But the ire directed towards it before it was even released was likely no different to any other reboot – immediate scepticism. In this case, however, you don’t need to be a film expert to notice the flaw in the argument here: the original wasn’t actually a good film.

This may seem like a controversial statement to some, who have dropped their mug of tea or turned off their partycasino.com game to shout in the comments section, but this time around, Total Recall is being pitched as serious action sci-fi cinema, as opposed to the ridiculous parody of sci-fi that the original subjected us to.

Arnie’s a loveable character in any role, but the man can’t act to save his life. Combine that with a shaky, cheesy script, and you could see the trainwreck coming and enjoy it for what it was – ridiculous.

The early reviews of the new version are coming in, and if anything it’s actually received less favourable criticism from reviewers than the original did. But the point still stands – sometimes an idea is good, but the execution is bad. Thus, shouldn’t the film industry be allowed another crack at the same idea, especially years later?

This is no xenophobic quick-fire remake a la Let Me In’s Americanised re-hashing of the two-year-old Let The Right One In. This is a serious attempt to modernise and re-explore a great film using a serious tone, rather than Arnie’s ongoing unintentional idiocy in front of the camera. Let’s save our scorn until we’ve seen the second attempt, shall we?

In 2006, Washington lobbyist Jack Abramoff pled guilty to three federal felonies regarding fraud and corruption of public officials. Abramoff’s story seemed to be perfect fodder for a Hollywood film – details of his saga include bribery, sex, drugs and murder. It’s a real tragedy, then, that the resulting film is such a disaster. Though Kevin Spacey is dynamic in the title role, the other characters in Casino Jack are reduced to one-note caricatures, making it impossible for audiences to grasp how serious the lobbyist’s crimes really were. Worse yet, it’s unfunny, overlong and damn boring.

Though the Coens turned this classic western into something of a screwball comedy, True Grit still feels like their most accessible work to date. Don’t let my description of the film as “audience-friendly” deter you, though; it is still an intriguing and well-written story packed with dynamic characters. And although the source novel’s author, Charles Portis, gets credit for much of the film’s narrative strength, it is Joel and Ethan’s signature wit and great performances from the always-impressive Bridges and Damon – along with a star-making turn from newcomer Steinfield – which make the brothers’ latest especially worthwhile.

It’s been a memorable year for Jeff Bridges. He won his first Oscar back in March, is currently starring in the number one flick at the box office and is receiving more Academy Award buzz for his role in the remake of True Grit, which opens today. At 61, he in the midst of a career renaissance and is finally garnering the attention he has long deserved.

Looking over his filmography, I forgot just how many excellent movies he has appeared in throughout his 50-plus year career. It’s impossible to jam all his amazing performances into one Top Ten list because he’s had at least twenty that are worthy of inclusion. So, in no particular order, here are ten that I personally believe stand out from the pack.

10. Thunderbolt and Lightfoot (1974)

As the titular Lightfoot to Clint Eastwood’s Thunderbolt, Bridges steals the movie as a young, brash petty thief who joins Eastwood’s gang to rob an armored car company’s safe. He creates an endearing and ultimately tragic character in a very underrated heist flick.

9. Against All Odds (1984)

As washed-up football player Terry Brogan, Bridges assumes a leading man role opposite the incredibly sexy Rachel Ward. It combines elements of noir, romance and mystery into what amounts to a guilty pleasure. The best word to describe his character would be “visceral.” Lots of brawn with very little brains.

8. The Contender (2000)

It’s not easy to play a US President, but Bridges nails the part displaying the necessary confidence and charm befitting the leader of the free world. His final speech might be a tad melodramatic, but it’s delivered in an impassioned tone that screams, well, presidential.

7. The Last Picture Show (1971)

The movie that put him on the map is a compelling tale about leaving behind the innocent glory days of high school and treading the frightening mindfield of adulthood. A fresh-faced Bridges shines portraying the popular kid who conceals his insecurities behind a handsome face.

