Westerns appear to be in the midst of a revival. It’s not a worldwide revolution by any means, but the once dormant genre has started to produce a few more offerings in recent years. Films like Open Range, 3:10 To Yuma and Appaloosa have all garnered attention thanks in part to the willingness of actors like Kevin Costner, Russell Crowe and Ed Harris to use their pull to help get them greenlit. I’ve always wondered if there are stacks of western scripts piled in studio offices collecting dust. Do screenwriters still pen these kinds of stories or is it simply a lost art? Maybe studio execs believe there just isn’t a market for such movies in the age of the Internet. I’m not certain of the answer, but it’s nice to see westerns on the big screen again. It’s the perfect genre for the theater experience.

In 1880’s Australia, a notorious gang led by the Burns bothers is wanted for rape and murder. By the books lawman Captain Stanley (Ray Winstone) is hired to rid the country of its scourge. Upon capturing two of the brothers, Stanley makes an offer to middle brother Charlie (Guy Pearce). He gives him nine days to hunt down the eldest brother and leader of the gang, Arthur, and bring him in, or the youngest Burns, Mikey, will hang from the gallows. Charlie has no choice but to agree, and sets off into the unforgiving country to find his vicious brother. Meanwhile, Captain Stanley must keep the bloodthirsty locals from exacting mob justice on Mikey. In addition, his marriage to Martha (Emily Watson) is falling apart. Charlie can’t go through with his mission, but will he allow Arthur to continue his reign of terror? It is just one of several moral conundrums faced by the men and women in The Proposition.

Written by Nick Cave (yes, the singer) and Directed by John Hillcoat, the film treads ethereal and spiritual territory. The land depicted is harsh and essentially feral. Captain Stanley’s belief in proper justice slowly erodes along with his sanity. There is no such thing as civility. The law of the land is lawlessness. Martha represents innocence and truth, but even she becomes an unknowing participant in the brutality. Every character is corrupt and murderous. Stanley soon discovers that his role is merely symbolic in nature. His power is false. Even he must adhere to the will of the masses. In a film where everyone is guilty of something, it’s difficult to discern good from bad. In a world consumed by evil, all it takes is one good deed to be labeled a hero.

There are a host of excellent performances to praise. Winstone stands out playing the conflicted Captain Stanley, as does Danny Huston who portrays the despicable Arthur Burns. Huston is one of those underrated actors who always manages to leave a lasting impression (Birth, The Constant Gardener). Pearce and Watson are also quite good. The film is graphic in its depiction of violence and does a credible job addressing the issue of “eye-for-an-eye” justice. If you’re looking for cheery landscapes and neat resolutions, The Proposition is not for you. However, if you don’t mind getting your hands dirty watching a band of nasty individuals devoid of humanity, then kick back and enjoy.

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Collette plays Sandy, an Australian geologist with a gruff personality. So, when she’s pegged to chaperon a Japanese businessman named Hiromitsu around the outback, she’s none too pleased. The language barrier is the least of their problems. Hiromitsu’s penchant to ignore her while dragging her across the expansive desert snapping photos, rubs Sandy the wrong way. After their jeep bogs down, the tension between the two increases. Yelling and screaming gives way to them working together to free their trapped vehicle. What ensues is a fascinating explorations into an unlikely relationship. Friendship gradually morphs into romance, as Sandy and Hiromitsu discover that loneliness is one trait that bonds us all.

Director Sue Brooks and writer Alison Tilson weave together a poetic and powerful story. What begins as a standard opposites attract story becomes something very different. The emotions are pure as both characters come to to realize they can learn much from each other. The script could have easily taken a wrong turn on many occasions, but it stays the course throughout. Preconceived prejudices and notions about women and Japanese culture are blown wide open. The evolution of Sandy and Hiromitsu’s coupling may appear illogical on the surface, but upon closer examination, it’s very natural. Removed from the hectic pressures of their daily lives allows them to do what has been lacking most. To relax, laugh and appreciate all the beauty nature has to offer.

Collette gives the performance of her career as Sandy. She fully commits to the role and never misses a beat. Watching her succumb to passion in a gentle, caring way is a wonder. In addition, Gotaro Tsunashima holds his own in his portrayal of Hiromitsu. A quiet, reserved persona who closely checks his emotions isn’t easy to play. They are normally positioned to be unlikable and therefore come across as one note and vapid. Credit Alison Tilson for crafting a multi-leveled character and Tsunashima for being able to garner empathy and sympathy. Japanese Story is a precisely paced, unpredictable narrative. If you’re not familiar with Toni Collette’s career, this film would provide a fine introduction to her talents.

