Steven Spielberg has been praised as being the most commercial director ever … and vilified for the same. Whether you care for Spielberg’s films or not – and I most certainly do – you can’t deny his contribution to the artform. He singlehandedly introduced the summer blockbuster to the industry and, while some would curse him for such a thing, it’s a concept that has managed to keep the industry afloat and growing for the better part of 40 years.

His greatest gift, of course, has been to cultivate such a universal accessibility for film. This is, surprisingly, a rare ability and I can honestly say that there is likely no other director in the history of the medium who is as skilled at it as Spielberg. There are plenty of affable people out there who make “mainstream” films, but so often they tend to not include all of the elements that make Spielberg’s work scream. As a result, I think people tend to look at his work through a filter of the sub-par popular schlock that has either tried to emulate what he does or veers so far from it by overemphasizing a singular element to the point of fetishism. I think Michael Bay with his Action Bay-llet is a prime example of this. (And no, the irony of the two collaborating on the woeful Transformers live-action franchise is not lost on me.)

I think his next greatest gift is one that is definitive of an exceptional leader: the trust and insight to surround yourself with immensely talented people. In certain ways, Spielberg has been looked at as a technician (though certainly not to the degree that a George Lucas or a James Cameron is), but even he admits this is far from the truth. He merely opens himself up to the skill and ability of those around him, let’s them wow him, and gives them full support to push forward make things a reality. And he does this in every aspect of the filmmaking process, from the writers to the actors to the various members of the crew from all disciplines.

Spielberg’s guiding force is the story, and a humanistic story at that. This is what makes his films so accessible, even works like Schindler’s List, Munich, and Saving Private Ryan, which all feature grim subject matter. I think this also sets him up to be thrashed by hipper-than-thou critics of his work nowadays. He’s somehow looked at as unexciting or boring or safe. The teaser trailer for his latest movie, War Horse, recently premiered and the reaction online was less than stellar. Personally, though I can’t say I’m that enthralled with the subject matter of the film from what I know of it, I was absolutely mesmerized by just this snippit. His command and self-assuredness was easily evident, but the teaser also gave us just enough of the human story – that in – to let us know we can trust the master.

I’m not a fan of all of his work. I think the period in the late ’90s-early 2000s where he seemed to be searching for ways to grow produced some of his weaker films. And yet, even in movies like War of the Worlds, Minority Report, and The Terminal, I found myself captivated by the genuine emotion and distinct characterization he allowed to breathe. (A.I.: Artificial Intelligence was a real mixed bag for me because it felt too much like Spielberg was trying to make a Kubrick film.) I challenge anyone to sit down with any of his movies and not to be hooked by someone in the story. It’s a very underappreciated ability too often dismissed with snide asides.

This humanistic approach is something touched on at good length in a wonderful conversation between directors James Cameron, J.J. Abrams, and Spielberg, moderated by director Michael Apted. As part of a series recognizing “Game Changers” in honor of its 75th anniversary, the Directors Guild of America brought these four gentlemen together for an intimate and compelling chat about Spielberg’s career. It’s nearly two hours long and a splendid investment if you are interested in film or filmmaking. See below for the video.

Video
The video can’t be embedded, but if you click on the picture below, you’ll be taken to the DGA website to view the discussion and see a photo gallery from the evening’s event.

Credit to Slashfilm for bringing this to my attention: “Watch a 2-Hour Discussion Between Steven Spielberg, JJ Abrams and James Cameron“

** Note: Review contains spoilers if you have not seen the film.**

The quick skinny on the movie.

Test pilot Hal Jordan is selected to be the latest member of the Green Lantern Corps, an intergalactic peace keeping force, when the protector of his sector of space is mortally wounded in a fight with a being that embodies fear itself. Hal has lived his life recklessly since his test pilot father’s death in a plane accident, never accepting that his fearlessness comes from a fear of being afraid. Hal must navigate this conundrum to accept his calling, take his place amongst the Corps, and face the very threat that killed his predecessor.

The in-depth review.

So … Green Lantern isn’t as outright wretched as some of the hyperbole that has been flying around about it would have you believe, but it’s also a movie that I could never recommend to anyone. I’m, honestly, not sure how anyone can. The biggest problem with it is its consistency is all over the place. The biggest outcome from it is far more dangerous – to its genre, anyway – than any villain in the film.

