Can TVLands New YOUNGER Age Gracefully?

Perhaps the irony in "Younger" is that it's targeted for an older audience. The premise is a just fresh enough 13 Going On 30/Big revamp. 40 year old mother Liza (Tony Award Winner Sutton Foster) decides to dive back into the competitive working class after a 15 year hiatus only to find that time is not on her side. With the help of best friend Maggie (Debi Mazar--with that fantastic old-school Rosie O'Donnell charisma) she revamps her image and nabs a job at an elite publishing firm where she is required by marketing head (Miriam Shor) to use her "youth" to assist in the company's relevant staying power--while flashes of the great 80's rom-com Working Girl seem inevitably in the horizon, that of venomous Sigourney Weaver stealing Melanie Griffiths every inventive idea to keep her from rising to the top. I can only hope that "Younger" realizes that paying homage to the listed classics above is far different than slinking away from it and plummeting into predictability. It is still too soon to tell.

I am all for fun good-hearted comedies such as this. I must say my curiosity was more than raised by the brigade of TVLand advertisements in between fading sitcoms such as "Hot In Cleveland". As "Younger" (a single camera show) continuously pokes fun at devices of a new generation--hash-tags, tweets, snap-chats, grunge wear, and hip catch-phrases, we can't help but wonder how this new comedy is going to sustain its balance resting on a "one joke" plane.

Its pace was most startling as it zipped along like the metaphoric New York City traffic. Yet I'm not sure that was in "Younger"'s best interest as the first 2 premier episodes could have been broadened into 4 with more time given to an always welcome makeover a-la The Devil Wears Prada (still Anne Hathaways most tolerable role).

Two supporters seem to stand out from the mix thus far--a strikingly well cast and scene stealing Hilary Duff as Kelsey and a handsome lovelorn bad-boy Nico Tortorella as tattoo artist Josh. Both actors immediately give their characters unexpected "heart".

And yet, so does "Younger". No matter that it does not totally defy convention or allow us to breathe in moments of greatness--it scores highly in charm and performance level by all involved. I am highly curious to see what the coming months bring.

P.S. Download unofficial theme song "Turn It Around" by Lucius. It completely captures the intended new-age "Sex In The City" vibe.

Who Should Win At The 2011 Oscars

BEST PICTURE:

THE ARTIST/THE HELP

This is a curious category this year. There are no overtly huge over-rated guy movies (IE: The Departed) and no run-of-the-mill-been-there-done-that Saving Private Ryan-esque war movies (I still revel in the fact that Shakespeare In Love trumped it). Leaving way for any wonder of the imagination to climb aboard the hefty 10 nominee possibilities train. Yet with a slip-knot of 9, the Academy more than slapped one of the best pictures of the year directly in the face--simply because it was a comedy. Bridesmaids is very much one of the best movie of the year. That being said Super 8 was also snubbed. Thankfully, The Artist, dynamic by all costs, stands a strong chance of winning the prize. It is both artful in its rebirth of the silent film technique and touching. The underdog contender is surely the controversial The Help-- one of my personal favorites. The performances are top-drawer not only from Viola Davis and Octavia Spencer--but on down the line to a scene-stealing Sissy Spacek (who should have won an Oscar for her come-back In The Bedroom), a heartbreaking-all-too-briefly-shown Cicely Tyson (Oscar nominee Sounder), and the mega-bitch Bryce Dallas Howard (of the under-rated The Village). Both The Help and The Artist stand out to me as two small little movies that could. So much so that I am unable to choose my favorite. I don't like ties, but maybe there should be one.

BEST DIRECTOR

MICHEL HAZANVICIUS, THE ARTIST

Maybe Martin Scorsese should have won for Hugo instead of The Departed. At any rate Michel Hazanvicius for The Artist certainly gained a lot trust from a lot of people to anchor the wit of a silent film boat. He did it beautifully. A snub from this category is certainly Tate Taylor of The Help. You can't drive that many great performances out of that many great females and not be a true contender.

