TV PILOT REVIEW: USA's "Necessary Roughness"

When I first saw the promo for this series, I thought, I love "Friday Night Lights," but do I really want to watch another football show? It doesn't actually have the same tone as "Friday Night Lights," and there's no implication that there will be inspiring pre- or post-game speeches, which is what I like the most about sports shows. It seemed more like it would be a lighter version of HBO's "In Treatment," and the therapy procedural is one of my least favorite types of series. Then I thought, I have no clue who this actress is and even though there are three hot actors in it, that cannot be my sole reason for tolerating it. Ultimately, I decided that I'd give it a shot to see if there was more to it than the promos suggested. It turns out it is like "Friday Night Lights," if the coach's wife Tammy was the lead and her husband was a cheating, broke bastard, who forced her to postpone her career ambitions so that he could bolster his own and she could take care of their kids.

The pilot wastes no time immersing you into Dani's (Callie Thorne from "Rescue Me") way of life. In the span of five minutes, you learn that she's an attentive mother with a keen eye for mischief, an impressive therapist, who helps people physically by helping them emotionally, and a strong-willed woman, who values herself enough not to forgive a man who slept with several women in their bed and kept souvenirs on his phone. As the episode progresses, you learn that she has an Italian temper to match her Jersey accent. She's not one to back down from a fight, not when it's with her husband for the custody of the kids, when it's with her daughter regarding her truancy, or with a new employer who thinks he can compromise her ethics for a price. One of the best lines last night was when the coach asked for a refund and she replied, "If you would like a moneyback guarantee, then go buy a washing machine." Like I said after watching "Suits," the USA Network is really good at giving you the full scope of a character—both the good and the bad. As a result, it endears the viewer to them, because their unapologetically raw and realistic.

Adding to the fun are a cast of decent supporting characters. Craig Bierko ("Unhitched") plays Ray, her sleazy husband, who'll do everything in his power to not pay alimony and child support under the guise of "still loving her." Concetta Tomei ("Providence") plays her hilarious mom, Angela, who spends more time placing bets than she does doting on her grandkids, and imparts enough bad advice to possibly explain why Dani became a therapist. Hannah Marks ("Weeds" and Runaways) and Patrick Johnson (Mean Girls 2 and Christmas Cupid) play her rebellious teenage kids, Lindsay and Ray Jr., who skip school and invade her patients' privacy. Amanda Detmer (Final Destination) plays Jeanette, her supportive best friend, who pushes her to want more for herself. Marc Blucas (Knight & Day and "Buffy the Vampire Slayer") plays Matthew, her post-filing-for-divorce one-night-stand and a sports physical therapist, who recommends her to his boss as a reliable therapist after she gives him a free session to cure him of his smoking addiction. Mehcad Brooks ("True Blood" and "Desperate Housewives") plays TK, the football pro who has deep-seated abandonment issues that affect his confidence and subsequent ability to play. Scott Cohen ("Gilmore Girls") plays Nico, the team's Fixer, who handles all indiscretions that the coaches are not legally allowed to get involved in, as well as a potential love interest for Dani. He's far more mature and evolved than Marc. He, like her, has had a lifetime of serving people who need babysitters to clean up their messes. They have a certain respect for each other that could snowball into a trusting relationship. When Marc asked her to trust him, she refuses to trust anyone after what her husband did, but she buckles when Nico asks. It almost seemed effortless. And that's what she needs: a drama-free, trustworthy gentleman.

I'm not actually a fan of female-driven USA shows. I didn't like "In Plain Sight" when it first debuted, "Fairly Legal" was seriously boring, and I only tolerate "Covert Affairs" because of Christopher Gorham (Auggie). I think this is the first time they did it right. I look forward to the procedural format, watching as the doc mends the athletically gifted and emotionally challenged, while juggling motherhood and a new single life. I really like this show and it has everything to do with Thorne. She's like a mixture of Maria Bello and Vanessa Marcil ("Las Vegas"). A volatile firecracker!

ONE-TO-WATCH: Léa Seydoux

Name: Léa Seydoux
Age: 26
Where you've seen her: As the record saleswoman who woos Owen Wilson in Woody Allen's comedy Midnight in Paris, as the wife of Prince John in Robin Hood, and as one of Christoph Waltz's victims in Inglorious Basterds.
Why she's One-to-Watch: One of the shining lights in Woody Allen's latest film was the young, sweet, soft-spoken Léa Seydoux. Don't get me wrong. Marion Cotillard is a beauty. But I remember leaving the theater thinking: Who's that girl? Maybe it was the blonde hair or her peaceful demeanor that complimented Wilson's frenetic personality perfectly, but she seemed to have an ethereal glow about her. It made me wonder what she'd be like as a villain—someone who looks so sweet. It seems like there's more under the surface than she lets on. P.S. She could totally play Kate Moss in a biopic.
Where you can see her next: She'll play the main female villain in Mission Impossible: Ghost Protocol, going toe-to-toe with Paul Patton.

TRAILER: "Mission Impossible: Ghost Protocol"

Plot: When a terrorist bombing destroys the Kremlin, the United States government activates "Ghost Protocol" and disavows the entire Impossible Mission Force. Ethan Hunt and his team are blamed for the attack, but are allowed to escape as part of a plan to enable them to operate outside their agency. Hunt is warned that if any member of his team is captured or compromised, they will be charged as terrorists planning a nuclear strike. He is forced to work with fellow IMF agent Brandt (Renner), who knows much more about Hunt and his past than Hunt himself.
Cast: Tom Cruise, Jeremy Renner (Hurt Locker and The Town), Simon Pegg (Paul and Star Trek), Paula Patton (Jumping the Broom and Deja Vu), Josh Holloway ("Lost"), Michael Nyqvist (The Girl with the Dragon Tattoo), Anil Kapoor (Slumdog Millionaire), Lea Seydoux (Midnight in Paris)
Background: In 1996, when the first Mission Impossible was released, I was 11 and I wasn't that impressed with Agent Ethan Hunt. I was too busy watching The Craft, The Cable Guy, and The Nutty Professor. But as the saga progressed, Ethan transformed from an in-over-his-head newbie to an unstoppable and invincible agent. It became less of a dramatic conspiracy thriller, and more of an action-packed spy thriller. He became the American James Bond. And so now, 15 years later, Ethan Hunt is still as invincible as ever, and 49-year-old Tom Cruise doesn't look like he's ready to slow down. This is his franchise, the way Pirates of the Caribbean is Johnny Depp's, Transformers is Shia Labeouf's, and Bourne Identity is Matt Damon's. When we watch an MI film, it's to see Cruise do his thing. But there have been rumors that the studio would like to pass the franchise onto someone slightly younger—nine years, to be exact—so that they can churn out another trilogy without breaking their action star's hip. And Jeremy Renner was rumored to be that fortunate up-and-comer—which explains the iconic hover scene that he gets to do in the trailer. So all eyes will be on him during this film to step it up to Tom Cruise levels. And if he can, perhaps naysayers will be more accepting of his future endeavor of starring in his own Bourne spinoff.
Verdict: While everyone's doubting Renner, who's impressed me enough in The Town to have my full confidence, I'll be keeping an eye on Holloway, who is prime for a full-fledged film career, if he can be crowned the breakout star of this film. If the freefall shooting scene is any indication, he's got this one in the bag. I'm also excited to see that Pegg is the new go-to-comic for action films these days. He cracks me up. And it'll be interesting to see Patton playing more of an assertive role—Bond girl-esque, but better because MI girls never seem objectified. Another part of the trailer that's of note is the song. I was totally distracted by it. One, because it's Eminem and Pink collaborating on a track. That's epic. And two, because it's not the signature MI song. We do, however, get to hear a snippet of it, but it seems more Heavy Metal than usual.