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I know I’m old when the ’90s start getting the nostalgic treatment on film. The 1990s, really? Ah, it was bound to happen. Since the first decade of the 21st century is coming to a quick end, I guess this is as good a time as any to begin looking back at the last decade of the 20th century. The nineties were a groundswell for pop culture. Music, television, movies and the Internet broke loads of new ground. Hip-hop slid into the mainstream, grunge came and went, Tarantino became a household name and the war between PCs and Apple kicked off. Time to take a trip back to 1994, when Biggie was alive and heavy metal was dead. Let’s experience The Wackness.

It’s the summer of ‘94 in New York City. Recent high school grad Luke Shapiro has no friends, but he does have a profitable marijuana selling business. He also gets free therapy from Dr. Jeff Squires (Ben Kingsley) in exchange for some of his stash. Dr. Jeff attempts to help Luke with his problems, in particular, those of the female variety. Luke’s crush happens to be Jeff’s stepdaughter Stephanie, who has Luke locked in the friend zone. Poor Luke can’t help himself though. His obsession with Stephanie heightens once the two start hanging out together. A bored Stephanie gives in to Luke’s desires, which results in him mistaking a summer fling for true love. As the summer winds down, Luke must pick up the pieces of his crumbling life.

The months between the end of high school and the next phase of life has always been common fodder for screenwriters and filmmakers. Writer/Director Jonathan Levine accurately captures the freedom and fear of this time. Luke is symbolic of all teens in that he is about to embark on his personal journey, but lacks the social skills required to handle life on his own. He has no understanding of love and friendship, nor should he at age 18. By contrast, Jeff is an adult who never really grew up. He can’t identify with his wife, which is why their marriage is failing. His relationship with Luke is his most stable, although it could be construed as somewhat pathetic that a 50-year-old hippie is pals with an 18-year-old loner.

Kingsley is amazing in his portrayal of Squires. Watching the guy who played Gandhi take bong hits and screw a young girl in a phone booth is quite a departure, but Kingsley pulls it off with gusto. I find it refreshing to see an actor having fun with a role and Kingsley clearly seems to be enjoying himself throughout. Josh Peck isn’t in the league of Kingsley, but he holds his own as Luke. His misguided romantic endeavors are something all guys who’ve ever had their heart stomped on can relate to. The Wackness slipped in and out of theaters briskly last year. It deserves a watch, especially if you’re a thirty-something like me who remembers the ’90s fondly.

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The older I get the more I can appreciate teen angst movies. It would be easy to dismiss them as being whiny, melodramatic bore-fests, but that would be unfair to those that get it right. When a filmmaker chooses young love as his/her subject, they are immediately opening themselves up to severe criticism. The finger wagging reviewers will crawl out from under their judgmental covers eager to dissect a weak or tiresome plot.

The ’80s set the standard for the teen love story genre. Movies such as Say Anything, Pretty in Pink and Some Kind of Wonderful separated themselves from a large pack of lesser films. If you’re going to venture into this territory, you better have something original to say or at the very least offer a new perspective on a subject that has been attacked from every possible angle. Writer/Director Todd Kessler rolled the dice last year and came up seven with Keith, a nuanced high school romance that manages to surprise.

17-year-old Natalie (Elisabeth Harnois) is on the fast track to college. She’s smart, popular, excels at tennis and just landed a dreamy new boyfriend from South America. She’s got it all. That is until her new chemistry lab partner, Keith, turns her world upside down. Keith isn’t part of Natalie’s clique. He’s the quintessential loner with a yellow truck as his only friend. His eccentric behavior intrigues Natalie. Her feelings for him deepen the more time they spend together. But Keith isn’t Mr. Perfect. He suffers erratic mood swings and goes MIA from school for days on end. His strange ways send Natalie into an emotional tizzy, one that threatens her by-the-books lifestyle. Keith is hiding something from Natalie. Will the truth destroy their relationship?

The survival of any film in this genre is dependent on the performances of the two leads. Both Elisabeth Harnois and Jesse McCartney stand out. Harnois, in particular, is quite convincing. Her transformation from stable do-gooder to rebellious wreck is the film’s strongest attribute. McCartney sells the Jesse character well. It’s not easy to figure him out, which is precisely why Natalie is drawn to him. Unlike everything else in her life, Keith is unpredictable. He represents something lacking in Natalie’s safe little world. Mystery. For once, she follows her heart and embraces the direction it takes her, no matter how painful it might be.

Todd Kessler - known for kiddie fare like Blues Clues - treads some serious ground and does so with care. It’s important in teen love tales to never forget the voice of your characters. They aren’t 25 or 30, they’re 17. Their actions and behavior should reflect that of a teenager ill-equipped to handle feelings foreign to them. Too often writers make the mistake of writing in an older voice, which is a surefire way to ruin a movie. Watching actors act appropriately immature is evidence the writing and directing are on point. Kessler gets this and it’s the main reason why Keith works. The story doesn’t break any new ground, but it’s a credible departure from the glut of teen dramedies that fail to capture true emotions.

