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.

City Hall (1986)

Harold Becker teams up with Al Pacino once again in this earnest depiction of moral character and human error. The pairing of Cusack and Pacino (as a fan of both) is a delight and their on-screen chemistry blends perfectly with the design of an inspirational role model and their admiring, aiding protégé. With a plot that appears simplistic, far more is churned out along the lines of ethics, including personal integrity and selfless devotion--the fabric that defines our actions. Exciting elements like the mafia and the hectic justice system combine for a saucy mixture. Pacino reels in a believable performance as an honest mayor that cares for the people of New York City. While Cusack's southern accent is an erratic peculiarity, he melts into his role and delivers a busy and relaxed performance. The result is very satisfying and devoid of any drawbacks. My only criticism would be the contrived introduction and epilogue, especially since the meat of the film quite reaches the destination by itself without superfluous narration.

True Grit (Coen Brothers, 2010)

True Grit is a captivating tale that blends flawed humanity with pure tenacity and thrives on portraying the wills that define men. Jeff Bridges gradually becomes likable, despite his character's flaws, and Matt Damon melts into his role as a Texas ranger. Perhaps the most tenacious and concentrated role belongs to Hailee Steinfeld, who does well with wordy dialogue, vulnerability and courage while maintaining a good heart as the most innocent character. Humor tags along like one of the many horses seen in this film and the landscape is colorful and breezy, authenticating the journey of these people as does adequate costume design. On the whole, it is a satisfying western that feels refreshingly rich in this day of age with a pleasant and uplifting musical score. Go back to the Wild West and enjoy creative dialogue, practical beliefs, awesome (as always in westerns) shootouts, strange but functional exchange between outlaws and marshals, solemn characters of good heart despite their errors, fulfilling resolution, and a sweet mixture of themes in this hit by the Coen Brothers.

Gladiator (Ridley Scott, 2000)

Ridley Scott helms this historical epic. Russell Crowe is a scorned war hero turned gladiator (obviously) and Joaquin Phoenix is a brooding, mousy and power-hungry Emperor. The action is pleasant at times, but I thought it would be on a higher scale. Obviously, there is a softer side to this portrait. But I can't say it was fully received. Pacing is slow and the climax comes and goes. There is a spiritual aspect, but, again, it fails to resonate before the credits roll. It is a different tale, but I doubt the film sought to stand out. It certainly wowed many eyes and won awards. But from my perspective, it was only above average, overlong without much flavor and burdened by simplicity.