Release Date: December 16

FILM REVIEW: Transformers: Dark of the Moon

Sam Witwicky has come a long way—and yet not far enough. He's survived high school, college, oh and two alien wars. And what does he have to show for it? A useless college degree, three alien robot pets, and an interchangeable hot girlfriend (from Megan Fox's Mikaela to model-turned-actress Rosie Huntington-Whiteley's Carly). He's as unimpressed with himself as we are. He thinks he should be out there with the Autobots, working for the government, running covert operations, and kicking some ass—alien or human. But instead, he's a glorified intern while his girlfriend gets paid bank by her doting and obnoxious boss Dylan (Patrick Dempsey from "Grey's Anatomy").

But why is that? Did he not major in the right course? Did the government not officially recruit him and give him a number of career path options or even army training? I mean, maybe the first time he saved the world from the Decepticons was a fluke, but after the second time I think it's pretty obvious that he should be considered an expert in alien invasion and evasion, because if anyone could do it, they wouldn't need his help every time.

Luckily, Sam gets to prove his worth, not only to the government but himself for the third time when a sneaky Decepticon assassinates two of his coworkers and attacks him. He stumbles into a conspiracy involving Dylan and proceeds to do what he does best:  
Step 1: Frantically uncover the evil robot leader's agenda.
Step 2: Successfully escape their first assault.  
Step 3: Give up hope.
Step 4: Regain hope, gather allies and go on a death-defying mission.  
Step 5: Almost die a million times while giant robots fight to the death all around him.
Predictable, but still very enjoyable.

My favorite scene was when the building was devoured by the blender-like robot known as Shockwave as they slid down into its mouth. It was like watching a futuristic Jurassic Park. I also tend to love any scene where the armed forces perform real life maneuvers, like jumping out of a plane and gliding through the sky, like flying squirrels, into a war zone. My favorite new component was the weaponized arm attachment created for Sam that gives him a fighting chance against a machine. As for his other new accessory, I think Whiteley did pretty well for a first-time actress. She managed to not be as robotic as her metallic costars, and she she functioned well as the eye candy. Although, there wasn't enough time to make her as likable as Mikaela. Of all the Transformers, this is my second favorite, but with each one, the action and visuals get better and better.

FILM REVIEW: Cameron Diaz's "Bad Teacher"

Ever since Bridesmaids hit theaters critics have been batting around the question of whether women can be funny without being inappropriate, a.k.a. behaving like men. Some of them believe that real women don't speak frankly about sex, have explosive diarrhea, or act drunk-and-disorderly on a plane. As a result, leading ladies have long been the eye candy in films. The only roles given to conventionally unattractive women are those of supporting characters, ugly best friends, drug addicts, or murderers—and sometimes even the murderess is smoking hot. We've put such an emphasis on beauty-before-talent that we actually award beautiful actresses who uglify themselves for a role, impressed with their "bravery." So every time there's a comedy where a girl does something other than look pretty, act nice, or act neurotic, some critics claim that the screenwriter is simply desperate for a laugh. It's the equivalent of a comedian sprinkling in a few F-bombs to make a joke funnier. Menxploitation?

By those strict standards, Cameron Diaz's character could be deemed "unrealistic." She's a manipulative, narcissistic, alcoholic, pill-popping pothead who shirks her teaching responsibilities, steals funding from the school, believes in corporal punishment, and whores herself out for money. This role could've very well been played by a dude—and kind of already was. Cameron's the Bad Teacher, but Billy Bob Thornton was Bad Santa. Regardless, film is supposed to reflect society as it is and as it should be with exposés and PSAs, so whether guys want to hear it or not, there does exist a girl on this planet who behaves exactly like Cameron's character. Hell, Paris Hilton is a pretty close clone, apart from the child abuse and stealing—that we know of. And I think Cameron does a great job of not playing her too over-the-top or "masculine," and delivering every searing put-down with no remnants of her signature sweetness (There's Something About Mary, Charlie's Angels, and Knight & Day). Of course, this isn't the first time Cameron's played an "unconventional" female character. While The Sweetest Thing wasn't exactly a hit, it pushed the envelope with oral sex jokes and gross bathroom humor just enough to seem funny without being crass. And Bad Teacher does the same by adding a life lesson.

During one of Elizabeth Halsey's very few teaching moments, she has a mini-epiphany when she realizes the same thing Cameron's character learned in The Sweetest Thing: She's too old to keep having superficial relationships and behaving like a self-absorbed bitch. Granted, she could've learned that lesson quicker if she just listened to her co-worker Amy Squirrel (Lucy Punch from Take Me Home Tonight and Dinner for Schmucks), who correctly predicted that the children would one day teach her. Of course, I wouldn't blame Elizabeth for ignoring Amy's advice, because she was a complete lunatic. She is what some critics refer to as a more realistic portrayal of the female populace: an obsessive, neurotic, rule-enforcing, clingy, overly friendly sociopath. Lucy did a great job of not only setting an example of what a real teacher should behave like, but of making us hate her goody-two-shoes act just as much as Elizabeth did. No matter how many movies she showed instead of teaching or how many times she blew off the class kiss-ass Loretta McCready (Kaitlyn Dever from "Justified"), we always sided with Elizabeth. We weren't sympathizing with her because she got dumped by a rich, Opera-obsessed mama's boy or because she had such low self-esteem and such a warped sense of self that she thought a boob job would fix her problems. We sided with her because everybody has met that girl. The one who acts like your boss but isn't. The one who secretly competes with you for everything. The one who gives you backhanded compliments and talks shit about you when you're not around. That girl was my frenemy in middle school. Nobody's going to root for that bitch, because to us she's the phony.