In full disclosure, I have wanted a big-screen treatment of Green Lantern for many years. I’m not only a fan of the character but, at one point, I took a stab at adapting the property myself. It was a disastrous stab that was cut short by an overzealous desire to curb what was rumored to be Warner Bros. creative direction for the character at the time: a comedy vehicle for Jack Black. And while there was some truth to the rumors it turned out, the timeframe to roll the film into production was greatly exaggerated back in late spring, early summer 2004. What I submitted on spec was a mess and it was ultimately read and rejected by the studio. Strictly for context, you can find that script draft here: Green Lantern – 07.22.2004 [PDF]

I mention this to point out my relationship to this film. I had spent a number of years researching the character, the history and mythology. I was – and certainly am – not an expert, by any means, but I’d come to have a fair knowledge and understanding of this particular fiction. I also recognized the potential this possesses as a franchise and as a unique subset in the increasingly saturated superhero film genre. I share all of this not to inflate my considerable ego or boast, but merely to say that I have been looking forward to a GL film and eagerly hoped it would be done well. I’ve invested enough of myself that I want the character to succeed and, hopefully, flourish.

The studio eventually scrapped the comedic slant and went with the straightforward approach, which was exciting to hear. The talent they started to bring on-board to develop the script was encouraging as well. And while Martin Campbell wasn’t an initial standout to take on the film, I’ve enjoyed enough of his work to have bought right into him as director. Then … the casting began. And story elements started to leak. And production art and design choices. And limited marketing, hampered by issues – foreseen or not – in the massive visual effects process. During the whole production cycle, more and more came out that began to wane my interest and made me feel they fell into all of the traps that I’d seen in trying to adapt it myself. I can say that I went into the finished film with barrel-bottom expectations.

The kindest thing to say is the film met those expectations. There are a few moments where the film truly soars and portends of the great film this could have been if an honest passion had existed behind it. There are quite a number of moments where the film is as gawd-awful hokey as most tries at superhero films in the ’90s were, moments where my face involuntarily cringed and I wanted to hide in a corner from embarrassment. For most of the film, though, there exists this limp air of mediocrity, a sense of “we did just good enough” that left me both disappointed and somewhat apathetic to the whole experience.

Ryan Reynolds is both a godsend and a detriment to the movie. I was never behind his casting as Hal Jordan. I don’t have a problem with him. I’ve been watching him since he was on a cruddy Canadian teen soap called Fifteen, shown in the states on Nickelodeon many years ago, and have generally enjoyed his performances. But he has a unique screen presence and delivery that worked great as Hannibal King in Blade: Trinity and as Wade “He Who Would Be Deadpool” Wilson in the early parts of X-Men Origins: Wolverine. He’d also make a wonderful Wally West in an adaptation of The Flash. His “feel” on-screen, though, didn’t match Hal Jordan and, seeing him in the film, that holds true. He just has an all-too-self-aware comedic style that doesn’t fit the off-the-cuff, roguish charm of Hal.

There were three scenes where he felt closest to the character of Hal: the lovely moment between Hal and his nephew Jason; the scene where Hal interrupts Sinestro and addresses the Guardians; and the very last scene with Hal and Carol. Other than that, it felt like the parts of Van Wilder where the title character realizes the error of his ways, has to turn serious, and makes changes in his life. Paradoxically, the movie also benefits from the presence of Ryan Reynolds (not Hal Jordan) because this version would’ve been lifeless, for the most part, without him.

To be fair, I don’t think it’s entirely Reynolds’ fault. In fact, I don’t put much blame on him at all. He was miscast in the role to begin with and Campbell didn’t seem to give him much to do outside of his comfort zone. The real fault, though, lies in the script. For all the focus on Hal in the writing, which was the correct notion, they never capture the character found in the comics. They make a point to stress how Hal rolls right over his fear to take the attitude and approach to life he has, but then immediately spend the movie drowning him in his fears. I get the arc they are trying to set up, but it’s not true to the source material and it rings false within the film itself. You never get a feel for why he would be chosen to inherit the ring from Abin Sur and the character’s entire arc, as written, serves to undercut any inherent specialness of Hal Jordan. In fact, other than saying that the ring can see things in people they might not see in themselves, Hal’s selection comes across as rather arbitrary. Hal’s whole relationship with fear and the strength of his will comes across very different in the comics and it’s a shame they chose to sacrifice such a rare characterization for one so commonplace in superhero films.

