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DOWNLOAD MOVIE Shrek Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The song at the end of Shrek the Third has Donkey and Puss-in-Boots, who found themselves swapping bodies at some point in the film, covering the Sly and the Family Stone classic, "Thank You (Falettinme Be Mice Elf Agin)".  While the song is probably referring to them getting their old bodies back, I think one can also read into it as being a message to everyone watching this third outing – it’s a film made in acknowledgement and appreciation of the fans that expect and want more of the same.

At this stage of the series, it should already be decided whether you’re a Shrek fan or whether you’re not.  If you are a rabid fan, chances are you’ll enjoy Shrek the Third for its continuation of the lives of the characters you’ve come to love, and to introduce new ones to the mix.  If you’re still at a loss as to what makes the movies so popular, you’re not likely to find anything in this third film to clue you in — in fact, it may give you a headache.  If you’re somewhere in between, i.e., someone who kinda, sorta likes the films rather than loves them, you’ll probably find this one to be only sporadically amusing, but will also think that tedium is now going to be an ingrained part of the series.  My personal take: it’s fun, and worth seeing, but for future entries, let’s hope they find the creative shrewdness to trim the fat and start a fresher approach, rather than trot out the formula yet again.

This entry has the King Harold (Cleese, Complete Guide to Guys) croaking, leaving Shrek (Myers, Shrek 2)  as the heir to the kingdom of Far Far Away — an honor that Shrek seems to think not so good a thing.  He does have the option of passing the crown to the one other heir out there, a young man by the name of Arthur (Timberlake, Edison), but when Shrek finds the lad, he is far from ready for any such responsibility.  Meanwhile, a new tidbit of information begins to weigh heavily on Shrek’s mind, as his wife Fiona (Diaz, The Holiday) announces her pregnancy.  With Shrek out of the way, Prince Charming (Everett, The Chronicles of Narnia) decides it’s time to try to usurp the kingdom for himself.

Shrek the Third is perhaps the most subdued of the trilogy, and the softest, probably in keeping with the sentimental vibe brought forth through the injection of family values to the series now that ogre babies are on the way.  Also dying down are the constant barrage of in-jokes that permeated the previous two films, though they are not completely gone.  I believe this is a symptom of the cannibalistic nature of the series at this point — they will have to refer to other films less because they have to refer to previous Shrek entries more. 

Despite the lessening of madcap energy, Shrek the Third is still quite funny in parts, with some fresh throwaway gags to produce chuckles now and then from characters you’d think they probably should have jettisoned long ago, but are secretly glad they’ve kept around (the Gingerbread Man, Pinocchio, etc.)  The fact that they are keeping in nearly all of the characters introduced in the series thus far is a bit of a double-edged sword, as they do provide a certain respite from the main characters that are already cycling through the same jokes all over again, but on the other hand, it’s getting to the point that the high overhead of injecting scenes for all of these characters takes away from the focus of the story at large. 

While I find Shrek the Third to be entertaining enough to give it a pass in this regard, I fear for the future of the series, as now they’ve gotten even further away from the Grimm Fairy Tales/Disney world that the previous films spoofed, opening up the series to legendary characters and other tales of adventure.  Pirates, knights, characters from Arthurian legends, and allusions to The Wizard of Oz are now deemed fine as far as fodder for the series to dip inspiration from, and it’s getting mighty crowded on the screen.

It’s occurred to me that the Shrek movies are now becoming similar to Mike Myers’ other popular series, Austin Powers, in that the main character’s ability to entertain is almost nonexistent anymore.  Just like the Powers sequels kept introducing more and more characters by which to entertain us, so too have the Shrek sequels.   Let’s face it, there are only so many ogre jokes one can really do, and when you have a docile ogre like Shrek, who has lost all of his ability to appear menacing, even trotting out an old ogre joke is out of the question.  One wonders what might have happened if Shrek had decided to take up the king’s crown and rule the land, rather than just try to be the same old ogre he has always been — perhaps it would have produced the creative spark the series needed to stay fresh.  Alas, it’s not to be.