6. Tucker: The Man and His Dream (1988)

Automobile innovator and entrepreneur Preston Tucker was a man ahead of his time. His crusade to introduce the “car of tomorrow” to the masses before the Big Three automakers was met with opposition and accusations of fraud. Bridges presents Tucker as a determined soul undone by blind ambition. He’s the best thing in an otherwise ho-hum movie.

5. Starman (1984)

Bridges received a Best Actor Oscar nomination playing an alien lifeform that crash lands on Earth. His evolution from blue ball of energy to caring human being is a marvel to watch. Along with E.T., Starman sets itself apart from most alien sci-fi movies by showing the “visitors” to be peaceful, rather than malicious.

4. Crazy Heart (2009)

Bridges earned his first Oscar as “Bad” Blake, a fading former country music star who tries to shed his alcoholic, irresponsible ways after falling for a young journalist. He shows credible singing chops and transforms himself into a troubled but likable character worth rooting for.

3. Fearless (1993)

Perhaps his most underrated performance, Bridges plays a plane crash survivor who rejects his old life and views himself as immortal. His acting operates on an almost ethereal level. He’s so convincing it makes you want to scream ‘Wake up!” at the screen.

2. The Big Lebowski (1998)

His most recognizable and iconic role has him portraying a professional slacker named Jeff Lebowski, aka “The Dude,” who becomes embroiled in a strange case of mistaken identity. Not known for comedy, Bridges doesn’t miss a beat in a hilarious spin that gains more respect with each additional viewing.

1. The Fabulous Baker Boys (1989)

Bridges manages to juggle prick and pathos as a tormented, chain-smoking jazz pianist who withdraws into a cocoon of self-loathing instead of facing his demons. Michelle Pfeiffer earned most of the praise for her amazing turn as lonely singer Susie Diamond, but Bridges is brilliant as the complex Jack Baker.

This is the kind of film for which “awards season” exists. An uplifting underdog story which takes its inspiration from real-life events and is brought to the screen through engrossing performances by a solid ensemble cast, The Fighter is that rare movie which manages to be universally appealing while still impressing us pickier aficionados. Among the most impressive elements is Christian Bale’s phenomenal supporting turn as a burnt-out former boxer with a crippling crack addiction. He deserves all the praise he’s been getting, as does the finely crafted film itself.

Like its predecessor, this is a film which relies primarily on ambitious visuals, which are rarely short of stunning. The 3D imagery (which is thankfully done in-camera) is among the better out there – and the smart decision to integrate the effect into the story relieves some of that gimmicky feeling. Despite a few wooden performances and several scenes solely containing expositional dialogue, TRON: Legacy still ultimately feels more like a success than a misfire. It’s far from perfect, but is still a treat for your eyes and – thanks to a terrific score from Daft Punk – your ears.

Writer/director Blake Edwards died yesterday at the age of 88. He is best known for crafting some of the most eclectic comedies in the history of cinema, including Breakfast at Tiffany’s, the Peter Sellers’ Pink Panther series, 10, S.O.B. and Victor Victoria. His career was one of the hit or miss variety, but Edwards wasn’t afraid to tread controversial ground or criticize the business he spent over 50 years working in.

I first discovered Edwards as a teenager with the John Ritter farce Skin Deep. It would be one of the last big screen efforts he would direct and featured Ritter as an unemployed writer who finds himself embroiled in all matter of drunken womanizing antics. It was a decent laugher, but one scene in particular stands out from the rest. It perfectly embodies the creative boldness in Edwards’ writing. It needs no further introduction.

RIP, John Ritter. RIP, Blake Edwards.

I’ve always been an enormous Paul Rudd fan. Unlike a lot of comedic actors (Ahem. Steve Carell. Ahem), Rudd doesn’t have to deliberately act like an ass in order to be funny. He can elicit laughs with just a look, or roll of his eyes. His new movie, writer/director James L. Brooks’ How Do You Know, opens Friday. It looks interesting only because of Rudd’s involvement. But a love triangle plot with Reese Witherspoon and Owen Wilson sounds, uh, potentially awful.