The whole middle of the film falls flat because of a rather odd decision on the parts of the filmmakers. With material so ripe to take advantage of once they get Hal off Earth, they make the silly choice to send him back almost immediately. We get saddled with a second act chained to Earth and subject to a subpar treatment of the traditional superhero movie. There’s actually a point after Hal makes his first public save as Green Lantern – constructing a racetrack with the green energy patterned off of his nephew’s Hot Wheels toys; it’s so silly they actually make fun of it themselves in the movie – where I could swear I heard a snippet of John Williams’ Superman theme in the score as Hal flies off. (I’m not even going to comment on the disappointing and lifeless score James Newton Howard turned out for this.) Everything involving Hector Hammond felt like a distraction from the main plot and it all served to make a relatively short film – 105 minutes – feel long and drawn out.

Speaking of Hector, the two best performances in the film belong to Peter Sarsgaard and Mark Strong, both of whom felt like they were in completely different movies than the one they were in. Sarsgaard is exceptionally over-the-top, presenting himself as almost a Cronenbergian freakshow. In and of itself, it’s a fun little performance that looks to have given him an acting challenge he wouldn’t have found elsewhere. In the film, it makes him hard to connect with any of the other characters or the world of the film. In particular, you never really felt anything between he and Tim Robbins, who was playing his father, other than what was written to happen, which served to make his character’s whole motivation null and void. You also never got the impression that Hector’s abilities were driven and powered by fear, making him sort of a non-entity in the film. He was there mainly to provide a physical obstacle and didn’t really serve as one. His connection to Hal and Carol, without context, was also arbitrary. Again, these things aren’t the fault of Sarsgaard but of the script.

Mark Strong as Thaal Sinestro is the best thing in the movie and every time he’s on-screen he commands attention. His role is underwritten as well, never really grasping why he’s in his position amongst the Corps nor his motivations behind his abrupt actions and choices in dealing with Parallax. It’s a testament to Strong that the character registers as much as he does, also to his research as an actor. Knowing the character from the comics, everything Strong does as Sinestro comes from places true to the character. The script just doesn’t offer the slightest insight to what makes him tick to justify everything he does in the film. And certainly, there is no justification from the film for him to make the choice to put on the yellow ring of fear he does in the post-credits sequence. I have to say, I do love the moments of interaction they set between Sinestro and Hal, particularly the one at the Citadel of the Guardians. Again, these scenes with Sinestro speak to a much different, a much better movie.

Outside of those two and Reynolds’ personality helping to drive the film along, the rest of the acting fails to register, which is a shame given the talent they assembled. Angela Bassett is wasted as Amanda Waller and you can only hope DC puts together its own cinematic universe to use her again in a more substantive fashion in another film. Tim Robbins and Jay O. Sanders, two actors I often enjoy, offer nothing but surface characters. Again, not them but the script. They did very little with Tomar-Re and Kilowog to offer much to critique Geoffrey Rush and Michael Clarke Duncan on. I don’t like what they did with the character of Tom Kalmaku but I liked Taika Waititi in this particular film. And the less said about Blake Lively the better. There were a couple of beats where I believed her, but her constant preening, vapid presence, and too-quick and uninvested line delivery made her a black hole whenever she appeared on-screen. An unfortunate bit of casting considering the heavy reliance they put on Carol in the script.