That's why what happens between Amy and Scott Delacorte (Justin Timberlake) seems well-deserved. Although, I must admit they were a match made in heaven, because they were both lame with a capital L-O-S-E-R. He was like what everyone imagines Mr. Roger's was like when he was in his 20s, except I'm almost positive Mr. Rogers wouldn't dry hump someone in a cheap motel on a school field trip. And in being her male phony equivalent—and decently playing against type—Justin left the door open for the unlikely Prince Charming to be Jason Segel's character Russell Gettis. (I personally think critics should make just as much of a fuss about all of our big screen Prince Charmings going from Jon Hamm to Chris O'Dowd—still awesome, just not as dreamy.) I was surprised by Cameron & Segel's chemistry, and comical sparring rhythm. She mostly reacted to his advances and playful judgments, but he was exactly what her character needed: someone sweetly confident who wouldn't put up with her shit. And Segel has mastered the art of playing sweetly confident on CBS's "How I Met Your Mother." I was just surprised that he would click with Cameron on more than just their height. Lovable lugs are the new Romeos of the summer. You just want to mount them and get bakedbake cookies after.

After seeing the trailer, I thought Segel would be the scene stealer of the film—although I'm sure most people had their money on Justin—but it turns out Phyllis Smith ("The Office") was the supporting actor who got the most laughs. Her awkward desire to become best friends with "the popular girl," and her hesitant interest in being rebellious were some of the best scenes of the film. I also thought Thomas Lennon would outdo his previous scene-stealing roles (I Love You Man and 17 Again), but this time he was just pathetic. The child actors weren't really of note either—no Chloe Moretz's, Elle Fanning's, Joel Courtney's, or Riley Griffith's here—but they weren't really given the best material to work with. Noah Munck tried to expand his "iCarly"-Gibby schtick, Dever aimed to show her softer side, and Matthew J. Evans successfully weirded me out with his horrible poems and unfortunate name: Garrett Tiara.

All in all, the film is only worth a rental. Unless of course you need to watch Cameron wash a car (and herself) for about 2 minutes on a giant screen. Then again, you could do it in slow motion and with rewind if you rent it.

TV PILOT REVIEW: USA's "Suits"

I, like many other critics, was a little skeptical when I first heard the plot of this new USA series: Harvey Specter (Gabriel Macht from Love and Other Drugs, The Spirit, and Because I Said So), a hot shot lawyer, is in search of a Harvard law grad to work as his legal associate, but instead decides to hire Mike Ross (Patrick J. Adams), a desperate young guy who makes money passing the bar for law school students in order to care for his grandmother. Together they plan to fool everyone in the office into thinking he has a law degree, using his photographic memory and savvy street smarts.

It sounds like a flimsy plot, inspiring the question: Why doesn't he just go to law school or skip it and take the bar, if he's so smart? I'll give credit to the creators for answering that question pretty quickly. The reason he didn't just go to college is because he was kicked out after his best friend Trevor (Tom Lipinski) convinced him to steal a math test and sell the answers. And the reason he can't just go to law school is because, while he does remember everything that's ever happened to him and that he's ever read or learned, getting into law school isn't just about what you know, but who you know and how you apply that knowledge. And lastly, taking the bar won't solve his problem, because the firm has a strict policy of only hiring Harvard graduates.

But what makes it all work are the actors, not the technicalities. USA prides itself on being a character-driven network, placing likable and endearing personas in tricky situations, whether they're uncovering a government conspiracy ("Burn Notice") or using them to acquire the greatest treasure in history ("White Collar"). Macht is a vet when it comes to laying on the charm, but the promos don't do newbie Adams justice. You don't get the sense that he could co-run the show and keep you as enthralled as Macht, but he does. Even before they lay it on thick with the caring-for-my-grandmother subplot, you can tell that this is a path he never meant to take, and his eagerness to do better makes you root for him. He doesn't come off as too cocky, because Macht is cornering the market on that personality trait, or too nerdy, because his skill is effortless not labored. He's a very reactionary character, sizing people up first before he engages with them, sort of acting as the viewer's lens—you evaluate them as he does.

What also makes it work is the chemistry between the actors. Mike and Harvey's relationship is less bromantic, like Sean and Gus on "Psych," and more master and apprentice, like Wysocki and Evers on FOX's "Chicago Code"—and sometimes, refreshingly, like competitive equals, like Neal and Peter on "White Collar." Sometimes Mike gets schooled and sometimes Mike does the schooling. It keeps it interesting to see who'll end the episode victorious.

The resident villain of the series is Louis Litt, played by Rick Hoffman ("Samantha Who?"), who has a huge debilitating chip on his shoulder after Harvey got the promotion he'd been waiting for, so he's going to go out of his way to try to trip them both up in every episode. He amps up the suspense in the when-will-they-get-caught-and-fired department. Other possible whistle-blowers include their boss Jessica Pearson (Gina Torres from Serenity), who put Harvey through law school and acts as his platonic mentor; Rachel (Meghan Markle), the head legal aide who had her cold, defensive exterior melted by Mike's earnest eyes and no-bullshit approach; and Trevor, his ex-best friend who might have a grudge against him after he stalled a $25,000 drug deal, told his girlfriend he was a drug dealer, and callously responded to his plea of "Michael, you know I don't want to live in a world where we're not tight." with "Then kill yourself."

Their only ally is Donna (Sarah Rafferty), Harvey's assistant, who stole more scenes than Macht's dimples, snapping at Harvard grads and sardonically pretending to have predicted Harvey's desire to marry her, because of her impeccable usefulness, by having had him sign a marriage license when they first met.

You could tune in to see how long they can pull this off, but I'll be tuning in to see how these lawyers win cases by manipulating the handbook instead of throwing it out. They should've named the series Loopholes, because it defines Mike's brand new life perfectly.