In addition to my fondness of film, I’m also a pro football nerd. There’s no shortage of drama in the NFL especially when it comes to the love ‘em or loathe ‘em Dallas Cowboys. If you haven’t been following, their 2010 season has been a comedy of errors, filled with injuries, firings and unrealized expectations. I’m of the belief it would make an excellent big screen romp.

And who better to play the role of Cowboys quarterback Tony Romo than Rudd? Romo is a smug doofus who lands tons of hot chicks; he’s very hateable, but doesn’t lack charm. I envision Rudd nailing the part. Think Brian Fantana without the stache.

Rudd oozes douche, but in a good way. Hell, he’d probably go a long way in improving Romo’s image, which has never been particularly stellar. A Cowboys flick starring Rudd sounds like a smashing idea.

A-Team

If any film demands to be graded on a curve, it’s The A-Team.

Simply consider the notion of making a big-budget movie from of one of the cheesiest television shows of a cheesy TV era.

It’s a crafty plan to lower your expectations. As long the movie isn’t two hours of punching grandmothers and kicking puppies, you’re likely to turn the DVD player off saying, “That was better than I expected.”

Guess what? It works like a charm.

The A-Team, against all odds, is one extremely entertaining film. It puts pedal to metal about 90 seconds in and never lets up. That’s also savvy because it’s also kind of a mess that would collapse under its own weight if it slowed down for more than two minutes.

Director Joe Carnahan (Smokin’ Aces, Narc) isn’t taking that chance. Action scenes come flying at you hard and heavy from start to finish. The results are mixed: Some sequences are choppy and confusing, others thrilling. But like a comedy that never stops pitching jokes, content if only half of them stick, The A-Team pitches action, action, action, with a side of action and a little action to wash it down.

The plot follows the general concept of the TV series with a few tweaks. A (very) lengthy credits sequence set in Mexico shows us how the team of former Army Rangers comes together: Leader John “Hannibal” Smith (Liam Neeson), his right-hand man Templeton “Face” Peck (Bradley Cooper), powerful Bosco “B.A.” Baracus (Quinton “Rampage” Jackson) and loony pilot James “Howling Mad” Murdock (Sharlto Copley).

We jump ahead several years, where the A-Team is now an Army covert operations crew with dozens of successful missions under their belts. But when they’re set up for a fall by a variety of villainous forces, the boys have to break out of jail and fight to clear their names.

That’s pretty much all you wanted to know about the plot, right? Because it gets pretty confusing from there and doesn’t matter in the slightest anyway. It’s only there to support – that’s right – action.

Before I tell you why A-Team is worth your hard-earned cash, I should lay out its many faults.

The special effects are wildly uneven, especially in the climax. It looks like the usual Hollywood problem of the CGI being “just good enough” to make a locked-in release date. This time, it’s nowhere near good enough.

But then, The A-Team is a nitpicker’s dream, if you really want to go there. Jessica Biel’s casting seems like an inside joke – “we’re not taking this seriously, and neither should you, so let’s cast a good looking but astonishingly wooden actor in this role.”

Maybe you’re wondering whether she’s really that bad. Look at it this way: This is the first major film role for “Rampage” Jackson, an MMA fighter. He’s not great, but he’s not too bad – and that’s high praise for a non-actor stepping into the iconic role. Yet he’s a good bit more believable than Biel.

So with those issues, what makes The A-Team so entertaining? The rest of the cast, actually. If you can look past Biel (actually, look right at her, that’s what she’s there for), the film is jam-packed with colorful, charismatic performances.

Neeson seems a bit odd at first stepping into George Peppard’s shoes as Hannibal, being considerably taller, leaner and tougher. But that’s appropriate for the movie, which is basically the TV show on (lots and lots of) steroids. No attempt is made to explain his Irish accent, nor that of Copley, who is South African. It doesn’t matter: Somehow in this film, it works.