The biggest debate for a lot of people has been over the effects in the film. Let me preface this by saying I have huge respect for the artistry and the labor that goes into this type of work in modern film. With the Transformers film franchise, I have nothing but respect for the time, effort and creativity that has gone into bringing those things to life on-screen, but I also find much of the design work and the execution absolutely ugly, busy and overly noisy. I have to say I found the same thing with Green Lantern. There are points where everything seems like a too-colorful, bubbly cartoon. And while I appreciate the creative concept behind the Lantern suits being “made of energy” – therefore, a CGI construct as much as all of the other constructs – I still would’ve preferred practical suits. There were moments where Hal or Sinestro were walking in wider shots that the suits made them move almost like Foghorn Leghorn, which is weird since the suits were digitally overlaid on skintight mocap suits. There were some laughably bad effects, particularly at the start of the film with the introduction to Parallax and during the all-too-brief and noisy fight scene with Abin Sur. The Guardians came across very disappointing, especially when we’ve seen so much better of similar work in films the past few years.

I also have to say I hated nearly every construct Hal made in the film. The only one that had me actually smiling was when he made the pool of water to catch Waller when she was dropped at the lab. For me, none of them felt like something Hal Jordan would create, even though he can create anything he could imagine. (The sword, especially, felt like the whim of the writers rather than a natural extension of Hal. Suddenly, he thinks he’s a swashbuckler?) They just didn’t seem to reflect his personality. And the one that did, the two jets pulling him from the Sun’s gravity during the fight with Parallax, felt incredibly silly to me. I’m still a bit torn on the large fist he used to punch Parallax in the end.

There were a few moments where I really enjoyed the film and felt like they captured some of what I wanted to see. Aside from the aforementioned bits with Sinestro, I enjoyed the scene where Hal tries to disguise his voice with Carol. Also, the part where Sinestro ropes Hal in after he’s defeated Parallax and reveals Kilowog and Tomar-Re alongside him, giving a sense of camaraderie. But that moment also frustrates me, because they make this huge stink about the Corps being “THE CORPS!”, and also that they must fight and defeat Parallax, yet the Guardians and the Corps completely abandon Hal. Where’s the unity and brotherhood in that? I know this is meant to bolster Hal as a unique presence in the Corps but it comes across as bad, arbitrary writing, especially when they have these three other Lanterns show up at the very end. That was a moment that made me want to punch something.

It must be said that this is a disappointment from Campbell. When he was picked as director, I’d hoped to see the attention to character and visual flourish for action that we’d seen in his two Bond films (both in my personal Top 5 of that franchise; GoldenEye at #5 and Casino Royale at #1); as well as the spirit and sense of fun and adventure present in the criminally underrated The Mask of Zorro. What I’d feared is that we’d get something akin to the repulsive The Legend of Zorro, and Green Lantern ends up sort of a spiritual cousin to that film. It’s not as outright gimmicky as that second Zorro film, but it does share what seems to be a lack of desire on Campbell’s part to elevate the proceedings. It’s pure cruise control coasting and, though so much of the film is flaccid, it’s average enough that I can’t saddle it with “worst of” titles like so many seem to be throwing at it. It is disappointing and a waste of money. This is the kind of thing better found on cable to help fill a lazy afternoon between things. If you haven’t seen it yet, wait for it then. Of the three superhero films that have so far been released this summer, this one easily brings up the rear behind Thor and X-Men: First Class.

I mentioned in the beginning this film being dangerous to its genre and it does so by being the kind of lackluster affair, where passion and care don’t seem to exist for it anywhere on the screen, that drove the genre into the ground 15 years ago. I have a huge affinity for comic-based films, but even I’m starting to feel the so-called “fatigue” of these kinds of movies. A film like Green Lantern, with so much money dumped into it and vastly diminishing returns, serves to make studios hesitant to push forward with these kinds of stories. While I think we might deserve a minor break from them – 4 this summer alone seems like overkill – this cavalier lack of care threatens to undo everything that’s been built up in the last decade. Some would champion that – and if it makes way for studios to take more risks on smaller films, I can’t fully argue against it – but I think this requires a reassessment of the business model not an outright abandoning. Warner Bros./DC, especially, needs to find their footing or Batman will continue to be the only character they have success with.

** Note: Review contains spoilers if you have not seen the film.**

The quick skinny on the movie.

