INGLOURIOUS BASTERDS is GLOURIOUS, and anyone who disagrees is a BASTERD. Tarantino is so drunk on pure love of movies, he gets us intoxicated as well. But its the performances he gets from his actors that takes your breath away; every role, major and minor, is perfectly cast. It takes its time, but you never lose interest. As good or better than anything QT has ever done, and that is very good indeed! — Jeff Schultz

To paraphrase Lt. Aldo Raine, Quentin Tarantino is in da movie makin’ bidness, and his bidness is a-boomin’! INGLOURIOUS BASTERDS is just fantastic. It’s more Than 2 1/2 hours, but it flies by. The story is perfect, the dialogue classic Tarantino. The cinematography perfect. It’s a revenge/guys on a mission movie on Crystal meth. But the high here is for the audience. Christoph Waltz deserves every award he will most surely receive. Could be considered Tarantino’s best! — Alan Yudman

Tarantino is back from the DEATH PROOF with a vengeance with these Glourious Basterds! A movie that takes time setting up amazing payoffs and a cast that is more than ready to have a blast. This should have been the second half of Grindhouse! — Stormy Curry


The real mystery in Sherlock Holmes is why this movie isn’t better. Great cast doing great work. Wonderfully gritty look to London, very good direction from Guy Ritchie. A quick check of the credits reveals why. FIVE writing credits. Too many cooks have spoiled this stew. Also, one of the most annoying scores I’ve heard in a long time. A decent popcorn movie and a good rental. — Alan Yudman


The only thing you need to know in advance about PARANORMAL ACTIVITY is that it's really REALLY scary. My heart pretty much didn't stop racing until literally the last frame. Who needs a big budget when you've got talent — including two unknown leads whose very ordinariness makes the horror almost plausible. Strange footnote: this may be the only major studio release I've seen without a single credit except for the copyright. — Jeff Schultz
Sent from my Verizon Wireless BlackBerry

The hype machine did its trick for Paranormal Activity…a solid little movie that has some effective chills and good acting. But does not live up to the hype. If you want to see a really creepy movie shot with a camera that stays with you hours after it’s over rent HOME MOVIE. Now THAT is one scary movie! — Stormy Curry


BRODRE is Danish for Brothers, and this original version of the movie remade with Jake and Tobey is so scene-for-scene similar (with differing emphases here and there) that you wonder why critics found the remake inferior. In fact, for my money, while both are well done, the high-powered acting of the Hollywood film gives it more juice. — Jeff Schultz
Sent from my Verizon Wireless BlackBerry


There is no way anyone could be UP IN THE AIR about Jason Reitman’s latest movie. Funny and poignant all at the same time. A classic of the genre. Anyone who’s been part of a layoff can recognize any of these characters. This is some of George Clooney’s best work.. right up there with Michael Clayton. His corporate hatchet-man is an executioner with a heart. Bateman, Farmiga and Kendrick are outstanding. One of the year’s best! — Alan Yudman

Contrived but classy, long but engaging, UP IN THE AIR has a soaring performance by George Clooney. But the real surprise here is Vera Farmiga, so forgettable in The Departed, yet here reborn as a movie star. Alas, even the great Jason Bateman can only do so much with a one-dimensional role. Still, kudos for the eclectic score and use of songs — and to Jason Reitman for giving the proceedings such gloss. — Jeff Schultz


Sam Worthington is the SALVATION in the latest TERMINATOR. He steals every scene he's in. Lots of really good action set pieces. Faithful to the original with a CGI appearance by the Governator. The movie is missing heart, which is ironic considering the ending (which I won't spoil). — Alan Yudman

Leaving aside the ingenious perfection of the previous TERMINATOR movies, I preferred SALVATION the first three times, when it was called The Road Warrior, A.I., and the 1984 Apple commercial. If ever a picture suffered from Van Helsing Syndrome — too much of everything to the point where nothing stands out — this is it. And Christian Bale continues to prove that a fine actor can be a drag in picture after picture. — Jeff Schultz

Terminator finds SALVATION in the last act. The first half features cringe inducing shout outs to the first two flicks…Worthington is a talent who will be in much better movies. A decent rental. — Stormy Curry


Oil, food, the world economy, civil society: their total COLLAPSE is imminent — like, the day after tomorrow. Michael Ruppert's apocalyptic predictions make for a convincing current events thrill ride. In fact, he's so compelling just sitting in a chair talking that covering him with archival footage (and a score) was unnecessary. Better to have stripped it to the bone, a la Blind Spot. — Jeff Schultz
Sent from my Verizon Wireless BlackBerry


Call me crazy — other critics will — but I thought 2012 was a blast. Roland Emmerich is working from the standard disaster movie playbook, but the effects are exponentially better than, say, War of the Worlds — and lots more fun. Only in the last half hour does it lag, but the resolution is satisfying and there are even some nice performances from Zlatko Buric and Beatrice Rosen (as “the Russians”) and a game John Cusack. An enjoyable surprise. — Jeff Schultz

No one can show us the end of the world quite like Roland Emmerich. 2012 is a great ride, with stunning visuals and great effects. The script is elevated by a fine cast, but Emmerich can’t avoid his own cliches. the kids who don’t listen when told to say put. The wild-eyed (and haired) crazy dude. But in the end, he makes it all work and the 2:38 minutes flies by in an orgy of destruction. 2012, put simply, is fun. — Alan Yudman

2012 should get the Oscar for FX and a Razzie for everything else. The last third falls victim to a heap of awful cliches that take you out of what had been a fun ride. Family gets back together? Check. Dog is saved? Yup. From no brainer to brain dead…but still visually awesome! Stormy Curry


O BROTHERS what art thou? A domestic melodrama? A war film? A post traumatic stress profile? The screenplay is a creaky amalgam, transitions are clumsy, and the resolution much too pat. So why was I so affected? Because of the sheer star power of Tobey and Jake, two actors so incandescent they radiate every moment on screen. The first half of the movie is Gyllenhaal's, the second half Maguire's. Together, they embody the best of mainstream Hollywood filmmaking. — Jeff Schultz
Sent from my Verizon Wireless BlackBerry