Law Abiding Citizen (2009)

In LAW ABIDING CITIZEN, a prisoner’s incredible reign over the city outside his cell is interrupted by an assistant district attorney. Gerard Butler (300) stars.

Julie & Julia (2009)

Meryl Streep is Julia Child and Amy Adams is Julie Powell in writer-director Nora Ephron’s adaptation of two bestselling memoirs: Powell’s Julie & Julia and My Life in France, by Julia Child with… Meryl Streep is Julia Child and Amy Adams is Julie Powell in writer-director Nora Ephron’s adaptation of two bestselling memoirs: Powell’s Julie & Julia and My Life in France, by Julia Child with Alex Prud’homme.

Based on two true stories, Julie & Julia intertwines the lives of two women who, though separated by time and space, are both at loose ends…until they discover that with the right combination of passion, fearlessness and butter, anything is possible.

500 Days of Summer (2009)

This is a story of boy meets girl, begins the wry, probing narrator of 500 Days of Summer, and with that the film takes off at breakneck speed into a funny, true-to-life and unique dissection of the unruly and unpredictable year-and-a-half of one young man’s no-holds-barred love affair.

Tom, the boy, still believes, even in this cynical modern world, in the notion of a transforming, cosmically destined, lightning-strikes-once kind of love. Summer, the girl, doesn’t. Not at all. But that doesn’t stop Tom from going after her, again and again, like a modern Don Quixote, with all his might and courage. Suddenly, Tom is in love not just with a lovely, witty, intelligent woman – not that he minds any of that — but with the very idea of Summer, the very idea of a love that still has the power to shock the heart and stop the world.

The Soloist (2009)

Director Joe Wright (ATONEMENT, PRIDE & PREJUDICE) brings the true story of an unlikely friendship to life in THE SOLOIST. An award-winning columnist with the Los Angeles Times, Steve Lopez (Robert… Director Joe Wright (ATONEMENT, PRIDE & PREJUDICE) brings the true story of an unlikely friendship to life in THE SOLOIST. An award-winning columnist with the Los Angeles Times, Steve Lopez (Robert Downey Jr.) ultimately becomes an advocate for L.A.s homeless population when he meets Nathaniel Ayers (Jamie Foxx), a talented musician who’s been playing a two-stringed violin while living on the streets and battling mental illness. Struck by Ayerss passion for music, Lopez begins to write a series of columns about his new acquaintance while attempting to get him off the streets and playing music again. Amidst numerous achievements and setbacks, Lopez and Ayers develop a friendship based on mutual respect despite their many differences, and Lopez rediscovers his humanity. While the focus of the film is the relationship that develops between the two men, the film also tackles the harsh realities of homelessness and the plight of the mentally ill. Lending authenticity to the story, a number of L.A.s homeless population were cast as extras in the film. An additional subplot is the quandary that daily newspapers face as the world and the news increasingly go electronic, and popular news becomes more sensationalistic. Foxx is both heartbreaking and life-affirming as Ayers, whose undiagnosed schizophrenia drove him away from Juilliard as a young man, and whose fierce independence keeps him on the streets. Downey Jr. turns in a nuanced performance as Lopez, who finally realizes that while he may not be able to save Ayers, he can accept him as he is. Catherine Keener, Lisa Gay Hamilton, and Tom Hollander appear in supporting roles.

The Curious Case of Benjamin Button (2008)

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At once epic in scope and intimate in detail, David Fincher’s THE CURIOUS CASE OF BENJAMIN BUTTON is certainly the director’s most emotional film to date (though FIGHT CLUB and SEVEN don’t offer much in the way of competition). Loosely based on an F. Scott Fitzgerald story, this romantic drama tells the tale of Benjamin Button (Brad Pitt), born in 1918 in New Orleans as a baby with wrinkles, cataracts, and arthritis. Benjamin will age backwards, getting younger as he watches those around him growing older. Included in that group are his adoptive mother, Queenie (Taraji P. Henson), and Daisy (Cate Blanchett), the love of his life whom he meets when she is just a little girl and he is an old man. They age in reverse, but despite Benjamin’s globe-trotting adventures, their lives repeatedly intersect. The script from Oscar winner Eric Roth bears more than a few hallmarks in common with his earlier work on FORREST GUMP: both adaptations cross decades and continents. But BENJAMIN’s script or even the fine acting aren’t its most impressive accomplishment; the technology–both CGI and makeup–used to make Benjamin and Daisy age are remarkable, and makes the film entirely believable, but they’re certainly aided by fine performances from both Pitt and Blanchett. The triumph of technology only serves to underscore the beauty of this film and of the love story at its heart.