Shrek the Third probably marks the dividing line between whether you are watching because you are a die-hard fan or you are just looking viewing the film for escapist entertainment.  Certainly, the film has its merits, and it’s fun to see the characters interacting with one another once again on a brand new adventure, but the thought of a fourth Shrek film doesn’t really give me any goose bumps, especially now that the main characters are no longer growing in maturity or interesting developments, leaving the side characters the burden of providing almost all of the humor.  By the way, I don’t consider the addition of ogre babies to be an interesting development.  In fact, I hate them already.  It’s not enough to have just one baby, but you have to have multiples — probably for the purpose of selling more toys and merchandise (can’t have just one Shrek baby, can you?)

At this point in the series, I believe the creators have painted themselves into a corner by not going a different direction for this third entry.  We now expect that the next film is going to not deviate from the standard formula set about by the previous entries.  Sure, they could go into a different direction, but I believe only series fans will stick around any further, so it’s damned if they do and damned if they don’t.   Any major changes will be seen as desperation, and no deviance from the norm will bore most everyone to tears.  A Puss in Boots spin-off possibility has been rumored, but I suspect this won’t answer the problem for the main series at hand (at the time of this writing, the next entry is slated for 2010).

Shrek the Third ends on a very appropriate note: Shrek takes a long overdue night of sleep.  It’s a fitting way to end a movie that now appears to be tapped out of creative and comic energy.  While Shrek the Third might be enjoyable enough for one more go around, if the fourth film continues this regurgitating trend, it might have us wishing he’ll take a dirt nap.

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DOWNLOAD MOVIE Young Adam Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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A subtly fascinating period noir, David Mackenzie’s Young Adam is a meditative, character-focused film that burrows quite effectively beneath your skin, chilling you as you discover more and more about the casual moral bankruptcy of its central character. It’s the kind of fearless, quiet mystery yarn that requires your patience as a viewer but rewards you with a haunting psychological payoff. The movie is also filled with sweaty, grimy sex and genuine, down-and-dirty eroticism.

And yet the DVD arrives in a cloud of controversy. Stamped in theaters with the insufficiently supported NC-17 rating, Young Adam arrives on DVD stamped with an R rating. The film has been cut to achieve the less restrictive rating, but apparently the single NC-17-worthy sequence?a scene of oral sex performed on a woman?has been relegated to the disc’s Special Features section. In the film itself, you still get a good look at Ewan McGregor’s uncircumcised willie, and you still get lots of full-frontal nudity from both involved actresses. So, I ask, What’s the difference between having the original cut of the film intact on this DVD and relegating one naughty sequence to somewhere else on the disc? I can’t find information about whether further cuts were made to the DVD version of Young Adam, but the decision to simply move the sequence strikes me as Blockbuster/Wal-Mart-inspired lunacy.

The film begins on a bleak morning, perhaps 40 years ago, in Scotland. Joe Taylor (McGregor), a soft-spoken wanderer who’s currently employed on a barge piloted by Les (Peter Mullan, of Session 9) and Ella (Tilda Swinton, of The Deep End) Gault, notices a lingerie-clad female corpse floating near the barge. Joe and Les contact the authorities, and the body is taken away, but Joe seems subtly affected by the incident. Soon, as the barge goes about its age-old business, ponderously navigating the narrow canals between Edinburgh and Glasgow, we find there’s more to Joe than his bland surface might suggest. As he begins seducing the hard, disillusioned Ella, we learn, in an extended series of flashbacks, about a stormy relationship shared with a woman named Cathie (Emily Mortimer). And it’s not long before the film is drenched in sex, both in the present and in the past. It seems Joe can think of nothing else, and his flesh-obsessed actions seem tied directly to the discovery of the body and the investigation about who allegedly committed the murder.