BEST ACTOR

JEAN DUJARDIN, THE ARTIST

This is not a strong category this year. George Clooney will win for the most over-rated movie of the year The Descendants (*At second viewing I warmed up more to this film) but his work in Up In The Air was far greater. The winner should be the handsome Jean Dujardin of The Artist for acting with visual emotion and no words-- plus he has a cute little side-kick dog and all.

BEST SUPPORTING ACTOR

JONAH HILL, MONEYBALL

I was not as excited about Beginners Christopher Plummer as everyone else seems to be. Unfortunately, I have not yet seen Warrior with Nick Nolte (who I loved in the under-rated comedy I Love Trouble). So curiously enough I am going with Jonah Hill in Moneyball who really did an excellent job taming down his comedic persona and channeling a dramatic-side none of us knew he had in him.

BEST ACTRESS

MICHELLE WILLIAMS, My Week With Marilyn

Tough one. I was taken away with Viola Davis in The Help. She was so under-stated and real. I would not mind if she won a single bit. Who I hope doesn't win is Meryl Streep-- because I feel she has been better in a better reviewed film. I also think she is a better actress when she is in a tamed down performance IE: It's Complicated. That's not to say she isn't one of the greatest actresses of all time. Because she is. And she does embody real people well. But it is unfortunate that Michelle Williams got under-rug-swept for one of the most entrancing performances of a real person we have seen since Charlize Theron in Monster (simply one of the greatest performances in history). I was skeptical of Williams as Marilyn in My Week With Marilyn. But she gave the character such depth with a combination of shyness, beauty, grace--showing a mentally unstable woman in her prime before her ultimate descent to her own demons that I can't possibly in good faith vote on anyone else. Playing someone so huge as Marilyn is a task almost inconceivable especially along side an actor very miscast. And in true Marilyn style--you can't take your eyes off of her. On a side note, Kristen Wiig is missing from this category for Bridesmaids. I agree with one critic, her airplane scene was the stuff of a modern-day Lucille Ball... and who doesn't love Lucy?

BEST SUPPORTING ACTRESS

MELISSA MCCARTHY, BRIDESMAIDS/OCTAVIA SPENCER, THE HELP

I love that so many female performances this year are so grand. Berenice Bejo was perfect in The Artist and in another year would have won. Jessica Chastain was remarkable (as well as the rest of the cast) in The Help-- especially Octavia Spencer. I enjoy the backstory of how director Tate Taylor campaigned for her (his friend) to get the part even though the part of Minny could have went to a name actress. His faith-filled campaign was admirable considering her monumental achievement. She will win. But wouldn't it be fun to see Melissa McCarthy strike back for the Best Picture snub of Bridesmaids by pulling a Marisa Tomei (so wonderful in My Cousin Vinny) and win unexpectedly? She was not only hilarious for throwing vanity to the wind (something any truly great actress can do) but also she's so moving in the scene on the couch where she gives Kristin Wiigg's character a pep talk. Again--I call a rare tie.

THE DOOM GENERATION: A Masterpiece Wrongfully Doomed.

THE DOOM GENERATION:

A Masterpiece Wrongfully Doomed.

The Doom Generation directed by Gregg Araki is a rad pop-culture, acid-washed Picasso. As the title suggests it speaks to a specific generation and an even more specific audience. As part of Araki's Teenage Apocalypse Trilogy (including Totally Fucked Up and Nowhere) The Doom Generation falls in the middle, yet manages to stand alone. It has been wrongfully criticised and by some of the most respected film critics including Roger Ebert. Whos "zero star" rating can only attribute to how bizarre and boldly speaking it is to a culture of youths. This is something Ebert can't possibly understand. That probably isn't a bad thing considering the film's mosaic canvas is fashioned from a drug-induced paintbrush.

