Much Like District 9, Cloverfield and Paranormal Activity before it, Monsters exists in a world where filmmakers with a singular vision just decide one day to go out and make the film they’ve always wanted to make. Packing his cast and a small crew into a van, writer/director Gareth Edwards traveled for several months throughout Central America in an attempt to realize that vision. Monsters is the result.

Part alien invasion, part road movie and part love story, Monsters balances all three well and manages to entertain and generate quite a few thrills and suspenseful moments. It also has other moments of genuine humor, emotion and character which are often lacking in other more mainstream films and doesn’t rely on heavy-handed spectacle to get its points across.

It’s also the strength of the developing relationship between the two leads, Kaulder (Scoot McNairy) and Sam (Whitney Able), which gives Monsters its emotion center. Perhaps it’s because the two leads developed a real romantic relationship over the course of making the film that their onscreen relationship works so well. You believe it because it’s actually happening.

As they go through the ordeal of the film, you trust they are experiencing what is happening to them and as they do, this brings them closer together. At first, of course, they are far apart but as the film progresses and the danger increases, they draw closer and must fight together to survive. Adversity, as it often does, brings people closer together, and these two are no exception.

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Make no mistake about it, Chloe Moretz (500 Days of Summer) owns this movie. She may only be 11 years old, but her performance as Hit-Girl is spunky, sassy, and exciting. Hit-Girl is poised to become a new comic cult icon, and Kick-Ass is quite simply a rollicking good time.

At one of the panels I attended this weekend, someone likened Kick-Ass to a comic type Pulp Fiction, which I would say is a pretty accurate description. British Actor Aaron Johnson plays Dave Lizewski, a nerdy high school type whose only interaction with the popular kids is when he brushes up against one at his locker.

One day out of the blue he decides he is going to become a vigilante superhero. He concocts a hideous green costume that resembles a wet suit, sets up a social media homepage for his alter ego, and starts “training.” When someone asks his name, he proudly proclaims, “I’m Kick-Ass!”

Completely inept and not blessed with any actual powers, Dave gets the living crap beat out of him by a few thugs mere moments after his official debut as Kick-Ass. This results in a multitude of injuries requiring steel plates and rods being placed throughout his body, which makes him a little more impervious to injury, but still not in possession of actual powers.

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I’ve never heard of Bill Hicks before this movie. In fact, when I first heard about the film, I thought it was a fan mockumentary about Kevin Smith’s character Gil Hicks, the sorry sap from Mallrats whose idea of showing a girl a nice time opened with letting her shop at the places she wanted to shop. But it wasn’t about Gil, it was about Bill.

Bill Hicks was an American comedian in the vein of Sam Kinison or more recently Lewis Black—the angry, shrieking outragers who savage the spirit of their times and stomp around the stage menacingly, careful not to slip on their own froth. And he was also very funny, too.

However, it takes An American: Bill Hicks a while to get to them—the first half hour or so focuses on his early life, his entrance into the world of stand-up at a precocious 15, his heavy reliance on drugs, alcohol, and cigarettes, and his early rise to fame. This is done through a few interviews with his mother (who was in attendance), his brother (in attendance as well), and some fellow stand-up friends (check and check). Their words play over photographs of the young Hicks that turn static, 2D photos into 3D animations with fore and backgrounds, movement, and charm.

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Tucker & Dale Vs Evil is a film I went into with low expectations and, for the most part, I was not disappointed. Showing at midnight on the first day of SXSW, it was a perfect way to start off the late night screenings. However, the film works best and can be most enjoyed if you don’t take it too seriously or expect too much from it.

While the two leads, Tucker (played by Firefly and Dollhouse’s Alan Tudyk) and Dale (Tyler Labine, recently of Reaper and the upcoming Sons of Tucson), are immensely likable and have good chemistry and banter, the film falls short and doesn’t live up to their potential. This is unfortunate on many levels because given more effort and time, it probably would have turned out a lot better and been a more fitting vehicle for these two actors.

The premise of Tucker & Dale is very simple and in most cases when it comes to filmmaking, simple is a good thing. Sadly, a simple premise alone does not a complete movie make and as the movie progresses, the slender thread of that premise starts to unravel. This is where this film chiefly falls in that while it does have a simple premise, it doesn’t expand much beyond it and instead offers a string of somewhat uninspired and progressively repetitive “accidents” that go along, leading the film to its inevitable conclusion.

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It is getting more and more difficult for filmmakers to breathe new life into the tired zombie genre as of late. The most successful zombie movies in recent memory are infused with humor (Zombieland) or introduce a new spin on the classic tale (Pontypool.) The Crazies is a cool little horror film that works because its zombies are not quite typical zombies, which I found more believable and thus more scary than a true zombie movie.

Time for me to fess up. I haven’t seen George Romero’s 1973 film that was the original source material for this film, so this was all a new concept to me.

The Crazies opens with a nifty juxtaposition of small town tranquility and calm (the whole town is watching a local baseball game) with modern day horrors, as a man pointedly walks across the baseball field with a shotgun. He doesn’t look like a zombie.

Instead, he appears to be channeling Michael Douglas’ character from Falling Down. As the horrified crowd looks on, the local sheriff  David (Timothy Olyphant) shoots the man before he can harm anyone.

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“A woman cannot subsist on quality films alone”–Shannon Hood

Let me explain with a food analogy, if I may. For the most part, I am a food Nazi. I try to eat really well, eat lots of fruits and vegetables, watch my fat and sugar intake, and every once in a while I find myself in the McDonald’s drive through That quarter-pounder with cheese is damn delicious when I eat it.

Afterward, I usually feel guilty. I know that it is not good for me.  I know it lacks nutritional value, and really is not a quality offering, but I have to admit that I had a good time consuming it.