CRUSHWORTHY: Dylan O'Brien from MTV's "Teen Wolf"

Where you've seen him: MTV's "Teen Wolf"
Why he's Crushworthy: I have to be honest. I'm not exactly addicted to MTV's adaptation of the 1985 film Teen Wolf. I'm a little interested in where this alpha wolf and murder mystery plot is going, but I mainly tune in for one reason: Dylan O'Brien. Full disclosure: I always prefer the sidekick. Always. They get the best one-liners. They're usually adorable—look at those hazel eyes. And they're usually the voice of reason slash the smarter one. Every week O'Brien's character Stiles works overtime to keep his best friend alive, and even though he doesn't have supernatural strength and a killer's instinct, he bravely soldiers on. There is definitely something endearing about a powerless hero. I agree with Stiles—he's the Batman of this duo.
Where you can see him next: The teen romance The First Time with Brittany Robertson ("Life Unexpected" and Dan in Real Life) and Victoria Justice ("Victorious").

VIDEO: Britney Spear's "I Wanna Go"

When I heard that Britney wasn't dancing in the video and that it had an actual plot, I really wanted to see it, because she should really just stop dancing. Her heart is obviously not in it anymore. As I watched, I tried to pick up on all the "winks" to real life gossip headlines. I get that saying "Fuck You" to the press, being overtly sexual towards a fan and a hot cop, and assaulting Terminator-like paparazzi with a microphone is her way of rebelling, but wearing an Avril Lavigne outfit, complete with pink streaks and spiky boots, at age 29, having babies and children whistle lewdly at her, and ending the video like Michael Jackson's "Thriller," with a robot in place of werewolf was both inappropriate and lame. And I would've been psyched to see Guillermo Diaz ("No Ordinary Family," "Weeds," & "Mercy"), but I have this sneaking feeling that he was playing Adnan Ghalib, the paparazzo she dated for two years, which would explain why Diaz is revealed to secretly be a robot at the end too. Is she admitting that dating Adnan was a mistake and that he was as much of a user as the rest of them? If so, that could count as growth. But I would prefer it if she also grew by knowing a crappy video with a poorly executed homage when she saw one.

TRAILER: Jason Statham, Clive Owen, & Robert De Niro's "Killer Elite"

Plot: When his mentor (De Niro) is taken captive, a retired member of Britain's Elite Special Air Service (Statham) is forced into action. His mission: kill three assassins dispatched by their cunning leader (Owen). [This isn't a remake of a 1975 film by the same name.]
Cast: Jason Statham, Clive Owen, Robert De Niro, Yvonne Strahovski ("Chuck"), Dominic Purcell ("Prison Break"), Adewale Akinnuoye-Agbaje (Faster and G.I. Joe: The Rise of Cobra), Grant Bowler ("True Blood" and "Ugly Betty")
Verdict: haha I had the funniest reaction when I watched this trailer. In the last five seconds, Statham blocks a kick and then rams a knife into his attacker's genitals, and for some reason a low groan came out of me as I said, "Oh nooo." I don't even have balls and I was frightened. Ok so my level excitement for this film grew exponential with every fastly-cut scene. It was at a 2 when I saw Statham. Statham is an automatic rental, or if it's really interesting theater-viewing, no matter what the film's topic. Then it went up to a 3 when I saw Clive Owen, rocking a Tom Selleck mustache and trying to throwdown with Statham. Then when I realized that Robert De Niro's role wasn't just a quickie cameo to lend the film street cred, it got amped up to a 6. I'll tell you when I was sold on the film: When I saw Yvonne Strahovski, who is obviously fully aware that she should start doing films before "Chuck" ends next year. I didn't even realize I liked her this much until I saw her in this movie, but apparently she's grown on me. The icing on the cake though is the trailer's song: The Scorpions' "Rock You Like a Hurricane." It's an 80s classic that instantly reminds you of all those Sylvester Stallone, Steven Segal, and Bruce Willis action movies. This is a throwback with a heavy punch.

Release Date: September 23

TRAILER: "Footloose" Remake (2011)

Plot: A city boy (Wormald) comes to a small town where rock music and dancing have been banned.
Cast: Kenny Wormald (Center Stage: Turn It Up), Julianne Hough (Burlesque and "Dancing with the Stars"), Dennis Quaid, Andie MacDowell, Zia Colon (Road Trip: Beer Pong), Miles Teller (Rabbit Hole)
Verdict: There's tremendous pressure for this remake to live up to the original 1984 teen romance starring Kevin Bacon and Lori Singer. Will the film's heartthrob, Wormald, be just as dreamy and skilled at dancing? Will the leading lady, Hough, be just as hot? Will the best friend, Teller, be just as rhythmically challenged? And, most importantly, is a dance-banning town even a believable plot line in the year 2011?

After watching the trailer, I've determined that while Wormald and Hough are talented and attractive—resembling a young Patrick Swayze and Goldie Hawn, but acting like Ricky from "The Secret Life of the American Teenager" and Christina Aguilera—the plot is just too ridiculous to accept. The first time, it was considered different, and therefore interesting. Retreading the same ground is just pointless. Unless you're a Hough fan, there really is no incentive to watch this movie. Not even because they've added a few Step Up-like urban moves to the choreography. It honestly just looks like something that should've went straight-to-DVD, like Save the Last Dance 2.

They could've simply modernized the film by making it so that there was a ban on parties in general, which would've included a ban on dancing. Then the entire film could've been a mission of the town's kids to throw a secret big dance, getting foiled by the minister, and then succeeding in the end. Yes Hollywood, I just did that in 30 seconds.

Release Date: October 14

TRAILER: Seth Rogen & Joseph Gordon-Levitt's "50/50"

Plot: A comedic account of a 27-year-old guy's (Gordon-Levitt) cancer diagnosis, and his subsequent struggle to beat the disease.
Cast: Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick (Up in the Air), Bryce Dallas Howard (The Village), Anjelica Huston
Verdict: In 2009, Seth Rogen costarred with Adam Sandler in the cancer dramedy Funny People. It wasn't funny. Sandler's character learned that he had cancer and even though we were supposed to be sympathetic towards him, you couldn't help but think he was a douchebag. Needless to say, no one was hoping for another cancer comedy. Terminal illness isn't enjoyable even when it's in a drama. Adding a punchline isn't going to make it any more bearable. But I have to say, some way, somehow writer Will Reiser made dying funny, and goofy, and you really get to know what it feels like for a guy (for once) to feel as though your world has just stopped. This story is even more interesting because it's a fictionalized account of how Rogen's friend discovered he had cancer. True stories always seem to inflict a certain weight to the words and I think it makes the screenwriter try harder too.  I'm also looking forward to seeing Kendrick do her thing again. I haven't seen her since Scott Pilgrim vs. the World, and I think her best is yet to come. Oh and do I even have to mention how amazing JGL is in this trailer? This will probably be the closet Rogen will ever get to an Oscar nom, vicariously and in consideration.