The "Bonnie and Clyde" road-movie storyline takes a backseat to the very original characters and their situations with one another. As well as the overall atmosphere of the kaleidoscopic world they live in. Rose McGowan made her splash as Amy Blue the speed-junkie lover of the alternatively attractive Jordan (James Duval, of the magnificent Go). When their club night spins into tragedy they pick up a bad-boy drifter Xaiver (Jonathon Scheach) who has more on his mind than just a ride. A homo-erotic spark flares between Xaiver and Jordan. When Xaiver realizes he can't get Jordan to succumb to his advances he seduces the jealous Amy.

The director is brilliant in the fact that he knows how to tease us. The two male leads nearly kiss numerous times and each time we buy into it. The dangerous hunger between them fuels the rest of the film into a murder and escape routine. Rose McGowan perfectly up-plays the jealousy card just enough that you get the feeling the thought of the two males together also turns her on. You see-- Amy doesn't want her lover Jordan to fuck around with Xaiver but she knows that to alleviate her guilt of having slept with the drifter-- it is inevitable.

When the taboo tests us to the limit and the two guys begin to act on their desires in an abandoned warehouse, the message of the film ignites like a firestorm. A homophobic pack of roughnecks stumble upon them, we are bound for an excruciating and unexpected climax. The highly-stylized film comes full circle by the gay-bashing statement of the final act. Fully equip with crude references to the American flag and body-painted Nazi Swastikas.

What makes me smile about such films as this is the absolute trust the actors and crew clearly gave up to a director with a nonlinear scattered vision. That trust is how true works of art are made and in this case filmed. Interestingly enough Gregg Araki went on to direct the gay romantic comedy Adam & Steve 10 years later. A hilarious and heartwarming nod to the gay romance scene or a much needed addition to the unfortunate lack their of in cinema. The movie Co-Stars the great Parker Posey-- who cameos here. Which is my sole complaint with The Doom Generation. Her character should have appeared at the end of the film for a subtle bow-tie. But the desire to broaden the cameo is basically like polishing the silver. If Araki, who once fashioned films of this dark nature and went on to impress with the linear fluidity of Adam & Steve, keeps successfully changing visions in the future-- he is certainly a director that merits grand attention.

The Doom Generation was made in 1995. A final bow to the years of grunge in the main-stream created by the likes of such alternative forces Nirvana and Pearl Jam. It speaks to that generation of youth, as well as throws forward to a newer artistic generation in the wake of the abstract Lady Gaga stylings. One wants to say it was ahead of its time (another part reason that Ebert didn't "get it") but rather it has been able to hold itself by finding a cult audience that bashed its lukewarm critical reception. Well worth noting is a worthy Independent Spirit Award Nomination for Rose McGowan as Amy Blue who, a year later, went on to cement her fame into the "Scream" franchise.

Stylistic movies that include dark-tones such as drugs, sex and violence often times scare people. Therefore they lash out or rather don't bother to understand that the director was speaking for a different person-- a certain generation. It scares them because they don't understand the world it is trying to portray. But rarely do we ever dissect and solve the unusual correctly-- even with famous works of art. Take the notorious portrait "The Scream" by Edvard Munch into consideration. We can only speculate the grim purpose and why the brush strokes are so darkly psychedelic. Maybe that outside wonder is part the point. Perhaps we should question why we are so intrigued. Even intrigued to hate or bitterness. As far as The Doom Generation is concerned, even as an outsider we are left with this puzzling film portrait. A portrait we are meant to admire on a whole other level-- because, like behind the wheel of Amy's car, it moves us into an uncertain direction.

