cameronmorewood

I love this movie. Watching these slummy British people living their lives is so real it's devastating. It's also bitingly funny, naturally tender, and sometimes exhilarating.

Kurosawa's Seven Samurai is the very apex of cinema. It tells a complete and full story, rich with striking action and compassionate humanity. It literally is the three-and-a-half hour epic so many filmmakers have tried and failed to produce.

Safe Haven is NOT about women's independence. It's about the opposite. I would've liked to see a female helmer work this storyline, even a male director who at least sort of understood women.

Beautiful Creatures is some kind of Twilight/Harry Potter hybrid that gave the money-hungry, cinema-hating studios a big green boner. I will not have it.

Perhaps a better title for this senseless, loud, ridiculous, and tediously preposterous action droll would've been 'A Good Day to Not Go to the Movies.'

Steven Soderbergh's Side Effects is a compulsively entertaining thriller. Rooney Mara and Jude Law give petrifyingly good performances. Thomas Newman's score is rapturous. It's a must-see.

I'm a fan of both Melissa McCarthy and Jason Bateman. But the script here is so witless, the two hour comedy is limited to very few laughs, and almost admirable accomplishment given the original premise.

We all know what a zombie is right? Those moaning dead things that wander around eating humans? Yeah, well Warm Bodies says a human girl and a zombie can fall in love. That's a con job.

Al Pacino, Christopher Walken, and Alan Arkin are such fantastic actors, that they can turn subpar material into a half-way decent movie. These guys could probably make a Michael Bay flick interesting.

Sound City, directed by Foo Fighters headliner Dave Grohl, is a heartfelt and intriguing documentary that's after the heart of any and all music lovers.

Stallone, like Scharzeneger is famous for playing dumb meatheads. Why Americans so enjoy watching dumb meatheads beat up other dumb meatheads every time they decide to go to the movies, I don't know. What I do know is that this film wreaks like something produced from a squatting position.

Jason Statham doesn't hold much of a screen presence, no matter how hard he tries, and unfortunately, Parker is just another dumb action flick that should've been on basic cable.

With a cast of over thirty talented actors, you'd think Movie 43 would have some ground to stand on. It doesn't. It crashes and burns, in about that order. It's also one of the worst moveis of 2013.

Schwarzeneger's back! And if you think that's a good thing, you're one of the many people I don't understand. I'm sorry, but I didn't find this film entertaining at all. Not to mention it has about as much depth as a Jessica Simpson music video.

January horror flicks aren't usually produced by Guilermo Del Toro, nor do they usually star an Oscar nominated actress. Suffice it to say, though it's no masterpiece, Mama is an above-average scare show.

Allen Hughes' intellectually vacant Broken City feels about as fake and pretentious as Russell Crowe's Kardashian-like spray tan and obnoxious blonde wig.

Hansel and Gretel offers a taste of the movie this zany premise could produce. Gemma Arterton sizzles as Gretel and Renner is valiant enough, but director Tommy Wirkola thinks he's making a serious movie, when he should be showing us Robert Rodgriguez-esque Grindhouse matireal.

Don't mistake Gangster Squad for a serious gangster movie. It's an action movie that features A-listers and decent production design. Let's all just acknowledge this is the best we're going to get from the multiplex this early in the year.

It's another gore filled chase-romp with little to no memorable moments. But that shouldn't be a surprise, considering the film had really no reason to exist anyway.

Don't be skeptical of Spring Breakers simply because you find its subject matter unworthy. Instead, let Harmony Korine's breathtaking, surreal, and confounding work of art wash over you. This is not a film. It's an experience. Spring Breakers is unlike any movie you've ever seen. It's electric, vibrant, artistic, beautiful, and, most importantly, it has something to say.

Some will say the storyline of The Master seems basic, and told in an overly convuluted way; however, any true movie-hound knows Anderson doesn't care about what's happening on the surface. It's all about the symbolism, and The Master is filled with fascinating meanings and subtle truth, the when looked for, hit you like a bullet train. It is a magnificent accomplishment in acting, writing, directing, editing, cinematography, and score, and the best American film of the year.