A group known as the Hellfire Club, led by a man named Sebastian Shaw, orchestrates a nuclear showdown between the United States and the U.S.S.R. during the 1960s that results in the Cuban Missile Crisis. As a mutant, Shaw attempts to cause the annihilation of the common man so that mutants can take their place as successors to the world. The CIA recruits another mutant, a telepath named Charles Xavier, to help them collect a team of mutants to combat Shaw’s plans. During his mission, Xavier comes upon a mutant with the ability to manipulate metal and the Earth’s magnetic forces, Erik Lehnsherr, who shares his own past with Shaw and Xavier takes on as a partner. Detailing the origins of the X-Men, in a loose continuity, as we have come to know them on film, the movie sets up a showdown between Xavier and Lehnsherr’s group and Shaw’s band.

The in-depth review.

As I’m sure many reviews about X-Men: First Class have begun, I didn’t go into the film with many expectations. While I enjoyed what were distinctly the first live-action comic book elements of current superhero film that actually felt comic-booky in X-Men: The Last Stand, amidst a pervasive dorkiness and second-rate filmmaking; and was entertained by the performances of Hugh Jackman and Liev Schreiber in the disjointed and misguided X-Men Origins: Wolverine, those last two films had me all but given up on the X-Men film franchise. I had my issues with the first two films – most notably the heavy lean on Wolverine – but felt that Singer produced two quality works that elevated the level of where these kinds of films could go.

The X-Men have always been one of my favorite Marvel properties. I discovered and got on-board with them during the late ’80s, specifically when the ‘Inferno’ arc was dominating the books and right after X-Factor had been formed with the original X-Men. I went forward and went back and got fully ensconced in the material and, at one point in the early ’90s, had begun plotting my own course for a filmed X-Men world. My first film would’ve started at the beginning, introducing Charles Xavier and showing him recruit that first class of five mutants for his school. It felt like a logical start but also gave opportunity to truly set up the philosophies of Xavier and his friend-cum-enemy Erik Lehnsherr, aka Magneto. The parallels to Martin Luther King and Malcolm X were obvious but served a fitting dynamic for what was ultimately a story about hatred and acceptance and the opposing pursuits to find the proper place in the world for these “different” people.

When it was announced that Matthew Vaughn and company would be setting their film – what some have termed a “preboot”, a film that serves as both prequel and a reboot of sorts – in the ’60s, that gave me a jolt of excitment. As arguably the time period where the comic’s social commentary was its most potent – though the late ’70s, early ’80s period that produced the graphic novel X-Men: God Loves, Man Kills was another powerful epoch – it felt fitting to revive the flagging franchise by coloring it with its origins. I have to say that while there are a number of wonderful design elements that recall the ’60s, I don’t find that Vaughn was that successful in really infusing his film with the culture or zeitgeist of that era. In fact, for the most part, the film felt just as modern as its predecessors but dressed in retro clothing.

This is felt no more so than in the eponymous group of recruits Charles and Erik bring in for the CIA. We’re never really given more than CliffsNotes of who they are as people, aside from Raven/Mystique and, to a smaller degree, Hank/Beast. We are treated to brief displays of their powers and all-too-brief scenes of three members overcoming obstacles toward controlling and taking advantage of these abilities. The script, by a gaggle of people including Vaughn, executive producer Bryan Singer, and part of the writing team for Marvel Studios’ much more fun and impressive Thor, doesn’t allow us to connect with what these powers mean to each teen and what their lives feel like in this era of outright discrimination and paranoia. In the one scene where we see these teens “connect” as they show each other their powers and come up with codenames – one of a handfull of admittedly inventive explanations for the X-Men trappings – it feels more like a clubhouse gathering of today’s hipsters. There was nothing giving a sense of tension to what would happen if their powers were discovered by the world at large nor informing what this opening to a broader world of people with abilities hidden amongst society meant to each. They hadn’t necessarily felt the ostracization of the world yet because the world was largely unaware of their existence, but each came across more like the cool kids at the party which undercut the whole premise of the film. It felt like a missed opportunity. When Darwin is killed during the raid on the CIA installation by Azazel and Riptide, it lacked any emotional depth or poignancy. Even Alex Summers seemed to be affected only on the surface.

(I suppose I’ll always be left to wonder what a film with the five original X-Men – Cyclops, the Warren Worthington Angel, Iceman, Beast, and Jean Grey the Marvel Girl – and their interaction as schoolmates and eventually a family would be like.)