Grade: A

The Forgotten Actress Club: "Rue McClanahan"

Inducted into "The Forgotten Actress Club":

RUE McCLANAHAN

Let's face it Rue McClanahan will always be remembered best as a "Golden Girl". Even though she made an impression beforehand in "Maude" and "Mama's Family"-- both curiously including her "The Golden Girls" co-stars. However, it was as Blanche Devereaux, a saucy southern belle that loved men as much as her own mirror reflection, for which she won an Emmy Award. "The Golden Girls" is still the only television show in history to earn Emmy's for all its central players. It is an undeniable classic. A classic that was unfortunately cut a season or two too short by the departure of Bea Arthur-- perhaps to staple her place as the most important lead character (the way the show had started out). Regardless, the sitcom stands the test of time, framing the 4 friends equally, never separate.

It is easy to stereotype each of "The Golden Girls" into personality categories, perhaps that is why audience members were able to relate so strongly to the 4 very different characters. On the surface it was easiest to sterotype Blanche's character as a one-noted bimbo. Thankfully Rue gave the character much more depth. She was particularly fantastic in dramatic sequences. In an episode where Baby Emily is left possibly abandoned in the girls' care, Blanche contemplates another chance at raising a child. With regret in the aging beauty's face she owns up to taking her life over her own children in the past. The effect this has is nothing short of heartbreaking-- one of those terrifying realizations of years of damage. In her case brought on by countless sexual encounters and Miami socialiting. There is a memorably scene near the end of the episode where she agonizingly tries to talk to her daughter over the phone, nearly begging her for a visit. From this phone monologue alone, and knowing as an actress Rue was not "actually" talking to someone on the other line-- her Emmy is well deserved.

Blanche was the glue that held "The Golden Girls" together. Without her charm and her literal open-door friendship to the 3 other roomates-- they would never have known eachother to begin with. This makes her importance in the series just as strong as the often-thought-of-lead Bea Arthur, the scene-stealer Estelle Getty, and the sudden surge of "Betty White is everywhere!" Rue had perhaps some of the most memeroable bits: from deflating tit's to the brunt of a murder mystery dinner theatre joke-- one of the series best episodes. The comedic zeal her character exudes mixed with her ability to be unexpectedly dramatic despite fighting a cardboard framed character are why she deserves this induction into the "Forgotten Actress Club"-- Rue McClanahan was nothing short of a great actress.

Sadly, Rue passed away from a stroke on June the 3rd, 2010. She was 76 years old... leaving longtime friend Betty White to hold the torch as the final Golden Girl.

Long live Blanche.

The Forgotten Actress Club: "Fairuza Balk"

The first actress to be inducted into the club:

The hypnotic

Fairuza Balk.

Best Known For: Return To OZ ~ The Craft ~ Gas, Food, Lodging (Independent Spirit Award Winner)~ Valmont ~ Almost Famous ~ American History X ~ The Waterboy, Her breakthrough came when she was chosen from millions of young girls vying to play the new Dorothy in The Wizard of OZ sequel Return To OZ. The film was unfortunately a near flop because it boldly yet cleverly veered away from the happy musical feel of the original... and decided to embrace the book's darker side. Balk was a perfect Dorothy for what would later become a cult classic-- and rightly so. The film is in many ways better thathe Judy Garland classic. A thrilling adventure... that is oftentimes scary. The imagery of the headless dancing girls... whos heads are kept in a case will stay with you forever...

Balk would later win a deserving Independent Spirit Award for Best Actress in the great little film Gas, Food, Lodging... and should have been considered an Oscar contender-- the same with her enormous support in American History X.But it was the witchy flick The Craft that really broke her into stardom. Playing the sexy nose-pierced bad-ass witch of an elite high school coven. The youthful film itself is actually remarkable, and found it's way into the same league of 90's classic's like Heathers.

"Watch out for the weirdo's, girls." ~ "We are the weirdo's, mister."

Fairuza earned a high profile appearance in Almost Famous... and shortly after began to fade prematurely. She had a notable performance in the indy Personal Velocity then her career sadly stalled.

My prediction:

With a memorable face that has the ability to transform for sexy and dramatic and frightening roles, it's a wonder that in her mid 30's she isn't being begged for.