Release Date: September 30

CRUSHWORTHY: Michael Fassbender from X-Men: First Class

Where you've seen him: X-Men: First Class, Jane Eyre, and Inglourious Basterds
Why he's Crushworthy: When I saw Inglourious Basterds in 2009, I was mesmerized by the silent-but-violent German Til Schweiger, while everyone else had their eyes on Fassbender. He wasn't as interesting to me as a refined Brit. No, it wasn't until he picked up an American accent during his X-Men: First Class revenge mission and broke out some French to intimidate a Nazi sympathizer that I started to take notice of his chiseled visage, his triangular swimmer's body—broad shoulders and thin torso—and his piercing, calculating eyes.  He was born to buck the rules. It's no mystery why the producers chose him to play a mutant with superhuman magnetism.
Where you can see him next: The sex drama Shame with Carey Mulligan; the black ops action thriller Haywire with Michael Douglas, Antonio Banderas, Ewan McGregor, Channing Tatum, and Michael Angarano; the indie dramatic thriller A Dangerous Method with Viggo Mortensen, Keira Knightley, and Vincent Cassel; the action horror Prometheus with Noomi Rapace, Charlize Theron, Guy Pearce, and Idris Elba; the music drama Good Vibrations with Steve Coogan; and an untitled drama with Mia Wasikowska, Tilda Swinton, and John Hurt.

TV PILOT REVIEW: TNT's "Falling Skies"

My snap judgment of TNT's new alien invasion series "Falling Skies" is that it has potential. Of course, so did "The Event" and "FlashForward." The difference is this was produced by Steven Spielberg, directed by Greg Beeman ("Heroes" and "Smallville"), and written by Robert Rodat (Saving Private Ryan and The Patriot); it's on a cable network, which are notorious for not having trigger fingers when it comes to canceling new shows; and it debuted in the summer, which limits competition and allows for audience growth. The odds are technically in its favor. Its saving grace, however, will be whether it can deliver on the story.

So far we've learned that:

• there are two varieties of aliens: the Mechs (robots) and the Skitters (six-legged creatures)
• the mother ship left Earth
• the Mechs are rounding up the children and attaching what is referred to as harnesses to them, which will kill the child if removed
• there are factions of resistance in groups of 300 people: 100 soldiers guarding 200 civilians
• the soldiers are also in charge of gathering food and ammunition
• there are small rebel factions that rob from the resistance

The reason I'm tuning in next week is because there's still much more to uncover. I read somewhere that the harnesses aren't what they seem, and the season's promo insinuates that while it turns them into drones/puppets, it also cures them of their ailments. There's also the good point that one of the students made: If humans design things in their likeness, why wouldn't the aliens? What is the disconnect between the 6-legged Skitters and the 2-legged Mechs? And why did the alien they killed seem like it was trying to talk to them as it slowly died?

The promo made it seem like there's a chance that these Skitters were originally human, which makes me wonder if those harnesses are first curing the children and then mutating them into Skitters. There was also a scene in the promo where the outlaw John Pope (Colin Cunningham from "Stargate SG-1") and Matt (Maxim Knight), the son of the second in command Tom (Noah Wyle from "ER"), find a bullet that can break through the Skitters armor, suggesting there might be hope for them yet.

All of it is very intriguing, and the criminal Pope and his former feisty ally Margaret (Sarah Carter from Final Destination 2) keep it interesting too. The one thing I'd say sets it apart the most from all of those other failed alien invasion shows is that it's not about the imminent danger of some inexplicable occurrence or unforeseen species. The invasion has already happened. We're in the thick of it. It's an interesting look at how humans, especially Americans, would react if suddenly tomorrow wasn't guaranteed and they could no longer rely on politicians to keep the war on foreign soil. Of course, it's also mindless sci-fi summer fun.

FILM REVIEW: Ryan Reynolds's "Green Lantern"

Back in January, non-comic-book fans were confusing and, as a result, comparing the Green Hornet and the Green Lantern, trying to determine which emerald hero would become flushed with green and which would end up green with envy. I was one of the critics who wasn't as floored by the Green Lantern trailer as I wanted to be, even though I believed Ryan Reynolds was a great choice for a lead. The costume just seemed disproportionate to me, and the leading lady, Blake Lively ("Gossip Girl"), was no Gwyneth Paltrow—or even Cameron Diaz. The only reason I decided to watch it is because Reynolds has always been a scene-stealing, movie-saving, charismatic actor. And doing as he does, he manages to bring this film from a C- to a B.

A friend of mine said the reason he didn't like the movie was because it was miscast. But I can't imagine anyone being able to make this storyline more believable or these lines more bearable. The funniest one-liner in the film was delivered by the "sidekick" Thomas (Taika Waititi). Hal showed him the ring and said, "He gave me this," and Thomas, without missing a beat, responds, "He proposed?" That's it. That's the best line. And it wasn't even delivered by Reynolds, who has his fans accustomed to always being fully entertained by him, both dramatically and comically. So in that respect, I agree with my friend. If Hal Jordan isn't a funny character, then Reynolds was miscast. But my question is: If they decided to cast Reynolds, why not use him at his full potential? It probably has something to do with the fact that the screenwriting credits are attributed to 7 people—it's Frankenstein's monster. Thankfully, Reynolds at half-speed is still quite enjoyable, because he's got the hero schtick down.

Playing the Lois to his Clark, was the freshly dyed Lively as Carol Ferris. She actually wasn't as horrible as I thought she was going to be. It turns out changing her hair to brown really did help her seem older and more mature. Of course, it didn't improve her acting. There were many times when I couldn't stomach her concern or sorrow. She was much better at the confrontational and flirtatious scenes. Her best was when he first introduces himself as the Lantern, Superman-style—above the city and hoping his "disguise" made him unrecognizable—while rocking the Batman voice-changer. She totally flips on him, saying exactly what we were all thinking: "Of course I know it's you!"