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Terminator Salvation - I’m a huge fan of the first two Terminator flicks. Great plots, intense action and plenty of sci-fi elements to pass my greatness quotient. The third movie was a complete disaster and should have never been made. What about the latest incarnation? It’s not in the class of the first two chapters, but it’s not as awful as critics and fans are making it out to be. It has some excellent chase sequences and a good performance from Sam Worthington, who is the star, not Christian Bale. The direction by McG was okay; however, a better director might have been able to cull a little more emotion from the story. Salvation has its moments, but overall it seems rushed. It’s a decent film worth checking out.

Night at the Museum II - It’s the Battle for the Smithsonian. I didn’t see the first movie, which I’m told is better. Ben Stiller excels in popcorn stuff like this, but I dig him more in movies like Something About Mary and Meet the Parents. Talking animals and historical figures fill the screen from start to finish. Basically, the story is about having as much fun in life as you can. It’s designed for kids, although adults might find some redeeming qualities. Amy Adams stands out portraying Amelia Earhart; she’s spunky, adventurous and quite engaging. Hank Azaria lisps his way throughout and culls a few laughs. I wouldn’t rush out to see it, unless your kiddies are pestering you.

Up - Pixar doesn’t produce flops. Up is no exception. The animation it top notch as always and the story is very poignant. Portions play as a silent film, which I thought worked well. Unlike Museum, this one has something for everyone. The narrative is geared toward adults, but the talking dogs and birds will keep the youngsters interested. Great voicework by Ed Asner and Christopher Plummer. Thus far, this is the best of the bunch. I’ve yet to see Star Trek though, so I could change my tune when I get around to checking it out.

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Has anyone read Billy Budd by Herman Melville? Do people still read? Melville’s story is set aboard a French warship in the year 1797. It deals with a conflict between a young seaman (Budd) and the ship’s Master-at-Arms, John Claggart. Jealousy leads to murder. It’s a great read that is often interpreted as as a retelling of Jesus and Judas. To be honest, it’s so dense it’s open to several different interpretations. A classic film version of the tale - directed by Peter Ustinov - was released in 1962, but if you’re searching for a more modern and esoteric re-imagining, look no further than Beau Travail. French auteur Claire Denis created a visual masterpiece back in 1999 that is more than worth your time.

In the Gulf of Djibouti - near the Red Sea - is home to a company of French Legionnaires. Amidst the searing desert heat, three men become embroiled in a conflict of wills. Commander Forestier, Master Sergeant Galoup and a charismatic recruit named Sentain form a bizarre triangle. Sentain’s youth, skill and popularity draws the attention of both Forestier and Galoup. Forestier admires the young man’s leadership and heroism, while Galoup views him as a threat. Galoup’s envy of Sentain soon transforms to rage. Forestier’s favoritism serves only to deepen Galoup’s hatred toward Sentain. A physical confrontation between the two opposing forces ends badly for both. Galoup’s misplaced jealousy results in his personal and professional undoing.

Denis invents an operatic atmosphere for the film. Routine daily activities become balletic displays of male bodies in motion. The repetition of ironing a shirt, group exercise and marching in unison assume an almost mechanical identity. Military films often delve into the theme of man being stripped of humanity by the disciplinary rigors instituted by the armed forces. Denis doesn’t expound on this idea; she allows her striking images to do the talking. The dynamics of man vs. man and man vs. self are melded with the cumulative effects of military dehumanization throughout the narrative. Denis doesn’t follow Melville’s text to the letter. She focuses her vision on the most significant element: man’s frustration with the inability to recapture youth.

The story unfolds as a series of flashbacks delivered via Galoup’s voice-over narration after the events in the desert. His thoughts are of the stream-of-consciousness variety and provide only minimal insight into his psyche. He seems to regret his actions, but not his motivations. His “present” life can best be described as mundane and lonely. Galoup lives by the code, “Serve the good cause and die.” Without the only life he knew, he is lost in a world that is foreign to him. Denis Lavant’s portrayal of Galoup is spot on; again, there isn’t much dialogue, so his physical acting defines the character. Denis has cobbled a successful career in film, but her signature work is Beau Travail. It’s far from the mainstream, which is why it’s so refreshing.

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I’ve always been a huge fan of old-school, B-grade horror flicks. I’m not talking Boris Karloff or Hammer vampire movies. Those are okay, but my tastes gravitate more toward cultish monster/zombie films in the realm of The Toxic Avenger, C.H.U.D., and Leprechaun. They are bad, but in a good way. They aren’t out to make any “Best of” lists, unless it’s “Best Movie To Set Filmmaking Back Twenty Years.” At any rate, the B-horror genre has been overtaken by more serious terror fodder like 28 Days Later and Grudge clones. You know, films with quality casts and screenplays. They are ruining the genre with all their sophisticated special effects and gaudy box office results. Thankfully, there is still plenty of low-budget material available; it’s just a little difficult to find.

