Revolver (Guy Ritchie, 2005)

I don't see what you did there! A little slower, please!

Addictive, restless and wordy introspection fuels Guy Ritchie's colorful, edgy, lively and offbeat exploration of an ex-con with a grudge (Jason Statham), with hair this time around, who looks to outsmart a cautious and powerful bad guy (Ray Liotta). A plot emerges through the intended void of comprehension, as Andre 3000 appears as a smooth-talking loan shark that wants to use Statham.

Pre-established characters offer little personality development; everything feels somewhat empty as a result. Statham is (as usual) the bold and tenacious protagonist, but his hollow personality leaves much to be desired. Somehow, he is cerebral enough to be a wiz at chess, but is easily confused by comparatively far simpler conundrums. A chat with Guy Ritchie would be desirable, though I wouldn't be surprised if the puzzling nature of this film was still too abstract for me to understand.

The concept of chess teases the audience at being a major theme along with wise sayings. The obligatory flood of details makes following Statham's plight quite a challenge. The development of the high-octane story is so frenetic, one must pay attention and maintain it or lose all hope of understanding things. In the windstorm, character substance clearly suffers.

Embracing its jarring nature that often feels overloaded, Revolver manages to be fascinating despite its eccentricity and lack of conventional appeal. Quick camera cuts and zany comic book interludes cripple the viewer's ability to relax. Revolver amounts to being a refreshing and diverse phenomenon, offering action (a given, considering Statham's presence, although on a much lesser scale), a strange sense of humor and gritty street-talk.

X-Men: First Class (Matthew Vaughn, 2011)

"The Future Is Not Set." Oh, wait, wrong franchise.

The unofficial reboot of the X-MEN franchise is definitely the best X-MEN film yet and presents a mature and respectful approach to these beloved characters, which for the most part will have any comic book fan brimming with joy. The plight of Magneto, the brilliance of Professor X, and the diabolical nature of the Hellfire Club is all on the table in this one and the casting is brilliant. Michael Fassbender reigns in applause as the new Magneto, and his eyes tell a cold, convincing and traumatic childhood.

First Class is not without fault, however. The exposition, run-time, introductory style, the slow pace and some uninspired minor characters might have fans of the franchise scratching their heads in confusion, wondering why better characters couldn't have been chosen, although the character of Azazel is done well.

Overall, it is a great film. Powerful scenes pile up, and it is great to see. CGI couldn't be any better, and there is dark humor as well. Yet, the probability of it all going to waste is high, as long as FOX studios still pilots X-MEN's course, with the evidence of prior lackluster films (from a non-commercial sense) not withstanding. First Class could wind up as 90% promise, 10% follow-through concerning any future installments that might tarnish this commendable effort.

It is clear the future of X-MEN is not set, but if FOX can somehow turn out a good effort once, why not do it again? The fans would certainly appreciate it and the dollar signs First Class raked in should be incentive enough.

Just Like Heaven (2006)

Mark Ruffalo carries this delightful embrace of fantasy, loneliness, loss and romance and shares pleasant on-screen chemistry with Reese Witherspoon.

While this film fails to exceed the rank of "good and enjoyable", it is still good and enjoyable! As a fan of Ruffalo, I enjoyed him as the thinly written, albeit earnest and likeable, protagonist in a film that is coated in simplicity but still manages to warm the viewer's heart. The romance made me smile.

The pacing rolls along at a breezy pace, which is odd considering the film offers little more than a lonely struggle that is sliced and presented in two different yet intersecting ways. Characters have only one layer of pulp, but they fit well inside of the snug package this film wants to be. Some people might be turned away by Jon Heder's lethargic "Napoleon Dynamite" routine in a side role, but I endured it and wonder if these performers would be suited for stronger, more demanding versions of their respective roles.

While I wish I could've seen a deeper tale of these characters, it is clear this was meant to be a small and enjoyable film.

Two Mules for Sister Sara (1970)

Clint Eastwood? Check. Gritty protagonist? Check. Humorous themes? Check. So… what went wrong?

Along with an eccentric music score, this film plays like any other Eastwood flick but things take an amusing turn by showing the odd and awry interaction between a discarded nun and a lonely desperado. With his own life story of gunfights to write, things are rough between them at first, but a man is likely to develop sentiments for a woman, even a nun. Sadly, I felt the story didn't focus on this humor enough.

This was a bond that could've been a classic one, and the film tries to force it later on, but clearly the magic is already lost because the film reduces itself into a forgettable shooting gallery with basic characters that remain untapped. Simple can work, and it does for most of Eastwood's films, but the mere premise of this one deserves complexity. After an impressive train explosion, the film stagnates into dullness. I was glumly disappointed.