Such is the case with Cop Out, the first feature film that has been directed, but not written, by Kevin Smith. There is no way I can possibly sit here and tell you this is a good movie.  It is not, by any stretch of the imagination. It is really, really stupid. But I laughed.  A lot.  *hangs head in shame*

Let’s face facts. If you happened upon the trailer for this a few months ago, and after viewing it, you circled February 26 on your calendar and thought to yourself  ”I cannot WAIT to see that,”  then you will not be disappointed. What you see is what you get. You don’t need my advice here. This is pure cinematic junk food, which may or may not be what you are craving.

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Right off the bat, I should point out that HBO’s Rome was the best TV series ever made. That’s right, ever made. I’m a huge fan of Roman history and mythology.

I was extremely impressed by the creators of HBO’s Rome because they took their accuracy seriously. So seriously in fact that even the craftsmen in the bazaar were actual Roman craftsmen. The money spent to create a truly accurate atmosphere just may have had a tiny bit to do with why it was canceled after 2 seasons.

Spartacus: Blood and Sand, however, doesn’t care nearly as much about history. What it does care about is blood and sand. The title does not disappoint. Within the first episode, I swear, a gladiator spewed gallons of blood on a very sandy plane of death.

A human body holds around 8-10 pints of blood, so it’s quite a feat for a gladiator to expunge even a few gallons. These men must have been built very tough and it seems very liquidity.

While the mono-syllable, shoddy dialogue is straight out of 300 or perhaps G.I. Joe, the view is stunningly breathtaking (for TV).  Spartacus is wholly gratuitous in a cheesecake, soft-core sort of way, but it’s worth noting that it is equally gratuitous. There are plenty of raunchy shows that panhandle to men in the audience with oh-so-classy shots of women come undone. These same shows forget that perhaps some women might be watching.

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I guess it’s only natural that one of the most successful podcasts out there (and if that sounds like a dubious distinction, the BBC reported that in 2006 The Ricky Gervais Show podcast had received a staggering 8,000,000 downloads) would get its own show…though for reasons I’ll go into in a bit, I’m not entirely sure why.

The new HBO show, which premieres February 19^th but is currently available for free download on iTunes, features flash animations of Office and Extras creators Ricky Gervais and Stephen Merchant antagonizing their co-host Karl Pilkington for his inane and often outlandish beliefs.

Episode #1 opens with Gervais and Merchant systematically debunking Pilkington’s assertion that technology reached its peak sometime around the turn of the 19^th Century. “What about planes?” Merchant counters, “they let you go on holiday all over the world.” “No,” Pilkington shoots back, “because you go to places where if you don’t get a shot beforehand, you can die.”

Next Pilkington proposes a biological “advance” that would allow older women to have children the moment they died. “Who would take care of them?” Merchant usefully asks.

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I liked this movie quite a bit  when I first saw it in 2003, and it was called Love, Actually.  This is nothing but a watered down and americanized version of the British movie, and it is mired in mediocrity.  Just think of this as the ugly stepsister of Love, Actually.

Despite a massive ensemble cast (Jessica Alba, Kathy Bates, Jessica Biel, Bradley Cooper, Eric Dane, Patrick Dempsey, Jamie Foxx, Jennifer Garner, Topher Grace, Anne Hathaway, Taylor Swift, Taylor Lautner, Julia Roberts, Shirley MacClaine, Ashton Kutcher, Queen Latifah, Emma Roberts, and George Lopez) the film lacks any real zip, and for a film about Valentine’s Day, it lacks heart. Don’t let all that star power fool you.

There are a myriad of storylines woven throughout the movie, which takes place on Valentine’s Day, in Los Angeles.  Most of the principals are connected to one another in one way or another, and their connections are slowly revealed throughout the movie.  Some of the stories work quite well, and others just don’t work at all.

Ashton Kutcher plays Reed, a florist who proposes to his less than thrilled girlfriend Morley (Jessica Alba.)  His best friend Julia (Jennifer Garner) is giddy over her new boyfriend (Patrick Dempsey), who is actually a two timing married man. Her best friend Kara (Jessica Biel) is the desperate and lonely career girl with no one to spend Valentine’s Day with.

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I had some major reservations going into the screening of The Wolfman. For those of us who followed the film’s production, there were frequent rumors of strife on the set, and then there was an ominous release date switch at the last moment. However, once the film began, those reservations were put to rest. I had a blast seeing this new vision of the classic movie monster brought to life.

Director Joe Johnston manages to deliver an atmospheric Gothic thriller, full of foggy London moors, mythical beasts, and buckets and buckets of blood and gore. When all was said and done, I was willing to forgive some story flaws, because this was just so much fun for the horror fan in me. The film is a nice throwback to the monster movies of the 40’s, and has a distinctly nostalgic feel.

A perfectly cast Benicio Del Torro (who has a very feral look in real life) plays Lawrence, who has been living in America, but has been summoned to return to London because his brother has gone missing.  By the time Lawrence reaches his family’s dilapidated mansion, his brother’s mutilated body has been found in a ditch.  Lawrence’s father (a diabolical Anthony Hopkins) seems curiously nonplussed by the whole ordeal, and clearly harbors a deep-rooted dislike of his remaining son.

Lawrence makes a promise to his brother’s grieving fiancé Gwen (Emily Blunt) that he will solve the mystery of what happened to his brother.  His quest takes him to a nearby gypsy camp that has fallen under the suspician of the townspeople. While he is talking to some of the gypsies, a creature attacks the camp with undiscriminating zeal.  Sheer mayhem occurs as decapitations, amputations, and slashed throats lay in the wake of the beast’s assault.

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