Unsurprisingly I'm sure to most, Peter Sarsgaard was a great surrogate villain, given that the true nefarious force of the film, Parallax, possessed him. Decked out in gruesome grotesque prosthetics and sporting glowing yellow eyes, he snickered, hunched over, and gloated in great villainous fashion. This isn't Sarsgaard's first turn as a villain though. We last saw him trying to outsmart Tom Cruise in Knight & Day (as if!). Who knew that adding a bulbous head, stringy hair, and sweaty skin was the key to unlocking his malevolent side? Of all the villains of the year, Hector Hammond is my favorite so far. He sincerely gave me the heebeegeebees with his creepy victory laps.

And Parallax, his puppet master, was effectively terrifying. By the look of him, there was no doubt that danger was imminent. I credit that to his ever-growing cloud design and the fact that he fed on Fear, which this world, in these times, isn't short on.

The designs of the other Green Lanterns and the Guardians were also sufficiently unique and intricate. There were times, however, when the disproportionate angles of Hal's suit were distracting, especially when he was flying. The action scenes were good, but I didn't like that the final ring trick and death blow was just a giant fist. Of all the creative things he could've conjured, that was pretty lame. But it could've just been another sign of his humanity.

As for Sinestro (Mark Strong from Sherlock Holmes), I thought he was wasted as the Green Lantern leader. But during the post-credits scene, he slides on the yellow Fear ring and a villain is born, promising more adventures ahead.

Ultimately, I thought the Green Lantern was more likable than the Green Hornet, the plot was more interesting than Thor, and the designs were the best of all the comic book films of the year—so far. But the dialogue, characters, and "whole package" honor still remains with X-Men: First Class. We'll see if it'll keep the title once Transformers 3 and Captain American hit theaters later this summer.

VIDEO: Glee's Harry Shum Jr. in Wong Fu Comedy Sketches

Like many shows, "Glee" is on hiatus. And those of us who haven't purchased tickets to their summer tour are having withdrawals. What have the Gleeks been up to? Lea Michele laid down some vocals for 2012's animated Wizard of Oz and smooched Ashton Kutcher for the upcoming romance anthology New Years Eve. Cory Monteith is romancing Katie Cassidy on the big screen in Monte Carlo. Chris Colfer is gearing up for his first screenwriting and starring role in the feature film comedy Struck by Lightning. Matthew Morrison is prepping for the adaptation of What to Expect When You're Expecting with Cameron Diaz. Jane Lynch is filming The Three Stooges. And Kevin McHale did a cameo in Katy Perry's "Last Friday Night" music video as her dork-in-shining-armor.

Harry Shum Jr., our lovable Mike Chang, went a different route. He went viral. Last month, he collaborated with the Youtube auteurs behind Wong Fu Productions to create three shorts that showcased Shum's underrated comic timing and physical comedy. This was a great idea and will hopefully lead to more roles. My favorite was the "3 Steps to Self Esteem" that has a really funny twist ending. (And yes that's famed photographer Tyler Shields playing the mugger.) Watch all three of the 2-3 minute shorts below:

FILM REVIEW: J.J. Abrams's "Super 8"

Let's get it right out of the way, shall we? Is this The Goonies meets E.T.? Yes. If the alien was as proactive as the creature in District 9 and it looked like the Decepticon from Transformers 2 with eight legs.

Let's double back. Super 8 has three main storylines: There's the tragically sad one about the main character, Sam, losing his mother in a factory incident and his sheriff father who isn't coping well as a newly single parent; there's the light and fun one about a group of boys who are on a mission to shoot their very own zombie film for a big-time festival with Sam's crush, who's their leading lady; and then there's the sci-fi action thriller one about the government cover-up of an escaped alien who's trying to get back home.

At each subplot's core is 15-year-old newcomer Joel Courtney (right), who did an impressive job of invoking Sam with heartbreaking sorrow, adolescent awkwardness, and fearless bravery. Countering his personality are his band of brothers, who say lines like "I think I'm having a heart attack...and I have a scrape," and defensively call each other "pussy" and "fatso." My favorite little rascal was the pyro slash future-stunt-technician Cary (newcomer Ryan Lee), who always seized an opportunity to blow something up.

Acting as a secondary character was the year they lived in: 1979. It added to their old school sensibilities, when stealing your dad's car was the rebel thing to do, painting model airplanes was hours of fun, the Walkman was considered "hi-tech," and kids sang love songs like "My Sherona" instead of profane dance songs about shaking your ass. The most important feature of that time though was the Super 8 camera and the freedom of creativity it gave budding filmmakers of all ages. It's the year Alien and Star Trek hit theaters, and the year that follows gave birth to Star Wars: Episode V—all of which were major film-lover inspirations. You'd probably think taking it back to a simpler time would make it boring, but that's where the alien subplot comes in.

Generally, viewers require an awesome-looking alien, a valid purpose for its motives, and a clearly defined villain. I thought the alien looked awesome—a little bit like a Decepticon from Transformers 2, but still awesome, especially when it crept up on you before it attacked like the creatures in Alien and Jurassic Park. My movie buddy pointed out something interesting. Director and writer J.J. Abrams clearly has a thing for unseen monsters that make rattle sounds and have underground lairs, which he made good use of in ABC's "Lost."

The alien's backstory was E.T.-like and even Paul-like, being stranded on Earth, hunted down by government agents, and longing to go home. Of course it wasn't as friendly as either of those aliens. It was a lot more proactive and learned from imprisonment not to rely on any human. I liked that it spoke through touch, but we didn't hear it—just like the Black Smoke. And I loved its spaceship, which broke up into tiny Rubiks cube sized squares as a defense mechanism—a novelty item that was designed in '74. And his method for collecting them was genius. His intelligence and advanced technology almost has me worried that he might return with an army to seek revenge. The real villain though was the army that imprisoned him and anyone that helped him. It would seem that in the 70s, the army was often the enemy, infringing on civil rights because of the heightened security during the Cold War and fear of the Russians.

Abrams did a great job of mixing the light fun scenes with the intense suspenseful sci-fi driven scenes, and the way he did it was by starting two plots from opposite ends and having them meet with a common thread in the middle. On the one side there was this alien's escape efforts and on the other there were these kids who figured out a way to make their Super 8 film even cooler, using real train crash footage. Watching the development of the government cover-up through their eyes—and their camera lens—enhanced the suspense and the mystery.

It also didn't hurt that Charles (Riley Griffiths), their demanding director, was actually very good for a 14-year-old. He had solid vision and clever ideas, naming a factory in his film Romero Chemical as a reference to the revered zombie filmmaker George A. Romero, and spouting any new film term he learned like "That's mint!" constantly, as if it were the Word of the Day. It was like watching a mini-Abrams. He knew a moneyshot when he saw one, and this film's best is the train crash. It was as hectic and chaotic as a battlefield. It was terrifying to witness these children's near death experience, and even without 3D it felt like you were running right alongside them. The scene was very well-acted and orchestrated.

