Hanna is no ordinary assassin. With piercing blue eyes and an angelic countenance, the teenager looks more suited to be homecoming queen than cold blooded killer. Only that was not her lot in life. Hanna has been isolated from the populace in the frigid confines of Northern Finland, learning survival skills from her well versed father Erik (Eric Bana), who is an ex-CIA operative.

It’s obvious that Erik is trying to prepare Hanna for something; in addition to survival skills, he quizzes her in multiple languages, and educates her on topics of science, current events, and literature. Hanna spends her evenings poring over Grimm’s Fairy Tales by candlelight.  You could say she is a true Renaissance woman.

The opening scene on the frozen tundra shows Hanna shooting a Reindeer with a bow and arrow. When the creature still writhes about, she calmly shoots it, then dresses it right in the field. She goes about these gruesome tasks with robotic precision and complete detachment.

Later, Erik and Hanna decide it is time to move on from their self-imposed exile; Hanna is ready to go out into the real world. Erik has been honing Hanna’s skills in anticipation of being pursued by Marissa (Cate Blanchett), another CIA agent dead set on getting rid of Hanna. Erik and Hanna go their separate ways, but make plans to meet at a safe-house in Germany.

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Something has been lost in translation in this ill-advised and disappointing remake of  Arthur (1984). The original featured the late comedic talent Dudley Moore, and was nominated for four Academy Awards. It’s a pretty safe assumption that this film won’t be picking up any trophies come awards season.

Russell Brand plays Arthur, a perpetually drunk playboy suffering from a chronic case of arrested development. He lives in a fabulous highrise building in New York, and surrounds himself with gadgets, toys, and booze.

His sole companion is his live-in nanny Hobson, played by Helen Mirren. Hobson has played the role of surrogate mom since Arthur’s birth. She accepts Arthur unconditionally, and serves as his confidante, nursemaid, and cook. Arthur also pals around with his driver Bitterman (Luis Guzman) on any given night.

The first night we see the two step out on the town, they are dressed as Batman and Robin, and Bitterman drives a Batmobile through the streets. Naturally, they get arrested, which seems to be a common occurrence for the two.

Mere moments later, Arthur has posted bail for everyone in the slammer, and all is good in the world. Arthur lives the life of unfettered hedonism, with no obvious consequences to any of his actions. It’s the life of Riley.

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AMC has quickly become a go-to source for high quality, unconventional television. They built their reputation on Mad Men and Breaking Bad, now they are adding some genre fare to their lineup. Last fall we had The Walking Dead, now comes The Killing. The series will unfold over 13 hours; the first two episodes premiered on Sunday evening.

The premiere episode of The Killing wastes no time establishing a dark and dreary atmosphere. Homicide detective Sarah Linden (Mireille Enos) is jogging on a trail in Seattle. Her peaceful excursion is juxtaposed with scenes of a teenage girl being pursued through the woods at night by an unseen assailant.

It’s Sarah’s last day on the job before she moves to sunny California with her son to get married. Wouldn’t you know, a local girl has gone missing, forcing Sarah to take one last case before her replacement arrives in a few hours. Rosie Larsen is 17, and has been missing for the whole weekend.

Sarah is tiny, pale, contemplative and reserved. Mireille Enos captures the nature of Sarah perfectly. You might recognize Enos as Jodeen on Big Love.

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The top two movies this week showed a huge disconnect between critical reviews and audience satisfaction.  Case in point, Hop. The Easter tale about an adorable rabbit who is the heir to the Easter Bunny empire was soundly denounced by most critics, earning a measly 24% on Rotten Tomatoes.

However, that didn’t scare audiences away from the film, which handily won the weekend box office, earning about $38.1 million.  Considering the fact that Easter is still several weeks away, and audiences loved the film (those polled by Cinemascore gave it an A-), this film could end up earning quite a bit of money. This is the second film from new studio Illumination Entertainment. They released Despicable Me in 2010.

The feat is also impressive because there is not a lot of star power behind the film, which is a mix of live action and animation.  James Marsden is not exactly a household name, and kids don’t know or care who Russell Brand is.

A big surprise to a lot of box office prognosticators was the under-performance of Source Code. Many of us thought it was a shoo-in for first place, particularly since it is one of the most well-reviewed films of the year. However, audiences didn’t agree, and gave the film a B on Cinemascore. When it was all said and done, Source Code made about $15.1 million, just under half the cost of its budget.