Again, the exceptions to this are Raven and Hank. I think Jennifer Lawrence did a nice job with what she was given. While I feel that perhaps her struggle could’ve been notched up a bit more, I did appreciate that they gave her a valid reason for choosing the path she does in life. I also find it interesting that she tried to find some degree of normalcy in finding a mate, especially given how devoid of that need the future Mystique appeared in the first three films. (They hinted at a sexual and intimate relationship between Magneto and Mystique in the third film and made it more explicit here.) As for Hank, I would’ve liked to have seen more of Nicholas Hoult’s performance. I can’t tell if there just wasn’t more in the script or if it was edited down, but it felt a bit jagged and incomplete. Once he made the physical change into the blue-furred Beast, any character really seemed lost but for the moment he chokes Erik.

Sebastian Shaw is another who seems to be shorted by the lack of ’60s gravitas, becoming more an homage to the James Bond villains and ornamentation of the time period than a whole character himself. Kevin Bacon essays the role well enough but he’s never really given strong motivation. Sure, they pay lip service to the same driving factor that Erik Lensherr will, ironically, take on as his own, but there’s never a strong sense of why. One thing that really stood out about Ian McKellan’s portrayal of Magneto was that it made absolutely no sense to him that he was anything other than that “next step” in the evolution of humanity. This is something that Shaw should’ve had as well and that never came across in the movie. This forces the impact of the Hellfire Club to be diminished as they become just a group of mutant thugs for the sake of having an enemy in the film. His past as Klaus Schmidt serves as good motivation for Erik in his hunt to exterminate Nazis but it seems rather superfluous to the character of Shaw once the film moves to the ’60s.

All of this results in a plan to start nuclear war that is missing just how scary a time it was in America, in the U.S.S.R., and in the world at large back then. Setting up the Cuban Missile Crisis as a showdown that reveals the mutants to the powers that be in the world is actually quite a brilliant idea. As was setting the showdown at the Three Mile Island nuclear plant in XMO: Wolverine to explain that reactor failure, though that wasted the opportunity as well. Giving the audience brief television news broadcasts about the U.S. missiles in Turkey, the embargo line between Cuba and Florida, and the movements of the Soviet ship with the missiles on it, gave some plot context but didn’t pervade the film with the sense of dread that the moment needed. The tension wasn’t there and, as a result, when the U.S. and Soviet navies are witness to the battle between Shaw’s group, Xavier’s group, and Magneto’s turn, it’s all very limp and hollow. There were impressive visuals throughout the scene but it hardly kept me on the edge of my seat.

The heart of the film, though, should have been – and tries to be at points – the friendship between Charles Xavier and Erik Lehnsherr. For a moment as touching as the scene where Charles enters Erik’s mind to help him find a place to focus his powers to move the satellite dish array, we get a scene of the two sitting on a bed in the champagne room acting like swingers. Of all the acting in the film, I thought James McAvoy and Michael Fassbender both were tops and I just wish we could’ve seen a even deeper connection between them. These two are what the film is all about and that final scene between them on the beach in Cuba, up to and including the moment Charles gets crippled by a deflected bullet, should’ve been absolutely heartbreaking. It was nearly there sheerly on the strengths of McAvoy’s and Fassbender’s performances. That single interaction where Erik is holding the wounded Charles and Xavier tells his friend that they don’t share the same beliefs was a soft, moving moment that should’ve been the pure basis for the entire interaction. With all said and done, there wasn’t the appropriate amount of time caught between the two characters throughout the movie to really pull that together. Both felt like mere pawns in the plot of the film and never really established the bedrocks of their philosophies on mutantkind. There were moments but the film seemed less concerned with that than trying to move along at a rapid pace. Heck, all of the things that Charles and Erik had supposedly developed together in their quest to find and help mutants were actually initiated by other people in this movie, further diminishing their roles.