The best performance—in a film without a single bad one—was definitely Elle Fanning's (Somewhere). She had the difficult task of playing an actress, which means tapping into two personas and convincing us of both. You were as amazed by her performance in their fledgling zombie film as they were. She can turn her emotions as on and off as her big sister Dakota can, but unlike Dakota, she doesn't remain lifeless afterwards.

All this praise of the children is not to say that the adults should be disregarded. While I wish there was more of Kyle Chandler ("Friday Night Lights"), who had one fight scene that proves he should be in more action/adventure films, I was more surprised by David Gallagher ("7th Heaven") who plays a convincing, pot-smoking Hippie (redundant?), and the hardly recognizable Amanda Michalka (Secretariat and Lovely Bones), who seems to have grown into a woman overnight.

Overall, I would definitely recommend seeing Super 8 for the action, the acting, and the alien. But I give you two points of advice:
1) Try to see it with captions—that's actually an option in some theaters—to catch the funny off-camera one-liners and
2) stay for the credits to watch the kids' final product. You'll feel as though you made it with them.

TRAILER: Brad Pitt & Jonah Hill's "Moneyball"

Plot: The story of Oakland A's general manager Billy Beane's (Pitt) successful attempt to put together a baseball club on a budget by employing computer-generated analysis to draft his players.
Cast: Brad Pitt, Jonah Hill, Robin Wright (The Conspirator), Philip Seymour Hoffman, Chris Pratt (Take Me Home Tonight and "Parks & Recreation")
Verdict: I actually have a soft spot for sports movies, and an even softer spot for Baseball, so watching this coach's struggle to cobble together a winning team really got to me. I'm enjoying the light buddy comedy dynamic of Pitt & Hill, and I'm glad Hill is transitioning smoothly from comedy to drama with this inspirational sports dramedy. This could open a lot of doors for him in other genres as well as with other actors, because 90% of the time it's not what you can do but who you know. Throw in the malleable Hoffman and the lovably goofy Pratt and we have ourselves a guaranteed good time.

Release Date: September 23

FILM REVIEW: X-Men: First Class

I went into this film seeking an education—good or bad. I just wanted to know more about the band of mutants known as the X-Men. Of all the superhero characters in Marvel, DC, and graphic novel history, they are the ones I've followed the longest and bonded with the most. They tell the misfit outsider allegory better than all the other hero characters. Batman may be an isolated wealthy orphan, Spider-man may be an arachnid-powered teenage klutz, and Superman may be a godlike alien, but the X-Men are mutants. They're not just morally different or physically gifted. They're deformed, disfigured, and often devoid of self-esteem. They are the ultimate outsiders.

The best part of an X-Men film is meeting a new mutant, learning what their power is, and hearing about their struggle to fit in and survive. If you've seen the previous films, you know that Xavier (James McAvoy from Wanted) is a telepath, Magneto (Michael Fassbender from Inglorious Basterds) can move all metals, Mystique (Jennifer Lawrence from Winter's Bone) can transform into anyone, and Beast (Nicholas Hoult from "Skins" and Clash of the Titans) is super strong, agile, and smart. In this film, you not only get to meet new mutants from the comic annals, but you also get to learn how these X-Men first met and the catalyst that drove them to become the people they were in the previous films.

Much like Clark Kent & Lex Luthor and Peter Parker & Harry Osborn, at the core of this story are two men who used to be friends and who felt instantly like brothers. When I first encountered this dichotomy in other stories, I figured it was a necessary plot tool to emphasize the struggle of Good against Evil that echoes the strife between God and the Devil, but in this film it becomes even more evident that this bond also arises from the hero's desire to save the future-villain, and for the future-villain to take one last final grasp at the possibility of being like the hero. It's when the villain finally realizes that they can't, that they finally give themselves to the Dark Side.

This is when we get to see the rise of a villain. I've decided that this is my favorite kind of origin story. It's fun to watch as Spider-man learns to use his webs and Superman learns to fly, but it turns out it's actually way more fun to watch a villain pre-villainy, and witness as he goes from heartbroken victim to vicious serial killer. It's fun because it has you at odds with yourself. On the one hand, you want to root for this guy who was forced to watch his mother die, who survived a concentration camp, who has felt discrimination as both a mutant and a human, but at the same time you are human. You're supposed to be rooting for your own species. Siding with him would be like siding with Hitler. And so you're torn.

Fassbender does an incredible job of illustrating this inner turmoil—taking you on his revenge missions, avenging his mother's death, and seeking restitution for his childhood of experimental abuse, but also adopting Hitler's mantra that there is indeed a superior race. Of course, he thinks of it more as an evolutionary superiority than an aesthetic one. No need to possess blonde hair and blue eyes. No, the superior race is a species of individuals who have superpowers, and in the history of Science, the more dominant race eventually assists in the extinction of the inferior one. Destroying the humans is the only natural step—Science behooves it. Completely logical and completely insane.

*Spoilers from this point on. But such a logic can seem enticing or attractive to an oppressed mutant—someone who has endured one too many days of feeling judged, and worst of all, at a young age, controlled. They want more than anything to be free, to feel accepted, and Magneto promised that. So Mystique was putty in his hands. Of all the young mutants, she had the best reason to want acceptance. Her natural form is a redheaded, scaly, blue chameleon. No girl, whether she's 10 or 20 wants to be seen as anything but pretty. No matter how smart or accomplished, they are conditioned since birth to believe that their beauty is directly proportionate to their worth. So imagine growing up having to use most of your energy to keep up a facade of blonde beauty so as not to scare off the small-minded humans. When we first met Mystique in 2000's X-Men, she seemed two-dimensional. She was just sexy, devious, and sadistic. But in this film, she was more complex, a tortured soul that found a kindred spirit in Magneto, the only person who believed she was beautiful in her natural form. So again, you could hate her, or you could sympathize with her struggle.

We also learn that the deciding factor in her defection to Magneto's side was Hank McCoy's harsh rejection. He wanted them both to take a serum he designed that would make them "normal." He broke her heart. But Hank's story was far more intricate than a love-story-gone-wrong. He embodied the Jekyll & Hyde allegory, which Xavier teaches us isn't about Good & Evil, but about man's attempt to cage his primal desires. Had he accepted them, he wouldn't have turned himself into full-on Beast.