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In 2009, director Duncan Jones made a splash on the indie scene by bringing us a smart, trippy sci-fi film called Moon. The film was warmly received by critics, but fell short of being a commercial success.

Despite the fact that Source Code has all the trappings of a studio film (bigger budget, bigger stars, bigger advertising campaign) Jones has remained remarkably faithful to his indie roots. The result is the rare mix of a smart thriller with wide audience appeal. We’ve seen that audiences don’t always shy away from smart films (case in point, Christopher Nolan’s Inception); maybe we are finally starting to see the studios warm to the idea that smart and commercially viable are not necessarily mutually exclusive concepts.

Source Code proves that the two can concepts can co-exist in perfect harmony. Jake Gyllenhaal stars as Captain Colter Stevens, who finds himself on a train in Chicago one day and is completely panicked to find out that he has no idea who the woman sitting with him is, and he doesn’t know how he got on the train. Before he can put the pieces of the puzzle, the train blows up.

Colter finds himself waking up in a pod-type device, listening to the soothing voice of Colleen (Vera Farmiga), a military officer who explains that he has been sent back in time (before the train exploded) to find out who placed the bomb on the train. They believe that another attack is planned, and the only way to stop it is to find the perpetrator of the attack on the first train.

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At the end of the day, it was a Wimpy Kid who beat up on the highly stylized and sexualized Sucker Punch. An effective trailer campaign launched by Warner Brothers stirred up plenty of interest in Zack Snyder’s latest offering, but a 17% drop from Friday to Saturday squelched its chances of winning the weekend.  Snyder previously directed Watchmen and 300, both of which performed much better on their opening weekend than Sucker Punch, which came in at number two with $19M.

Sucker Punch was leading the weekend on Friday, but the drop-off cleared the way for Disney’s Diary of a Wimpy Kid: Rodrick Rules to win the weekend. The sequel to Diary of a Wimpy Kid outperformed its predecessor: Rodrick Rules made $24.4M, while the original Wimpy Kid made about $22M on its opening weekend. With a reported budget of about $18M, Rodrick Rules should put the franchise in good shape for a third movie.

Bradley Cooper’s Limitless didn’t have any trouble retaining an audience. The film only dropped about 19% (very solid for a second weekend) and made an additional $15.2M. That puts its two week tally at $41M. Matthew McConaughey fared almost as well.

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Insidious was one film that was high on my list of priority to view at SXSW. Essentially a haunted house genre movie, the film is from writer Leigh Whannell and director James Wan, who previously worked together on Saw. No worries, this film is more carnival fun-house ride than house of horrors. I mean that in a good way.

Wan keeps the gore to a minimum, and the film is more campy than truly frightening. It’s still a darn fun ride, in the vein of Drag Me to Hell. The jump scares are plentiful, and had the audience squealing and screaming, but you won’t lie in bed at night pulling the covers up under your chin. It’s quickly forgotten as a fun diversion.

Young couple Josh (Patrick Wilson) and Renai (Rose Byrne) have just moved into a big, creepy house with their three children. Josh is pretty oblivious to just how stressed out Renai is,  what with caring for three small children and settling into this huge house. You could even say she is (understandably) emotionally unstable.

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Paul Giamatti and Amy Ryan give wonderful performances in this charming film about family and the unexpected detours that life throws our way sometimes. Director Thomas McCarthy has previously brought us the wonderfully quirky The Station Agent (2003) and the touching film The Visitor (2007). If there is one thing that he excels at, it is showing us that some of the most profound relationships blossom from the most surprising circumstances.

Giamatti plays Mike Flaherty, an attorney who is barely scraping by. Rather than choose a lucrative position, he works in a dingy no-frills office protecting the elderly and indigent. His furnace is threatening to explode, and his office-mate Stephen (Jeffrey Tambor) doesn’t have any money, either.  They both volunteer time to the local high school wrestling team as coaches. To say the team is terrible is an understatement.

Mike suffers a massive panic attack (certainly the most hilarious I’ve seen on screen) and decides something must be done. His wife has no idea how dire things are, and out of desperation, he makes a really poor decision. Mike tells the state that he will become the legal guardian of his client Leo (Burt Young) so that he can carry out the man’s wishes to remain in his own home.