Having several long-span leaps between noteworthy performances over the years-- she is due for another. Each time she gains more attention. Let's hope that a gritty project of a drug-abused or wrongly accused woman is somewhere in the waiting zone. She could very well give it her all and to everyone's surprise find her way to the Oscar podium. She is that memorable. She is that good. And she does not deserve to be forgotten. And with that vote of confidence she cannot stay in this club for long...

THE TOP 20 MOVIES OF THE YEAR (Including "Oscar" Snubs.)

THE TOP 20 MOVIES OF THE YEAR 2009

(Including "Oscar" Snubs)

By: Kai Elijah Hamilton

20. Jennifer's Body: A sadly ignored little dark-horror comedy written by Diablo Cody is both tongue-in-cheek and trendy. A campy modern-day take on Heathers (one of the greatest movies of all time) showcases a fetchingly sexy Megan Fox.

19. The Hurt Locker: Perhaps one of the most over-praised films of the year, but as far as war movies go it is an admirable one. It is suspenseful, but chooses to keep its characters and their situations robotic (a tactic too often implored in war films), otherwise it would have landed higher on the list.

18. Halloween 2: One of several horror films on the list, because they are ridiculously ignored. Rob Zombie has most certainly proved an admirable, even avant guard director. His characters often-times have a creepy dramatic depth, but not too deep so that we still feel the surface value of horror films of yesteryear. This, his own sequel, is better than the original sequel Halloween 2 (1981) with Jamie Lee Curtis.

17. The Proposal: Yes, I too am a Sandra Bullock fan (her best movie is still While You Were Sleeping). The Blindside was great for what it was, but I choose this movie as the better because it not only includes a should-have-been Best Supporting Actress contender Betty White, but because romantic chick flicks are a great genre and (despite a usually bland Ryan Reynolds) The Proposal got it just right. This is Sandra how we have and will always loved her.

16. The Twilight Saga: New Moon: I openly admit to liking this series, a great deal as a matter of fact. I feel that it showcases teen-flicks and bubble-gum pop culture at its new-age best. The truth of the matter is, when you let yourself go and get into it, Twilight is addictive, sexy, romantic, thrilling, and compelling. Kristen Stewart is a siren on the rise.

15. The September Issue: Addictive also is the docu-movie The September Issue, about the brazen workaholic life behind Vogue magazine, editor-in-chief Anna Wintour. Surprisingly enough it is her side-kick's that often-times drive the film toward a humane level. This is a very rare and intimate look at what goes on behind the scenes of the greatest fashion magazine of all time.

14. Where The Wild Things Are: A very odd film indeed. Which the unexpected, in a good way, is always the better choice. The beloved children's book is finally brought to life with much edge and grace. All the technical aspects were disappointingly ignored by the Oscars: The Art Direction, The Costumes, The Score, etc. Catherine Keener gives one of her most honest performances.

13. Up In The Air: Finally a less arrogant George Clooney, he actually displays a vulnerability. But this movie would be nothing without the matching ladies- Vera Farmiga and especially Anna Kendrick. This movie was worth the hype, and leaves you with one of those "such is life" endings.

12. Precious: Based On The Novel Push By Sapphire: This movie would have been a serious contender for The Best Movie of The Year. Except that the final feels as though a cork were prematurely pulled on the entire film, draining it of much needed explanation. However, the acting and gripping story are so monumental that just about any fault can be overlooked. Mo'Nique makes a primo-vicious villain, but her office breakdown at the end is what is nothing short of remarkable. However, Gabourey Sidibe is highly over-shadowed and deserved equal recognition. And let's not forget a kick-ass make-upless Mariah Carey as well.

11. Away We Go: This movie was shot down before it ever left the gates. It is however clever, funny and very touching. Maya Rudolph should have been an Oscar contender. A road-movie that is more about finding one's self right back where you started, than any of the side-splitting and unique vignettes- most notable a relentless Maggie Gyllenhaal. American Beauty Director Sam Mendes shows great versatility here.