But the film decides early on to focus on Cooper, hot off his success in The Hangover, and it’s the right choice. You’d never have guessed the guy who played eighth fiddle on Alias would be front-and-center for a star-making performance, but it’s true.

The A-Team shows off Cooper’s buffed-up physique almost to the point of absurdity – he’s shirtless on screen more than Mark Wahlberg in Date Night – but Cooper’s charisma carries the day throughout.

A well-rounded supporting cast also delivers. Patrick Wilson and Brian Bloom, as potentially shady characters related to the A-Team’s troubles, steal every scene they’re in. (It probably doesn’t hurt that Bloom, a veteran actor mostly relegated to TV work, gets co-writing credit.) Their wonderfully brash characters bring welcome levity to the pounding machine of gunfights and explosions that propels The A-Team.

Finally, I would be remiss if I didn’t note the drinking game that by all rights should be born from this film: Drink whenever a guy with icy blue eyes is on screen. You’d pass out halfway through the film.

There’s Cooper and Neeson alone, plus Bloom and Wilson, with a little Gerald McRaney – yes, Major Dad himself – thrown in for good measure.

If you’re really into dudes with bright blue eyes, The A-Team is like porn. If you’re into nonstop action and lots of male bonding, The A-Team is like porn. If you’re into deep, fully-realized female characters – well, look elsewhere.

But if you had to ask me what I would want a big-screen take on a really silly TV show to be, The A-Team more than fits the bill. It’s ridiculous, sure. But it’s also a ridiculous amount of fun.

Despicable Me

What a year it has been for animated films. So far in 2010 we have had three great films from three rival studios. DreamWorks kicked things off with the surprise sleeper hit How to Train Your Dragon and animation juggernaut Pixar countered with the hotly anticipated Toy Story 3. Now Universal’s Illumination Entertainment has released the audaciously titled Despicable Me and while it may be the “worst” of the trio, it is certainly the most purely entertaining.

The strengths of Despicable Me lie within veins commonly found in animated features, but his entry simply utilizes them extremely effectively. Along with jumping on the 3-D bandwagon (my theatre was screening it in normal dimensions) Despicable Me boasts an impressive voice cast, a ploy first used with Robin Williams way back in the days of traditional days of animation with Aladdin, superbly executed slapstick and what I will call the sidekick factor. Whether cute or wisecracking, you would be hard-pressed to find a film in this medium that does not employ this tactic. Even so called “art-house” animated pictures like WALL-E follow the trend (in fact, that particular film contains two such supporting characters) and Despicable Me ups the ante and adopts thousands.

The villainous central character of Gru (voiced my Steve Carell) operates his evil lair with the aid of a multitude of adorable little yellow workers, and along with their “awwwee” factor, are the subject of a healthy portion of the aforementioned slapstick. Nestled in between the easy laughs however is ample heart and if you are prone to do so, you may very well shed a tear or two. This warmth is generated by three orphan girls, Margo, Edith and the doe-eyed Agnes, but perhaps I’m getting ahead of myself.

All Gru has ever wanted is to be accepted, and what better way to achieve that goal than by resorting to supervillainy. After a fresh- faced rival villain Vector (Jason Segel) outdoes Gru by stealing a pyramid from Egypt, he devises a plan to obtain a shrink-ray from a government testing facility and use that technology to shrink, and then steal the moon. Things do not go according to plan after Vector steals the shrink-ray right out of Gru’s spindly clutches. What’s a supervillain to do? Devise another plan of course, this time using the three aforementioned orphans to infiltrate Vector’s lair by selling cookies. It’s all very complicated in writing but works very well on screen.