Perks rises above your average teen coming-of-age flick by delivering us grown-up drama and well timed, heartfelt humor. The characters are so unique and fun to watch that we can't help but fall in love with them.

Robert Mitchum gives a blistering and bone-chilling performance as a psychotic preacher, but the twist of the film as a whole, is that the movie isn't even about him. It's about two children, forever plagued by the sins of the father.

A solid thriller that could have followed the same plot and just as easily been a solid comedy. Midnight Run anyone? The biggest issue I have with Safe House is also the most confusing one. Why is Denzel Washington, one of the most talented actors of his generation, wasting time on this half rate USA Network worthy CIA flick?

It's not a great animated film by any means- but there's magic in it, and all the details feel fresh and original. The whole vibe is just- to put it in a word- cool.

The Possession wreaks of unoriginality. The Sam Raimi produced psycho-show is just another exorcist knockoff propelled only by its startlingly ridiculous performances and amusingly overwrought score.

What we have here is Richard Gere being cool and looking stylish is expensive suits. The plot is awfully mundane- and frustratingly morally ambiguous, but the actors are very good here- and more importantly Arbitrage is believable. It doesn't feel like watching a movie.

Perhaps the year

Poorly acted, lazily written, and not really directed at all, Alex Cross is the most clichéd action movie of the year.

A unique film because of the way it tells a light human story in such a hard dramatic way. The most invigorating aspect of Silver Linings Playbook- and there are many- is its masterful script and the actors delivering the well-paced, careful lines. There isn

What Lee brings to the screen here is nothing short of visual brilliance- Life of Pi takes you on a sort of magic carpet ride created by brilliant imagineers. But this magical adventure did mis the

Does a lot of coasting at a lengthy 130 minutes, but Segel and Stoller's show makes up for the drag by breaking up the filler with heartfelt humor and hilarity.

What was truly spellbinding about this shocking and powerful film, at least for me, was the way it pulled me into a world which I knew nothing about. You don't just watch Beasts of the Southern Wild- you live it.

Plays like a revival of a John Hughes classic.

Click fools us by starting off as a mediocre slapstick when in fact it is the tale of a man discovering himself. By traveling through the different time periods of his life, and seeing how his choices have affected himself and the people he loves, Sandler learns an invaluable lesson. Click is a great American movie.

The ingenuity of the script in impeccable. Never has a film payed such careful attention to the details of politics. Yet even through all the detail, and all the material covered, Speilberg's Lincoln is compulsively watchable. The result is a great American movie.

It's a first-rate action thriller.

Alexander, which fails in almost every way possible, bores its viewers to death and attempts to educate them through nullified narrative more than it does to entertain them.

Stands as one of the worst family films ever made.

It's miserable to watch if you're over 8 years old. Family movies can either be magical, or insufferable. Cody Banks is the latter.

Artificial Intelligence is a miscalculation, and we can probably attribute that because it was Stanley Kubrick's unfinished vision.

A bouncy mix of farce and fury, A Knight's Tale delivers classic entertainment on multiple levels.

Nicholson, unsurprisingly, is the stand-out here. The other actors create cliched, recycled characters, and the plot is mediocre, especially for a legal drama. It does; however, have a few short moments of greatness, and those moments make it worth the while.

A Civil Action proves to be a solid legal drama, and that's mostly thanks to its stellar characters, who are played with quiet control by some talented actors.

The camera work is nothing short of genius. Too bad the budget was too low to pay for good quality cameras.

Payne directs the film so meticulously that you can't help but be intrigued by what he's showing you. He and Giamatti create and character with vast depth and sneakily subtle idiosyncrasies.

An absolute revival of the thought provoking, visionary science-fiction film, which has been dead since Dark City in 1998.

A very important American film, Milk is made great by Penn's extraordinary performance and the ingenuity of the script.

A wonderful work of animation that is vibrant with color, song, and a stellar emotional core.

Tells one of the greatest love stories in cinematic history in a brisk eight minutes. That, as is the film itself, is a wonderful, awe aspiring work of genius.