10. An Education: Oh, what a lovely, lovely sophisticated movie for young adults. One of these days I swear the handsome Peter Sarsgaard is going to get recognition for his brilliant work. This time around the attention went to swooned virgin Carey Mulligan. Who gave such a notable character arch and fall that it is a wonder where in heaven she came from. The title, An Education, is a metaphor on life more than anything else.

9. The House of the Devil: The horror movie of the year! An astonishing replica of a 1980's campy horror movie fresh off the VHS shelves of yesteryear. Ti West proves to be a genius director. He nails the bitter nail-biting pace of a college gal taking a babysitting job for two satanic worshipers on the night of an eclipse. The movie is frightening, oh yes, but it bares repeating that the replication of 1980's EVERYTHING is nothing short of masterful. Bravo.

8. Crazy Heart: One of those movies, like a country-western song, where you know how you are going to feel by the time it is over but you simply don't mind the lonesome beautiful intoxication. Jeff Bridges is winning as is a perfectly against-type Maggie Gyllenhaal. And hiding behind a small but fine performance is Colin Farrell. This should have been a Best Picture contender. It is one of the best of the year. Hands down.

7. The Private Lives of Pippa Lee: My favorite actress of the year is Robin Wright Penn. She is utterly amazing as Pippa and it is a dirty-shame that she was over-looked. The film itself is a remarkable creative achievement by an equally over-looked female director Rebecca Miller whom also wrote the story and the book. It is my opinion that she is the female director of the year. Because this film reflects the combination of female angst, sharp humor and beauty so strikingly well. Blake Lively also gives a Best Supporting Actress worthy performance. And just about any film with the great black-balled Winona Ryder is a keeper.

6. Coraline: Almost, the Best Animated Film of the Year. Almost. Coraline is the very definition of creative, even surrealistic in nature. The 3D effects are brilliantly captured and the theatrical-minded, button-eyed nightmare story is fascinating. It is a wonder this film did not gain more attention than it did. Rest assured, this will be a classic one day.

5. The Last Word: Bet you've never even heard of this movie right? What a pitty, as it is #5. I guess I could spare you the details of how the brilliant story revolves around a poet who writes suicide notes for the soon-to-be departed; How he falls in love with one of his dead clients sister's and has to shield his idenity. I could also spare you the details about how great Wes Bentley is and how shocking Ray Romano is as a suicidal nut-case that befriends him. And how the surging Winona Ryder gives a tour de force, return to form performance. I could spare you the details... but then again that would be cruel for such a Garden State type comedic heart-tugger to go even further unnoticed. Rent it. ASAP.

4. The Hangover: Now this is what male bonding is all about. This is the most hilarious movie to come out in a long-long time. It would have been awesome to see The Hangover enter the Best Picture ring in order to represent the comedy genre's rise to greatness. Zach Galifianakis is comedic perfection, and in a year with a lack-luster Best Supporting Actor Race it would have been nice to include him. I laughed by ass-off with a smile in between, and something has to be really funny for that to happen.

3. Avatar: It is a rarity that CGI effects can awe-inspire me to the point of tears. Avatar in reality is a breath-taking force in the film world to be reckoned with, a scary merge into the world of- what is next? And, what will happen to softer-spoken films? But better are we in the safety-net of James Cameron (of the great Titanic) than anyone else. Who was the Best Director again?

2. (500) Days of Summer: The Best Movie of the Year that does not include balloons as a major plot-device. Looking back on this ground-breaking, creative, young-adult romantic comedy about lessons learned in love, it is simply a wonder it was not a monster-hit. But such as it goes, (500) was shoved out of the way and planted next to other one-day classic wallflowers while the elite club of Avatarian/Hurt Lockers and other "honor just to be nominated" cliques danced the night away. Joseph Gordon-Levitt was a lovable powerhouse, and beautifully quirky heartbreaker Zooey Deschanel will no doubt one day have her chance in winners circle if performances like these keep being churned out. The perfect "You Make My Dreams Come True" musical number is unforgettable, as is the unique Editing and self-proclaimed Best Screenplay of the Year.