Steve Carell does an admirable job in the lead voice role, and his Russian accent helps us to forget it is an A-list star nestled behind the animation. Russell Brand gives an unrecognizable performance as Dr. Nefario, the brains behind Gru’s operation, and Kristen Wiig is hilarious as the head of the orphanage. The most disappointing is certainly the great Jason Segel whose underwritten character fails him as does his voice. Half of the allure of Segel is his physical presence and that is neutered in a voice-only role. While the physical humor will no doubt please the kids, there is perhaps even more for adults and if a movie is able to make me double over in the isle, then it must be doing something right. With Shrek Forever After being the one misstep for this medium, I look enthusiastically forward to the remainder of the year. What I know for certain is I (and the audience I joined) had an absolute blast with this flick, that is despicable in name only.

The Other Guys

Just when you think you’ve seen one Will Ferrell movie, you’ve seen them all, think again. Try this on for size: Usual Ferrell comedy plus crazy action plus subtle political and economical commentary plus excellent soundtrack. The Other Guys is a surprisingly hilarious and surprisingly action-packed movie that will keep you entertained throughout without actually dumbing you down. Unlike most Will Ferrell movies, you don’t have to shut off your brain in this one; you actually have to pay attention because aside from the comedy, there is a complex crime to solve. Adam McKay delivers his best writing and directing performance, while the excellent cast ranging from Ferrell to Wahlberg to Keaton provides plenty of laughs, plenty of one-liners, and plenty of entertaining moments that propel this movie past the slowest of scenes.

The Other Guys is about two mismatched behind-the-scenes paper-pushers (Will Ferrell and Mark Wahlberg) quietly investigating a series of suspicious events stemming from a unique bank robbery. Along the way they try to defeat their personal demons and try to figure out how to get along with each other. Unlike most Ferrell movies, in which it’s a simple concept and improv provides the filler material, this movie actually has a mildly complex and heavy script, but still gives the cast a chance for a little improvisation. Written by the director and also Chris Henchy, I’ll even go as far as to say that this among the best comedic scripts since last year’s The Hangover. To add to that, McKay and Henchy pull a neat trick by slowly feeding you some commentary about big business and its mannerisms. The last mainstream comedy to attempt this was the mildly underrated Fun with Dick and Jane remake with Jim Carrey.

While this movie does not have the extensive magical gathering of comedians like Anchorman (then again, what movie does?), the cast still does an excellent job bringing the comedy from the script to the screen. Will Ferrell is a little more toned-down this time, but still has his usual moments (screaming like a girl, random quotes, random singing, quirky one-liners). Mark Wahlberg however, steals the show with his angry lines, his bitter delivery, and his outbursts. The only thing hindering Wahlberg is the PG-13 rating; who knows what more classic lines he could have pulled off if he was allowed to go uncut (Remember him in The Departed?). Smaller roles fill the bill in the laughs department, including Eva Mendez (beautiful as always), Michael Keaton, Steve Coogan, Samuel L. Jackson, Dwayne Johnson, and the cameos.

Even though Farrell has been hit-and-miss with the public and the critics, his best work always has been with Adam McKay. Anchorman, Talladega Nights, and Step Brothers were their previous collaborations and those three clearly top anything else Farrell has pulled off. The Other Guys in terms of directing and pacing dethrones them all. McKay does more than just handle the camera and let the actors mouth off; he stages some great action sequences and does a fantastic job directing a slow-motion bar sequence that displays the coolest slo-mo effects since Zombieland. The first half was so overloaded with funny scenarios, the audience very often was laughing so hard they missed the next couple of jokes while trying to recover from the last two. One scene in particular had the audience nearly drown out the sound of the audio coming from the movie.

The first half was absolutely spectacular and downright comical; the second half never had a chance to duplicate the magic of the first hour. This is where Adam Mckay’s biggest issues have been: in the final third of the flicks. All of McKay’s movies lose steam and slow down towards the end, preventing them from becoming eternal comedic classics. In the case of The Other Guys, he improved a bit by still providing some of the laughs, even though you will still feel the momentum slowly die down. The cop clichés, while not taken seriously, still mildly hindered the moments leading up to the climax. There were some unnecessary scenes; a little bit of editing could have really helped this movie. But, unlike the other movies, the third act stays afloat thanks to the Wahlberg/Ferrell mix, as well as the continuing mystery that was slowly unfolding. Then stay tuned for the credits, when the commentary rushes at you full-force.