Shot on location in Scotland, aboard an actual barge, Young Adam approaches its story and characters claustrophobically. It often seems as if we’re embedded inside Joe’s skull as we watch his actions play out, as if we’re privy to a whispered, monotone voiceover that isn’t actually there. The Scotland setting is dreary and cloudy, contributing excellently to the mood and pace of the film, as well as Joe’s murky fa?ade. Young Adam is most certainly a film about character?it’s not exactly filled with explosions and spectacle. It requires you to pay attention to its details and make sense of its nonlinear progression of its plot. (The screenplay is written by Mackenzie, based on the novel by Alexander Trocchi.) Nevertheless, it’s rewarding in the way a good mystery novel is, one you might curl up with on a dark, quiet night. And the film ends on a chilling note of moral horror that manages to leave you thinking about the film, and Joe, long after the end credits roll.

Young Adam wouldn’t be nearly as effective as it is without the fearless performances of its cast. McGregor proves to be a powerful internal actor in this role, and Mullan exudes period gruffness. Swinton is open and brave with her body as well as her soul, diving headlong into a strong role that asks a tremendous lot of its performer. And gorgeous Mortimer is a ray of troubled sunshine amidst the ghastly proceedings.

HOW’S IT LOOK?

Columbia/TriStar presents Young Adam in a pretty good anamorphic-widescreen transfer of the film’s original 2.35:1 theatrical presentation. It’s a murky, grainy affair, and my first impression was “Yuck.” But that may have been part of the director’s intentions. Although detail is fine (excellent in close-ups and soft in backgrounds), the image has a washed-out sepia look. Some of the grain is significant, particularly in bright scenes. I noticed minor debris, as well as mild edge halos, minor ringing, both of which are moderately distracting in outdoor shots.

HOW’S IT SOUND?

The disc’s Dolby Digital 5.1 track offers effective depth and clear dialog with no discernible distortion at either end. I was quite impressed by the surround activity, which has a terrific, immersive quality. Listen for it in the creaking of the boat and in the score.

WHAT ELSE IS THERE?

First of all, be ready for a forced trailer for Baadasssss! before you get to the menu. Once you get past that and into the Special Features section, you’ll find a fair array of supplements, including two commentary tracks.

First up is a Commentary by Director David Mackenzie, Editor Colin Monie, Production Designer Laurence Dorman, and Actress Tilda Swinton, and I would say it’s the more involving and informative of the two. The participants talk at length about the shooting of the film on location in Glasgow, and about the complexities of plot and character. It’s a low-key listen, but I enjoyed the back-and-forth banter. It’s not the most entertaining audio track in the world, considering its soft-spokenness, but if you like the film, you’ll enjoy the conversation.

Faring not quite as well is a separate Commentary by Director David Mackenzie, in which he goes into more depth about the characters, story, casting, and production. There are long silences between monotone bursts of information. (Here’s an example of the character of this track: “I’ve always liked that shot?” ?long pause?) He essentially spends a lot of time talking about his intentions, and frankly, I thought the first track provided enough of that.

Next is the aforementioned Extended Scene, which is apparently the reason the film earned an NC-17 rating in theaters. It gives you a more revealing look at the first sexual encounter between Ewan McGregor and Tilda Swinton’s characters on the riverbank. It’s a 3-minute-long scene extension.

The Ewan McGregor Original Passage Narration is three snippets of cut narration totaling about 30 seconds. Much as the case with Blade Runner, this voice-over material was deemed superfluous and cut out. Two of the snippets involve Swinton’s character, and the other is about the moon.

Under Previews, you’ll find trailers for Young Adam (in 2.35:1 anamorphic widescreen), Baadasssss!, Big Fish, Carandiru, The Mother, and Spring, Summer, Fall, Winter?and Spring.

WHAT’S LEFT TO SAY?