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Bradley Cooper’s mind twisting thriller Limitless outperformed box office predictions and handily won the weekend box office with $19M. It also was a hit with audiences, earning a B+ cinemascore.

This is Cooper’s first true starring vehicle, and with a budget of around $27M, it should easily prove profitable. With The Hangover 2 right around the corner, Cooper will surely confirm his status as an A-list talent.

Johnny Depp helped propel Rango to number two with $15.2M.  It dropped a respectable 32% from last weekend, bringing its three week total to $92.6M.

Battle: Los Angeles took quite a tumble; dropping off 59% from its opening weekend. It managed to make $14.6M over the weekend.

Matthew McConaughey scored fourth place with his Lincoln Lawyer debut. The film made $13.4m and was well received by audiences.  Entertainment Weekly reports that this is the first film to join forces with Groupon.  The popular daily coupon site sold discounted tickets to the movie for $6.  They sold almost 200,000 tickets.  It will be interesting to see if this model will be adapted by future films.

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Kill List suffers from a case of schizophrenia. It tries to be a jack of all trades, but masters none of those said trades during the course of the film. Though I personally found the film gratifying, I was sorely disappointed in the disjointed quality of the final product.

The film starts out a fairly interesting character study of a semi-retired hit-man (Neil Maskell)  and his oddly complacent wife (Myanna Buring). Turns out she is quite capable, having been a member of the Swedish army. She understands the demands of his unconventional job, and encourages him to return to the lifestyle in order to keep their family afloat.

I liked the aspect of her not only knowing about, but encouraging, his amoral lifestyle. An old acquaintance shows up for dinner with his mysterious girlfriend, and just like that, he is thrust back into the hitman lifestyle.

After a heated domestic argument ruins the evening, he takes an assignment to off a few pesky people, hence the title, “Kill List”. Even though he’s been out of the biz for a while, it takes precious little time to jump back in the saddle, offing his victims so sadistically that his partner finds it disturbing.

There are hints of a pedophilia/snuff/pornography ring. When Jay watches a video featuring one of the people on the list, his reaction to what he sees upsets and enrages him to the point that he offs those responsible in horrible ways.

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If it ain’t broke, don’t fix it. Ti West struck gold with horror fans when House of the Devil came out in 2009. Devil was a fitting throwback to the horror films of the ’80s, and West proved to be a master at creating nail-biting tension and dread, culminating in a doozy of a finale.

West debuted his eagerly anticipated new thriller The Innkeepers at SXSW on Saturday night at a sold-out Paramount theater. If my lack of fingernails are any indication, he’s struck gold once again. I was ready to crawl out of my seat by the end of the movie, and judging by the rest of the audience’s shrieks and gasps, the feeling was collectively mutual.

The Innkeepers tells the tale of a spooky old inn that is in its final season of business before getting razed for development. Most of the rooms have already been retired, and only one floor is available to guests in the final weeks.

Much of the staff has left the premises, leaving Claire ( Sara Paxton) and Luke (Pat Healy) to hold the fort down. Luke is convinced that there is a ghost haunting the grounds. As legend has it, a lovesick woman hung herself when her fiance left her on their wedding night.

He owns some amateur ghost-hunting equipment and maintains a website with videos and photos he has captured at the inn. He enlists Claire to help him with recording activity at night.

The inn only has a handful of occupants including an eccentric ex-actress turned new age psychic (played by Kelly McGillis). She warns that there are things best not visited lurking in the basement.

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In 2009, director Sebastian Gutierrez debuted a film called Women in Trouble at SXSW Film Festival. That film featured several women whose story-lines converged throughout the film, and it  became a cult classic of sorts. Elektra Luxx is the sequel to that film, and features several returning cast members.

Carla Gugino plays the title character, who is newly retired from the porn industry. She’s also pregnant, and the baby daddy  is recently deceased.  What’s a single sex siren to do?  Elektra shows some ingenuity and starts teaching some sex classes at the local community college for income. She struggles with insecurity about her pregnancy and the end of her career.

Things become further complicated when Elektra is visited by Cora (Marley Shelton), who has an unexpected and troubling connection to her deceased ex-boyfriend.  Cora asks Elektra to seduce her fiance. In exchange, Cora will give Elektra a set of song lyrics that Elektra’s musician boyfriend wrote about Elektra. A madcap series of events ensues when Elektra seduces the wrong person.

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