Bottom Line: Honestly, I never thought that Will Ferrell would be involved with Mark Wahlberg, a creative script, hidden commentary (that unveils itself when you least expect it), and a soundtrack consisting of Rage against the Machine. Nonetheless, the combination worked like a great mixed drink that has you asking for seconds and thirds. The one-liners are flying all over the place, and so are the bullets. The Other Guys is the funniest movie of the year so far, and clearly the best surprise we’ve had this summer. Adam McKay continues to claim the throne as the best comedic director in the business, and this movie is more evidence. All McKay needs to do is cut back on the overall running time. This is the first Will Ferrell movie that you must pay close attention to (in terms of visual humor and crime-solving), and is overall one of his best movies.

Director Darren Aronofsky’s highly anticipated thriller Black Swan opens today. If the early buzz is on point, it should be a leading contender at next year’s Oscars. I’ve purposely avoided most of the teasers, trailers and preview articles so as not to spoil the mystery. However, I’ve been privy to enough details to know it’s a flick worth seeing. Here are ten reasons why you should dip into your wallet to check out Black Swan.

10. That klepto Winona Ryder is in it – Remember when Winona was the “it girl” in Hollywood? I’ve done way too many drugs since then to recall myself, but at one time she was in everything and cute as a button. Now she’s pushing 40 and has been relegated to minor roles like playing Spock’s mommy in the Star Trek reboot. Still single, she recently declared she’s in the market for a husband. Maybe she can steal one from another woman.

9. Aronofsky’s films always look awesome – He’s only helmed four previous flicks, but each of them is a visual marvel. He knows where to place a camera and when to move it. If the early images are any indication, it appears he nailed the dark creepy atmosphere to perfection.

8. It’s about ballet – No, seriously. How many ballet plots have you seen on the big screen? I dig movies that explore worlds I know nothing about and I sure as sh*t know nada about ballet, except the lads and ladies have to wear tights and dance on their tippy toes.

7. Black swans are cool – The charcoal colored plumage. The scarlet red beak. The long, majestic neck. It’s a beautiful animal to behold, symbolizing guile and sensuality.

6. Natalie Portman and Mila Kunis share a love scene – Call me superficial, but watching a couple smokin’ hot brunettes lock lips and roll around naked is bonerific. To be completely honest, I’d pay twice the price of admission to get a gander Nat and Mila go lesbian. Here’s hoping it’s not ruined with pesky body doubles.

5. Two words: Vincent Cassel – All you subtitle haters are probably unfamiliar with Cassel’s work. Too bad. The Paris-born thespian has been killin’ it since 1995′s La Haine. If you’re not squeamish, watch Irreversible and Sheitan to see Cassel at his very best. He’s also hitched to the gorgeous Monica Bellucci. Lucky guy.

4. It’s only 107 minutes – I dunno about you, but I’m getting perturbed by all these needlessly overlong movies. Bigger ain’t always better when it comes to run-time. The ability to tell a complete story in less than two hours seems to be a lost art.

3. It’s really weird – By all accounts, Black Swan is one strange trip. Cassel even compared it to the early films of David Cronenberg. Excellent. If you’re bored with all the cookie cutter choices at the multiplex, then this should be right in your wheelhouse.

2. Two words: Mila Kunis – My fingers are crossed this will catapult the very capable and very sexy Kunis into A-list territory. She’s done comedy and action, so I’m intrigued to discover how she handles drama.

1. Natalie Portman and Mila Kunis share a love scene – Did I mention this already? Well, it’s worth reiterating. Call me sleazy, but watching a couple raven-haired lovelies grope and fondle one another is erectastic.