Despite the apparent censoring of Young Adam for the Blockbuster/Wal-Mart crowd, the entire film does appear to be here, and it’s presented well on disc. Image and sound quality are good, and supplements are modest but informative. Give it a shot.
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DOWNLOAD MOVIE Lloyd Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"An achingly bad insult to its predecessor–Avoid at all costs" (Total Crap)

Occasionally a movie critic has to take one for the team. I?ve done it, I took it, don?t ever say I never did anything for you. Grant me one wish: don?t spend your hard earned dollars/pesos/euros on Dumb and Dumberer. I had one and a half of the longest hours of my life sucked out of me one pore at a time. Don?t let it happen to you.I love Dumb and Dumber. Uh-lot. I may have seen Dumb & Dumber more than any other movie. Dumb & Dumber is clever, mean, cruel, disgusting, and hysterical. Now, take the original and rewrite all jokes so that they aren’t funny. Let?s detail:1. Uh-lot, check2. Turbo-Lax, check3. Mistaken nationality joke with car involved, check4. Girl both boys want, check5. Girl dates both, check6. Boob jokes about girl in question, check7. Girl has real significant other, check8. Mishap in girl?s guest bathroom, check9. ?One in a million,? check10. Lloyd ?totally redeeming? himself, check11. Pedigree Pooches grooming, check12. Food going awry, check13. Mess with ketchup & mustard, check14. There are too many more to detailBy the way, in case you think I?m spoiling this movie for you, good! Maybe then you won?t go see it. Don?t kid yourself into thinking this will be the Dude Where?s My Car kind of bad. Dumb and Dumberer is so bad it makes you angry. I?m personally furious for having to watch this movie to the bitter, bitter end so that I could give it an honest review. I envied the droves leaving the theater. I got up once during the movie so that I could see the facial reactions in the crowd. There they were. Not one laughing. Every single one with a look of aghast pain and sheer boredom at the astonishing cinematic disaster unfolding. You know a movie is bad when you check your watch and you?re not even 20 minutes into the movie. At that point you should still be rooting for the movie instead of wishing for its painful demise. I wished for either a speedy death from a falling light fixture, or worse, wish I had gone to see 2 Fast 2 Furious. I hear sweatshop work isn?t so bad. Maybe I could have faced the wall in a public restroom at 2 am waiting for Sea Bass. All are preferable alternatives to watching Dumb and Dumberer. I guess we have to do some kind of plot summary. Harry and Lloyd meet, go to high school, get put into a class special needs students so their principal can skim the special needs budget. Add some short bus jokes, ’special’ jokes, and utterly offensive (and not funny) racial characters. There. A quick review of the lowlights:As devotees to the original will know, Lloyd Christmas has a chipped front tooth. Lloyd has a chipped front tooth in the prequel too. Only it isn’t a chipped front tooth, it?s a piece of freaking electrical tape wrapped around Eric Christian Olsen’s front tooth. Multiple extreme close-ups rub this flub in with salt.Let’s not forget the completely unnecessary montages in the movie. In case you hated the jokes the first time, you get to watch them again and again with grating music. My jaw clenches in sheer anger at even having to recall the piss-poor device. What marked the original was a complete lack of respect for their audience. The characters, particularly Lloyd (Jim Carrey), are mean and totally unconcerned for fellow humans. The same guys who sold a duct-taped dead bird to a blind kid. Comedy gold. The makers of Dumb and Dumberer made their central characters a couple half-wits who bumble through life with an optimism that belies the original intent. Gone are the purposefully raunchy jokes. Instead you are subjected to cheap, boring, and unfunny innuendo. The Farrelly brothers try to offend you with sick humor and biting stories. Every time they go over the top the brothers keep an eye on the smart nuances. You don?t get all the jokes the first time there is so much you have to watch. Dumb and Dumberer lacks every single one of those qualities. Dumb and Dumberer removed all the clever humor and replaced it with the wincingly bad. Intelligent people wrote the original, this was written by a pack of hack monkeys. It?s a crime to waste good talent. What is the extraordinarily talented Cheri Oteri doing in this mess of a movie? She is criminally wasted. Eugene Levy obviously has some back taxes. What other reason could he have to do this piece of tripe? Eric Christian Olsen does a passable Jim Carrey. The poor guy has just no material to work with. The rest of the actors are young kids who need a break or a job. I won?t tear them apart for being in a flick they were probably too inexperienced to discern from pond scum. Or in the case of this movie, unable to discern crap on the wall from chocolate smeared on the wall. Yeah, that?s what passes for a hilarious faux pas in this horrendous excuse for a comedy.I honestly can?t tell you what to do instead of watching Dumb and Dumberer. Anything you might do would be better than going to see this two-bit horse?s ass of a movie.
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DOWNLOAD MOVIE Edge, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Whether the war is right or wrong, just be glad if you’re not living in it" (Awesome)