Twilight (2008)

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TWILIGHT is an action-packed, modern-day love story between a teenage girl and a vampire. Bella Swan (Kristen Stewart) has always been a little bit different, never caring about fitting in with the trendy girls at her Phoenix high school. When her mother re-marries and sends Bella to live with her father in the rainy little town of Forks, Washington, she doesn’t expect much of anything to change. Then she meets the mysterious and dazzlingly beautiful Edward Cullen (Robert Pattinson), a boy unlike any she’s ever met. Edward is a vampire, but he doesn’t have fangs and his family is unique in that they choose not to drink human blood. Intelligent and witty, Edward sees straight into Bella’s soul. Soon, they are swept up in a passionate, thrilling and unorthodox romance. To Edward, Bella is what he has waited 90 years for – a soul mate. But the closer they get, the more Edward must struggle to resist the primal pull of her scent, which could send him into an uncontrollable frenzy. But what will Edward & Bella do when a clan of new vampires – James (Cam Gigandet), Laurent (Edi Gathegi) and Victoria (Rachelle Lefevre) – come to town and threaten to disrupt their way of life?

Slumdog Millionaire (2008)

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British director Danny Boyle takes another intriguing career turn with this heartfelt underdog tale. Jamal Malik (Dev Patel) is a street kid (or “slumdog”) who has landed an appearance on India’s… British director Danny Boyle takes another intriguing career turn with this heartfelt underdog tale. Jamal Malik (Dev Patel) is a street kid (or “slumdog”) who has landed an appearance on India’s version of the hit TV game show WHO WANTS TO BE A MILLIONAIRE? Jamal exceeds expectations on the show, and the producers alert the police after they become suspicious of his methods. The young contestant is subsequently arrested and is interrogated at the hands of a nameless police inspector (played by Bollywood star Irfan Khan). As the interrogation proceeds, Boyle tells Jamal’s story through harrowing flashbacks that both show the terrible poverty of Mumbai and help explain how he knew the answers to the MILLIONAIRE questions. SLUMDOG MILLIONAIRE is a tightly woven story that has been expertly edited into shape. The contrast between Jamal’s upbringing and his chance of escaping it on the show are adeptly juxtaposed. Mumbai is portrayed as a place of terrifying poverty and unforgettable brutality, and Jamal and his brother get into a never-ending succession of challenging situations. But the way Boyle ties together Jamal’s life experiences with his answers on the show is quite brilliant, and the film really does run the full gamut of emotions as we see him growing up, falling in love, coming close to death, and teetering on the brink of escaping from his terrible predicament. The film belongs to Boyle’s cast, who are mostly unknown outside of India. Patel, in particular, gives a startlingly mature performance that audiences are likely to remember long after the credits role on this affecting feature.

Notorious (2009)

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The dramatic retelling of the life, improbable rise, and violent fall of rapper Christopher Wallace (a.k.a. the Notorious B.I.G.), NOTORIOUS plays like A STAR IS BORN set to a rattling gangsta snare. With crisp direction by George Tillman, Jr., producer of the BARBERSHOP series, the film is briskly paced and strikes a worthy balance between sensationalized celebrity biopic and behind-the-scenes drama. Angela Bassett anchors the latter with a nuanced performance as Voletta, Wallace’s long-suffering single mother who attempts to shelter him from the mean streets of Bed-Stuy. With deep involvement by those who knew him best–the real Voletta Wallace and Sean “Puff Daddy” Combs (played dynamically by Derek Luke) co-produced–the film nonetheless unflinchingly portrays Biggie’s troubled history as a teenage crack dealer, his chronic infidelity and poor fathering skills, and his own role in stoking the ludicrous coastal rivalry that claimed both his and Tupac Shakur’s lives. As it presents Biggie’s side of the murders in boldface, one wonders if a more independent eye would cast Shakur and his cohorts in the villain role so starkly. Documentarian quibbles aside, NOTORIOUS delivers an impactful tribute to its subject’s genius–revealing to fans and neophytes alike the microphone skills, narrative chops, and fresh vision that made Wallace one of hip-hop’s greatest all-time MCs. Largely, this is due to the ace performance by Jamal Woolard, an amateur rapper who packed on 50 pounds to play the hulking gangsta, and nails his mordant charisma and conflicted inner life with a star turn every bit as on point as Jamie Foxx’s Ray Charles or Val Kilmer’s Jim Morrison.

The Lucky Ones (2008)

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Neil Burger’s follow-up to his accomplished period piece, THE ILLUSIONIST, is an affecting naturalistic modern drama. THE LUCKY ONES concerns three Iraq War soldiers who have just returned to the… Neil Burger’s follow-up to his accomplished period piece, THE ILLUSIONIST, is an affecting naturalistic modern drama. THE LUCKY ONES concerns three Iraq War soldiers who have just returned to the States: Fred Cheever (Tim Robbins) is out for good, and can’t wait to reunite with his wife and son in St. Louis; T.K. Poole (Michael Pena) has suffered an embarrassing injury and is on his way to reconnecting with his fiancée before heading back overseas; and the also-injured Colee Dunn (Rachel McAdams) is on a mission to deliver a precious guitar to her deceased boyfriend’s parents in Las Vegas. These strangers are brought together when JFK Airport is shut down indefinitely. Deciding that renting a car is a better option than twiddling their thumbs and waiting for the planes to fly, they hit the road on an eventful journey that will bring them closer together than they ever would have expected. THE LUCKY ONES is both an entertaining road movie and a poignant work of social commentary. Like real life, it’s both comic and dramatic. Burger and co-screenwriter Dirk Wittenborn aren’t out to make any brash statements for or against the war. They simply want to make viewers think about what it must feel like to return home after having fought overseas. Robbins, Pena, and McAdams are as good as they’ve ever been. It is their committed performances that gives dimension to these characters and makes THE LUCKY ONES resonate so deeply.