1. Up: One of the greatest animated films of all time. Thank you Pixar. You continue to top yourself time and time again. I can't fathom how it would be possible to fly any higher than this one. The adequately titled Up is an absolutely beautiful, thrilling, funny, 4-hankie grabbing, adventure film- cargoing all the right elements for anyone young and old. Edward Asner gives one of the grandest voice talents of all time, and let's not forget that clever voice-box dog Dug. The Oscar winning Score is as timeless as they come. This one is for the ages! The cleverly twisted story of a should-be ending being at the beginning, and displayed as a silent montage sequence aids the message: However fun being carried away with life and love is, oftentimes it is those sweet simple moments in time that are the most enduring of all. "Thanks for the adventure."

THE LOVELY BONES ~ "A shameful poetic wreckage in the hands of a capable director."

It is the vintage 1970's. Susie Salmon, a young high school girl (played by the sensational Saoirse Ronan of Atonement) is murdered. Her spirit is caught in the "in between", a dream world before heaven that is built of significant elements of reality, mostly those just before death. In the in between, Susie is able to watch her family crumble in despair, her hopeful boyfriend's eyes wander, and her murder case grow cold. Meanwhile back in the real world we watch as murdering neighbor George Harvey (played by a creepy Stanley Tucci) regains a familiar itch for brutality, and plans for the murder of Susie's sister Lindsey (Rose McIver).

It is impossible to give away many plot elements, as we walk into the film having seen a spoiling trailer that literally sums up the entire film. At face value it is forgivable that director Peter Jackson decided to go his own way and veer away from the famous book, but what he has somehow managed to do is handicap the entire film by deflating its greatest asset--mystery. We know Susie is going to die. We know Susie is trapped in a dream world. And most importantly--we know who the killer is.

Perhaps the revealing set-up would have worked if the film had been able to capture the drama or the hurt and the urgency of the family in the slightest bit. Instead Jackson seems intent on meandering the story with computer generated dream-world sequences, those that perhaps would have been considered awe-inspiring if it weren't caught deep in the wake of Avatar. But in The Lovely Bones, the special effects disrupt the story and try way too hard to be poetic. Poetry in anything--film, photography, writing, etc. is usually best when it is organically made, when it comes from within, when it isn't trying to force an overwhelming impact--the impact just culminates and lives on. True poetry is not savagely copied from others own creative inspiration, it is only copied when you hold so much respect for that said creator that it rewardingly pays tribute (Brian De Palma to Alfred Hitchcock for example). If creativity has to be copied and duplicated or remixed just enough with hopes of it being pawned off as their own--what does that say about the copiers own creativity?

Jackson has already proved a film poet of a different breed with The Lord of the Rings. He already proved he could mix drama with surrealistic horror in his best movie to date Heavenly Creatures. The Lovely Bones seems forced and jarring. Like a confused director settling on the middle-ground of huge and artistically intimate. The film is just so choppy and non-linear. The murder-mystery should have been trusted the old fashioned way and not strained to be inventive. The interesting opportunity is lost involving Susie's ghostly connection to her family, the opportunity is lost for the psychic girl to field the connection, the opportunity is lost to delve into the dark, sexual, dollhouse making murderer's mind--a skill beautifully toned in its disturbance with Heavenly Creatures.

The Lovely Bones is piled high with capable actors that give their all (other notable players--Mark Walhburg, Susan Sarandon, Rachel Weisz). But the story truly lacks depth and truly does not know how to get on its own two feet. For a movie set on struggling through being heart-felt it is odd that in the end we feel no justice is served at all. What a shame... this could have been one of the best movies of the year, and I was rooting for it.

GRADE: C -