SCREENED AT THE 2004 MILL VALLEY FILM FESTIVAL: Although there has been a deluge of documentaries about the current war in Iraq making the rounds in the past couple of years, perhaps the reason I found BATTLEGROUND so engaging is that I have seen next to none of them. Or it could be the fact that it is, in fact, an honest to God documentary, refreshingly free of the kind of agendas that usually give slant to so many of the borderline propagandist films gaining notoriety in our current political climate. Either way, BATTLEGROUND is, to quote the Mill Valley Film Festival programming director?s introductory comments, ?Fucking fantastic?.Produced by ?GNN? (the Guerrilla News Network), a primarily web-based ?underground? news outlet, BATTLEGROUND is the journey of a documentary film crew through war-torn Iraq. Through their lens, we get to see many sides of this highly controversial conflict. The Asian-American reporter whose hotel was (accidentally?) bombed during the air war on Baghdad, and who hesitantly looks on the occupation as a mixed blessing. The American division commander who must juggle keeping peaceful relations with the civilian populace against rooting out that populace?s hidden insurgents who are dropping mortar rounds on his men every night. The angry Iraqi woman who serves as an English interpreter and looks upon the American presence as an invasion for her country?s resources. The farmer whose orchards were destroyed by American bulldozers, after they mowed the area down because it was providing cover for insurgent mortar teams. The Iraqi activist who is trying to spread knowledge about the fact that Depleted Uranium, or DU, from expended American anti-armor rounds is now contaminating the Iraqi soil and spurring a rise in cancer and birth defects ? both for the local populace and the servicemen who are returning home. The former anti-Saddam rebel who was rescued by American troops in the previous gulf war, and returns after more than a decade to be reunited with his family. And dozens of Iraqi civilians and U.S. Servicemen who voice decidedly mixed opinions about whether the U.S. should be in Iraq.All of these individuals, and their stories, are incredibly engaging, and BATTLEGROUND consistently delivers an unvarnished view of what things are really like in Iraq. It?s a strange air of resentment mixed with hopefulness, and while some believe that our intervention there can only bring about the downfall of their civilization, others hope for the best and foresee an era of prosperity that was not possible under Saddam Hussein?s iron-fisted regime. What BATTLEGROUND does so effectively is bring the day to day reality of a war in a foreign country home to it?s target audience, giving one a stark sense of just what the day in and day out existence is like there. Perhaps the most compelling element of BATTLEGROUND is the story of Farhan, the former rebel who is returning to his homeland after being away for over ten years and not being able to contact his family to even let them know he is alive. It?s ironic that the film?s most emotional story is the result of an accidental meeting of the film crew and Farhan on the long flight over to Iraq, and their subsequent idea to follow Farhan as he is reunited with his family, and have him serve as their interpreter and guide. The reunion of Farhan with his various family members is incredibly moving, and we see through his relatives that many Iraqis remain hopeful of preserving their sovereignty and culture, even in their current war-torn and abjectly poor conditions. In addition, the film gives small but fascinating insights into the Iraqi culture, especially when compared against our western ideals. In one scene, Farhan walks hand in hand down the street with his uncle (a common practice in Iraq between close friends or relatives), and points out ?If we were doing this in Europe or the States, everyone would thing we were a couple of gay guys.? His uncle, amusingly, responds with surprise and disbelief. Equally interesting are the various views on the war presented by American soldiers. One young serviceman merely looks at it as a war to ?test the ability of our troops ? something we seem to do about every 20 years or so by getting into a war?. Another soldier, a tank commander, expounds on the necessity of U.S. intervention in order to bring long-term stability and peace to the region. Meanwhile, their division commander comments on the surreal nature of the war, saying ?Every day I wake up and go to work and feel like I?m in a movie ? but I?m not?.BATTLEGROUND won?t necessary polarize your political views, but it will sure as hell give you a much clearer idea of what both the Iraqi citizens and our own servicemen are up against over there. With neither our current President nor his opponent seeming to have any solid, clear-cut plans for how to get us out of Iraq anytime in the foreseeable future, that country is likely to remain a Battleground for quite some time. By all means, vote your conscious in the coming weeks ? but just be grateful if you or any of your loved ones aren?t on the front lines.
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DOWNLOAD MOVIE Opportunists, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Another warmed-up Tarantino clone." (Average)