But even once he succumbs, he doesn't ultimately turn against the human race and join Magneto. He still wants to be human and that desire is what drives him to protect them. And so as you watch these mutant backstories unfold you start to choose a side. Do you root for the mutants who want to fight against the close-minded, power-hungry, war-driven humans? Or do you root for the mutants who selflessly risk themselves for humanity no matter the consequences? Tough choice, I know.

My favorite character, besides Magneto and Beast (even though looked like a blue Thundercat), was Alex Summers aka Havok (Lucas Till from The Spy Next Door). I really didn't expect to like this particular mutant after watching the trailer. His power is cool, but I figured he'd be a one-note character without an actual personality, since he wasn't a main character. But in the few short minutes he had on screen, he established a sparring rapport with Beast, learned to control his gift in spite of his reluctance, and basically reminded me of a young Wolverine.

Speaking of Wolverine, the surprise cameos were inspired. Xavier and Magneto encountered him at a bar for like five seconds when they were recruiting. He, in great Wolverine fashion, blew them off. I think I also spotted a young, white-haired Storm in the cloudy plane of Cerebro's realm. And in an attempt to seduce Magneto, Mystique turned into her older form and we got a "sneak peek" of Rebecca Romijn-O'Connell. There were also verbal references to their future selves, like when Xavier refuses to shave his head in order to better use Cerebro.

But those cheap thrills weren't my fave parts of the film. No I loved Magneto's solo revenge missions that were very Bond-esque, the mutant training sessions, especially Banshee's (Caleb Landry Jones from The Last Exorcism), Magneto's choice of weapon against Sebastian Shaw (Kevin Bacon) that paid homage to his mom, and the slow motion scene where we get to watch Xavier's final transformation into Professor X, as a bullet compromises his spinal chord. Excruciating and poignant.

I think the final question that everyone asks after watching this film is "Which is your favorite in the saga?" I use to watch the cartoon all the time, but it wasn't until I saw the live-action version of these heroes that I really started to love them, so that's why the first film that hit theaters in 2000 will always be my favorite. And despite the fact that Shaw's evil minions weren't as impressive as his protege—especially January Jones ("Mad Men"), who was a poor-man's Romijn—this film runs a close second. I can't wait to watch the sequel and see the next chapter in their lives. One honor it can certainly boast is being the best comic book prequel ever.

VIDEO: Katy Perry's "Last Friday Night" featuring Darren Criss, Rebecca Black, Hanson, and more

I LOVE comedic music videos! Check out Katy Perry dorking it up in a teen version of The Hangover with Darren Criss ("Glee") as a partygoer, Kevin McHale ("Glee") as her secret admirer/hero, the infamously horrible songwriter Rebecca Black as her neighbor/makeover guru, Kenny G as her uncle, Hanson as the house band, and Corey Haim (Lost Boys) and 80s Pop singer Debbie Gibson as her parents. The cast and video are not as awesome as the Beastie Boys's "Fight For Your Right Revisited" or Atomic Tom's "Don't You Want Me" video for Take Me Home Tonight, but it's definitely a contender. I wouldn't be surprised if we see Katy in a comedy within the year. SNL's becoming every wannabe-comedian's springboard:

FILM REVIEW: Woody Allen's "Midnight in Paris"

This fantasy comedy is an entrancing trip down a culture-laden, memory lane, led by a befuddled and indecisive American screenwriter-turned-novelist played by Owen Wilson. In it, Gil discovers an alternate Paris that magically exists once the clock strikes 12—a Paris set in the 20s, the age the aspiring novelist has long wished he could've flourished in.

As a result of his fortuitous time travel, he is able to meet the dashing F. Scott Fitzgerald (Tom Hiddleston from Thor) and his energetic and scatter-brained wife Zelda (Alison Pill from Scott Pilgrim vs. The World), listen to Cole Porter (Yves Heck) live, get writing advice from Ernest Hemingway (Corey Stoll from Salt), have his book critiqued by Gertrude Stein (Kathy Bates from "Harry's Law"), bear witness to a distraught Pablo Picasso (Marcial Di Fonzo Bo) defending one of his abstract portraits, and have a drink with Director Luis Buñuel (Adrien de Van) and painter Salvador Dalí (Adrien Brody). For lovers of literature and admirers of art, it's a dream come true: rubbing elbows with your idols and legendary souls.

The opportunity for this immersion arose from Gil's desire to live in the golden age of art in all its forms so that he, as a writer (and a person), could thrive. He felt like he was drowning in the juvenile and easily forgettable prose of modern Hollywood screenwriting, and secretly wished he could settle down in Paris instead of Malibu, like his nagging, American fiancee (Rachel McAdams) wanted him to. This journey to this enlightened time period allowed him to gain perspective. He was soon able to see that his fiancee was all wrong for him, that she was having an emotional affair with one of those pompous, condescending elitists (Michael Sheen from Twilight) who lectured instead of conversed because he believed he'd been everywhere and seen everything—and that while the 20s may seem far more appealing than his current time period, every decade's inhabitants feel that way about some era.

He learned that last lesson from Adriana (Marion Cotillard), Picasso's latest muse. She wished to exist in the 1890s, to be the muse of Degas (Francois Rostain) and his associates, who would've preferred the Renaissance. Stein gave him great advice. She said that what his story was lacking was a resolution. He had presented several issues and obstacles, but without a resolution to them, it was incomplete. And so he decided that his nostalgia shop owner character would evolve into a man more appreciative of his present and less obsessed with what was—and more importantly what could've been. Gil knew that, much like his character, he needed to live in the present and stop running from his problems—whether they were romantic or professional.

Director Woody Allen's set-up for this tale is your average be-careful-what-you-wish-for slash live-in-the-moment construction—something that if executed by anyone else would've been digitally shelved in the small indie section of Netflix. But with the name to back him he was able to score a stellar cast who truly brought their characters to life. My favorites were Brody's Dalí and Pill's Zelda—probably because they were wily and peculiar, and they seemed to be wearing their character's skin nice and snug.

My only real problem with the film is that it started with one issue (a lack of confidence in his writing) and ended resolving a different issue (his undercutting, distant wife). I'm glad he eventually sees the light, but whatever happened to the book? Nonetheless, the film can be called the most interesting history lesson ever put to celluloid. It even had a C+ Art History student like me wishing I could be in Paris at midnight.