Perhaps no other actor defined horror during the 1980s more so than Robert Englund, aka Freddy Krueger. The Nightmare On Elm Street franchise transformed Englund from day-player to superstar. Unlike fellow big screen madmen Michael Myers and Jason Vorhees, Krueger didn’t don a mask and actually spoke. In fact, his wit was as sharp as his bladed glove. Englund made the character his own and became one of the most identifiable faces in Hollywood. Since then, Englund has appeared in numerous movies and television shows, mostly of the horror variety. One of his recent performances was playing a doomed professor in Jack Brooks: Monster Slayer.

Jack Brooks is still haunted by childhood memories of his parents’ brutal murder at the hands of a vicious monster. The adult Jack can’t move on. Despite therapy, he’s still plagued by serious anger issues. His plumbing job isn’t satisfying and his girlfriend is a nag. A night class at the local community college introduces Jack to nebbish Professor Gordon Crowley. Gordon needs some plumbing help, so Jack volunteers his services. A busted water pipe at Gordon’s remote house unleashes an ancient demon that possesses the good Professor and turns him into a Jabba-the-Hut-esque monster with a voracious appetite for human flesh. Rather than run away, like he did as a child, Jack arms himself with a pipe wrench and decides to kick some serious monster ass.

As much as I’d like to trash this flick for being low-brow garbage (again, in a good way), it’s actually a well-conceived production. The story takes time to get moving, but once it does, it’s damn entertaining. Director Jon Knautz keeps matters simple and allows the zombies and demons to do the heavy lifting. The monster effects are quite impressive considering the budgetary restraints. The script plays for laughs, but only manages to hit on a few. Although, watching an infected co-ed get bludgeoned by a steel pipe is funny (Clearly, I have problems).

Trevor Matthews, who plays Jack Brooks, has a Jason Lee vibe going. He reminded me of Banky from Chasing Amy. Matthews tries to score in the comedy department, but misses the mark. I would like to see Lee tackle this role. I bet he would nail it. At any rate, Matthews does excel at the physical stuff. Of course, Englund is his usual self, hamming it up at every turn. The greedy consumption of a black heart is classic Englund. If you enjoy monsters, gore and plumbing, check out Jack Brooks: Monster Slayer. It’s 85 minutes of B-horror goodness.

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In my review of Thirty Days of Night, I discussed the difficulty faced by screenwriters in reinventing the vampire flick. It’s no easy task, for sure. There’s only so much a writer can do to mix up such a tried-an-true genre. Just when I thought I’d seen every kind of bloodsucker tale, along comes the movie Let The Right One In, from of all places, Sweden. Who knew the Swedes had it in them to produce such an original creature of the night plot. I’m in no way trashing their country, but Sweden isn’t the first place that pops into my head when I think horror. Shame on me, I guess. I’ll be on the lookout from now on.

Twelve-year-old Oskar is a lonely lad facing constant abuse from school bullies. Meek and friendless, Oskar needs a severe confidence boost. Things change when a young girl named Eli moves in next door. Eli is bit of an odd bird, but she and Oskar become fast friends. There’s one small problem with the mysterious Eli: she’s a vampire. Her need to feed directly conflicts with her budding relationship with Eli. Not to mention the blood-drained bodies that are piling up in the neighborhood. Despite her affliction, Oskar falls hard for Eli. Together, they navigate the pitfalls of adolescent love while attempting to keep Eli’s secret under wraps. Her blood thirst threatens to crumble their game of house as the locals close in on uncovering her nest.

If you’re looking for a nonstop gore-fest, this won’t be your cup of tea (or blood). Let the Right One In is all about intense, nuanced character interaction. Like most pre-teen relationships, Oskar and Eli’s is destined to meet an unhappy end. Their naivete prevents the couple from fully understanding how doomed their situation is. Although, a very manipulative presence hangs over Eli. Her desperation to find a new companion reeks of her using Oskar for personal gain. She may be twelve on the outside, but her internal wisdom dwarfs Oskar’s. This dynamic adds more flavor to their involvement with one another. Can Oskar really trust a vampire?

Director Tomas Alfredson casts a moody haze over this absorbing chiller. A cold, pale palette enhances the creepy aura, as does an appropriately eerie soundtrack. Loneliness and exile are recurrent themes interwoven throughout the plot. Although from completely different worlds, Oskar and Eli have a kinship that will forever bind them to one another. In a film where the specter of divorce lingers, it is little coincidence that their seemingly dysfunctional coupling is in reality the most stable. Kare Hedebrant and Lina Leandersson both deliver courageous performances as Oskar and Eli. If you like your horror different and are searching for something besides masked maniacs and flesh-eating zombies, don’t forget to Let the Right One In.

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