What the world doesn?t need is another heist/caper movie ? a genre that was jumpstarted courtesy of RESERVOIR DOGS eight long years ago and has been done to death ad nauseum since then.Thankfully THE OPPORTUNISTS only skirts the edges of being a heist movie and instead winds up being a more thoughtful character piece about everyday people trapped in nowhere lives trying to get by. Although a nice portrait, with some unconventional twists and turns, writer/director Myles Connell never manages to elevate the film into something truly special hindered by a low-key subject matter that?s too low-key by most indie film standards.Christopher Walken gives an understated and touching performance as a former criminal Victor Kelly. He?s reformed his bad ways and lives in Queens, New York trying to get by running a small auto shop. However, he never truly gets a break and because of that he is always behind in his bills. His debt is catching up to him so fast that the appearance of Michael (Peter McDonald) almost seems like an angel in disguise ? someone that might break Vic out of his shell. Claiming to be a cousin from Ireland, Vic allows Michael into his home only to find the young man hooking up with a couple of local shysters Pat and Jesus (Donal Logue, Jose Zuniga) who have a sure-fire scam to get everyone rich. It will involve a small heist ? but since Pat and Jesus are security guards where the money is, it should be a piece of cake with a little help from Vic of course.Where the film takes a decidedly refreshing detour is focusing on Vic?s down-and-out life and the quirky cast of characters around him. The strongest moments come from the all-too-brief exchanges between singer Cyndi Lauper as his girlfriend/bar owner Sally who wants to help Vic out even though he?s too proud to accept anything from her. Lauper, who starred in the misfired VIBES many a moon ago and redeemed herself with her Emmy-award winning turns on TV?s MAD ABOUT YOU, is a natural in front of the camera. Her New York accent complements the Queen?s setting perfectly and her demeanor (usually told with a simple glare from her eyes) makes for a nice match with Walken who is the king of understatement.Logue and Zuniga make a nice combination, but their roles are all-too-familiar in this kind of movie (the bumblers who ruin the operation for everyone). Moments also arise out of an unusual pairing of McDonald?s Michael and Vic?s daughter Miriam (Vera Farmiga) who takes a liking to her supposed Irish cousin.THE OPPORTUNISTS is the feature debut for Connell and shows his sly skill with actors while bringing out nuanced moments, but storytelling is another thing. Character movies are only as good as the incidents surrounding them and there?s nothing that truly stands out as innovative or frankly original during the film?s duration.It tries hard to avoid conventions, but once it does that, there?s not much left holding the film together. Fine performances and isolated moments alone are not enough which makes Connell?s debut a missed opportunity in all respects. — Anthony C. Ferrante
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An unlikely story to turn into a movie, and an unlikely movie that would turn into a contemporary masterpiece, The Shawshank Redemption not only deserved its Best Picture nomination, but it also deserved to win out over Forrest Gump.  It’s a tour-de-force for  writer/director Darabont (The Green Mile, The Majestic), a film so professional in every way, you’d swear that only an acclaimed director with 30 years of experience could have even come close to achieving the heights to which Shawshank attains.  The fact that Darabont does so without any flashy camera work or avant garde touches is most impressive.  Rather, he employs a more classical style of cinematic storytelling, borrowing many styles from some of the great of cinema, and making them his own, to use as the situation calls for.