Gran Torino (2008)

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For his fourth directorial feature in the span of two years, Clint Eastwood tells the story of a grizzled Korean War vet’s reluctant friendship with a Hmong teenage boy and his immigrant family. Set in contemporary Detroit, GRAN TORINO tackles the shifting cultural and economic landscape of not only the Motor City, but America as well. Eastwood stars as Walt Kowalski, an unabashed bigot who never heard a racial insult he didn’t love. Bitter, haunted, and full of pride, Walt refuses to abandon the neighborhood he’s lived in for decades despite its changing demographics as he clings desperately to a mindset long since out of step with the times. When his Hmong neighbor Thao tries to steal his prized muscle car as part of a gang initiation, Walt is forced to grapple with the world around him. GRAN TORINO’s approach to the complicated issue of race relations is equal parts Archie Bunker and CRASH. That is to say, there is nothing subtle about Walt’s bigotry, yet his misanthropy knows no bounds, and Eastwood does a remarkable job of finding the humor in Walt’s equal opportunity racism. More than simply a racial morality tale, however, GRAN TORINO is about the unlikely bonds that people form to navigate the subtle complexities every day life. Like MILLION DOLLAR BABY, GRAN TORINO explores the challenging yet rich new world that can open up when individuals let down their guard, even if for just a moment. Estranged from his family and his church, and without any sense of personal peace, Walt offers all that he has to Thao and his family, namely wisdom and protection. When tragedy strikes the family, Eastwood allows a little classic Harry Callahan to poke through, but the surprising finale posits a hero that Dirty Harry would never have the guts to be. It’s a potent symbolic gesture to Eastwood’s own growth as a storyteller.

24: Redemption (2008)

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REDEMPTION sets the scene for the seventh season of FOX’s blockbuster action series 24, and it does so with all the fast-paced verve fans have come to expect from the franchise. This feature-length… REDEMPTION sets the scene for the seventh season of FOX’s blockbuster action series 24, and it does so with all the fast-paced verve fans have come to expect from the franchise. This feature-length movie finds Federal Agent Jack Bauer working alongside old friend Carl Benton (Robert Carlyle) at an underprivileged boys’ school in war-ravaged Sangala, Africa. Despite receiving a subpoena from a squirrelly bureaucrat (Gil Bellows), Jack springs into action when the coward of a U.N. representative who’s been assigned to protect the village does nothing to stop a heinous warlord (Tony Todd) from kidnapping schoolchildren to be recruited in his army and staging a coup. Meanwhile, in the United States, it’s the day of inauguration for the country’s first female president, Allison Taylor (Cherry Jones), but her son just may be the target of the corrupt businessman (Jon Voight) responsible for funding that bloody African uprising. For fans of 24, this full-throttle TV movie is a must-see.

The Wrestler (2008)

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At first glance, Darren Aronofsky’s THE WRESTLER may seem like a departure for the oftentimes frenetic filmmaker, and in some ways it is. When this story of a past-his-prime performer is compared to PI, REQUIEM FOR A DREAM, and THE FOUNTAIN, there is relatively little trace of psychoscientific addiction imagery, hip-hop editing, or grimly elegant peeks into dreams, nightmares, and otherworlds. Comic moments are plentiful. Aronofsky’s signature close-ups of faces have been replaced with ones that force themselves into wounds inflicted for visceral spectacle. Much of the time the camera floats and bobs with an observant, almost documentary-like quietness, ethereally following the wrestler as if it were his past, and the viewer may perceive vague connections to a later, lonelier, less legitimate Rocky Balboa. But Mickey Rourke isn’t the Italian Stallion–he’s Randy “The Ram” Robinson, a man who has spent decades slicing himself open in choreographed fights while adoring crowds roar. Pro wrestling isn’t as lucrative as it was for Randy in the 1980s, but he stays at it while working menial jobs because performing isn’t just the only thing he craves–it’s the only thing that, at 50, he knows how to crave. While courting his one true friend, a stripper named Cassidy (Marisa Tomei), Randy does his best to restart a relationship with the angry daughter he abandoned. But Rourke imbues the image of Randy, ready to pounce from the ropes, looking almost as unreal as the box art on action figure packaging, with an expression of pain, desperation, and joy. It’s a close-up that makes two things clear. For one, Randy’s charisma is inseparable from the crippling fixation that’s kept him alive. For another, THE WRESTLER might be at once a simpler and more complex meditation on addiction and eternal struggle than any of Aronofsky’s earlier work.