenberg, Zombieland) and businessman Eduardo Saverin (Andrew Garfield, Never Let Me Go) are Harvard students and best friends.  When the concept of social media is introduced to him, Mark creates a program that crashes the Harvard computer system, and the power of how quickly information sharing can spread becomes amplified. Eduardo provides the financial means for Mark to realize his idea and turn it into an opportunity to meet chicks – and much more.

Humbly-beginning, facebook became the entity it is through college students sharing information.  From the dorms of Harvard to law offices in California, from exclusivity to being inclusive of all, facebook’s wide reach touched millions and became worth billions. The non-shocking irony is that the website that connects people worldwide was developed by Zuckerberg, someone who had next to zero connections himself.  He clearly wanted a more social life, and with facebook, succeeded beyond his wildest dreams. Fincher’s film details how the site came to be and how it ripped apart the relationships of those involved in its formation.

The Social Network cast isn't staring at internet porn.

Strong performances abound, particularly among the potentially award-worthy leads Garfield and Eisenberg, but also extending to supporting players like Justin Timberlake’s swindler Sean Parker and Armie Hammer’s Winklevoss brothers (yes, he convincingly plays both twins with a bit of Fincher movie magic). Be prepared for Hammer to become a more well-known actor; ditto for Garfield (okay, that was a layup since he is the new Spider-Man).  Even Rooney Mara who plays Mark’s girlfriend Erica is set to blow up soon with the lead role in Fincher’s next film The Girl With The Dragon Tattoo.

Fincher continues to further his oeuvre, transforming himself from a more creative, avant-garde and visual filmmaker into a mainstream, award-worthy, polished storyteller in recent films. Fincher takes what might not be typically exciting subject matter and makes it compelling, telling the story in a series of intercuts between past and present, keeping us engaged throughout.

Aaron Sorkin’s script, which is already being largely buzzed about for an Oscar run and seems the odds on favorite for the award at this juncture, is also noteworthy.  His dialogue crackles, convincingly translating Mezrich’s work into a sharp screenplay for Fincher’s cast and crew to bring to life.  Despite the occasional one-dimensional character and an unnecessary scene here or there, The Social Network is a film worthy of making into a social event. Where there is a money trail, there is often tragedy, and this story is no different. Go see the film, even if you are like me and not on facebook.  Deep down inside, just like Mark, it only wants you to “like” it.

The ads that promote the new film The Town as “Heat meets The Departed” aren’t far off at all, and that’s very high praise. Ben Affleck shows that he is undoubtedly a director worth watching here. The action is invigorating, the drama compelling, and the performances authentic.   His Gone Baby Gone was one thing, but the complex heist film The Town, a nickname for Charlestown, Massachusetts, enters into a new class of its own and may be a film worth checking for come awards season.

The Town follows Affleck’s Doug MacRay, a leader of a quartet of criminals; local “townies” where robbing runs in the family (literally). They figure, why stop at armored cars when you can knock off banks?  Thus, we’re thrown into a heist in progress where bank manager Claire (Rebecca Hall from Vicky Cristina Barcelona) is held hostage during the crew’s escape.  Things become confusing as her hostage turned love interest turned the only person who can connect the gang to the crime is an unwilling pawn in the future safety of the clique.

Ben and Jeremy in disguise in Affleck's The Town.

While Doug may be falling in love, Jeremy Renner’s unplugged Jim carries menacing baggage with him into every scene. His 9-year stretch of hard time has hardened him, making him yearn for action and naturally question the motives of Doug. Things get deeper with the involvement of the FBI tracking the crew who continue to plot further thievery.  Claire becomes a pricey bit of evidence that will have allegiances tested and the heart fighting the mind.

This is a tale we have seen before, in both the aforementioned films, and many others (like Mann’s Public Enemies).  But what separates The Town is the grimy reality in the Boston locations and the three-dimensional relationships among the characters.  There are times when perhaps the movie is too ambitious but despite a script quirk or two we stay riveted to our seats just the same. The ambitious climactic boost job is one you won’t want to miss.

Blake Lively sex-pot stirs the plot in The Town.

Strong supporting performances can be found throughout, such as the revelation that is Blake Lively and the solid Jon Hamm.  I know they are TV stars, but I am not a boob-tube watcher and have never seen either of them act before, which I guess puts me behind the curve here.  Additionally, Renner (Hurt Locker) again proves he is an actor on the rise and small roles from Pete Postlewaite and Chris Cooper also resonate.

By now, Ben Affleck should truly be a hero in his hometown of Boston. He has shed light on the working class and brought his love for the area to the big screen in grand fashion again.  The only thing left to ponder at this juncture, is whether The Town belongs in the Oscar race for 2010.  That discussion is sure to be right around the corner or at the least, lurking somewhere in your town.