Darabont adapts this from the Stephen King short novel, "Rita Hayworth & the Shawshank Redemption," and unlike many adaptations of the prolific writer’s work, this one is successful because it transforms the written page into what works best cinematically, which is, after all, the correct way to adapt literature.  Tim Robbins (Short Cuts, Tapeheads) plays Andy Dufresne, a successful banker who is found guilty of the murder of his wife and her lover shortly after he has discovered the infidelity.  He is sentenced to two life sentences, and summarily shipped off the Shawshank State Prison to spend the remainder of his days.  Life is hard for the numbers cruncher who walks with a "silver spoon shoved up his ass," because there’s an uncaring warden (Gunton, Patch Adams), a strict head of security (Brown, Highlander), and a gang called the Bull Queers, who make it a regular habit to strip Andy’s humanity from him at every opportunity.  But there’s more than meets the eye with Andy, as they can’t kill his spirit, his hope, his dreams, or his talents.

In a film filled with so many strong points, it becomes almost impossible to list everything, so I’ll just stick to the main reasons why Shawshank Redemption is the best film of the 1990s.  First, there’s the aforementioned brilliance of its main auteur, Frank Darabont.  Although a relative beginner, Darabont clearly understands how to tell a story, not telegraphing all of the film’s main plot points before it’s time for us to know them, savoring each surprise until the right time to show us the full story.  It would have been very easy to tell this story in a linear mode, but Darabont’s patience with the material allows us to not jump too far ahead of the story, creating an atmosphere of mystique that never wears off.  Although it’s a drama, there is an aura of the fantastic about the story, so that even if some strange coincidences abound, it is well established that extraordinary things can occur in the most unlikely of ways. 

Then, there’s composer Thomas Newman’s (American Beauty, Road to Perdition) gorgeous score, a real masterwork that elevates the film to the heavens with its richness and elegance.  It’s quite the beautiful piece of music, and unlike many films of this nature, it isn’t oversaturated by being utilized in every scene.  Newman picks and chooses the right times for the right pieces of music, and allows Shawshank Redemption to gain the profoundness of themes as a result.  It’s hard to imagine one could improve it.

Lastly, there are the fine performances, with Robbins giving one of his best in a role that requires him to be cold but vulnerable, distant yet caring.  Whatever difficulty the role requires must have been greatly influenced by the stellar work by Morgan Freeman (Unforgiven, Chain Reaction) as Red, Andy’s friend and mentor in the prison.  His performance as the narrator of the film, as well as the main supporting character, could not be better.  Red has a strength of mind and soul that others seem to lack, yet he is also human, as apt to fail as any other person in the prison, but his common sense keeps his bacon out of the fire.  Although King’s original story had Red as an Irishman, Darabont properly goes for what works best cinematically once again, and Freeman is so phenomenal in the role, it’s as though he were born to play it.

I could go on further, but I fear I will get down to the terrific job by the second unit director or dolly grip before I’m through, so I’ll end it with these.  The Shawshank Redemption is brilliant storytelling through and through, with a depth in thematic imagery and symbolism, it transcends being just another prison film.  It provides vital inspiration for the heart and nourishment for the soul, letting us know that even amid the most trying of circumstances, hope should never be extinguished.  Shawshank lasts two hours and twenty minutes, but its resonance stays with you forever.  

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When Brittany Murphy was the sidekick, like Ty in Clueless, I couldn’t get enough of her. Now that she’s the star of her own movies, I wish she would go away. Since she’s become the new Marilyn Monroe Lite (all the goofiness, little of the sex appeal, none of the glamour), she’s managed to string together a career of ill-advised movies that capitalize mainly on her abilities to roll her eyes around in her head like marbles and giggle like a mental patient (perhaps a carry-over from Girl, Interrupted.) Sure, Roger Ebert likes her a lot, but he’s also become friendly with Vincent Gallo, so he’s hardly one to listen to now.