In the end, X-Men: First Class is entertaining but not nearly as much as it seems to think it is. There are great moments sprinkled throughout but also moments where it reads kind of campy. (Re: the cameos – They got the desired guffaws and oohs-and-ahhs from about half of the packed audience I saw the film with.) It does manage to spark some life back into the franchise and I’d be interested to see where they go from here. If they want to make a full-out struggle between black hats and white hats throwing lightning bolts, teleporting, and calling down the very forces of nature upon each other, I’m all for that. Don’t try to sell it to me as something more than a showdown, though. However, if you really want to get at the struggle between the mutants and their place in the world of “normal man” on that philosophical level, then don’t be afraid to rely on the strength of your characters and let them live with each other. When you care about the people on-screen, it makes the times when you have them do cool things that much cooler. For a property where you can easily get lost in the spectacle, that makes all the difference in the world.

Summary: An effective, if slightly more than above-average, preamble to the series finale that sets up the appropriate questions to end the series on.
Rating: 7/10

** Note: Review contains spoilers if you have not seen the episode.**

The quick skinny on the episode.

Clark brings Lois to the Fortress to announce to Jor-El that they intend to marry. Jor-El offers a test of their relationship by stripping Clark of his powers and giving them to Lois. Lois discovers a plot to take over the city’s water supply, leading her and Clark to a clothing store that Courtney Whitmore, aka Stargirl, is muscling into selling. Courtney is being controlled by a device created by Winslow Schott, the Toyman, and when Lois confronts him she has to make a choice that could put Clark’s life in danger. Meanwhile, Oliver searches for the Bow of Orion to fight the darkness, running into Kara, who is looking for the same thing.

The in-depth review.

“…freeze breath -”
“Arctic breath.”

Harkening back to the conversation where Clark talked about his microscopic vision earlier this season and declared it was his power and he could call it what he wants, this was one of many purely delightful exchanges on display in ‘Prophecy’. The episode benefited from the strengths of its two writers and only occasionally ran into issues of pacing and structure. Though there is one glaring flaw that takes the episode down a notch. (More on that later.)

As seems to be a pattern these last few weeks, this episode was focused on character and uninterrupted dialogues between characters that let people connect and meaning linger. For me, this has been fantastic because it actually gives them life rather than merely advancing the plot or turning some cheesy pop-culture-laden phrase in an effort to be cute, as is often the case on the show. It also gives the actors a chance to layer their performances within a scene, showcasing the quality of their work. The dialogue itself also seems to be more fluent and less forced. In particular, the scenes between Clark and Lois, Ollie and Kara, and Lois and Toyman really shone.

The surface premise of the episode – that Lois is given Clark’s powers and Clark is stripped of his – was a bit of a powderkeg but also a little trite. We’ve had examinations of others with Clark’s powers before on the show and the number of times Clark has lost his powers is too numerous to count on just two hands. (In fact, I believe this is the third time this season alone, even though one of those times was in the virtual reality world in the dreadful ‘Collateral’ at midseason.) I have to say, though, that they handled it quite well, even if the premise and execution borrowed heavily from a similar episode of the series Lois & Clark: The New Adventures of Superman. In that series’ ‘Ultrawoman’, Clark’s powers are accidentally transferred to Lois and she goes full-bore with them, assuming her own hero identity complete with costume sewn by Martha Kent. Thankfully, the Smallville episode didn’t offer enough time for Lois to take a similar path, though she did manage to complete a few super-saves of her own, much to Clark’s chagrin.

The point of both the Lois & Clark and Smallville episodes was the simple time-honored trial of walking in another person’s shoes, to truly understand how the other lives. It’s interesting that both episodes revolved around the Clois proposal/marriage. Also, interesting that the outcomes of both were so different. On L&C, Lois’ eyes are opened to Clark’s day-to-day struggle and it causes her to reconsider Clark’s marriage proposal, which she had initially turned down because of his deception regarding being Superman. Conversely, Smallville‘s Lois feels guilty about taking Clark away from his duty to the world, so much so that she breaks off their engagement. I must say that there is a part of me that finds this drama a bit forced and certainly frustrating. There is also a part of me that is appreciative that they are exploring this aspect of their relationship and just what exactly marriage means to it in the long-run.

I thought the scene outdoors at the pizza place where Clark helps Lois to focus on superhearing inside the clothing store was a marvelous scene and illustrated very well the idea of what Clark experiences constantly. That Clark was so composed in delegating how Lois should focus her hearing and attention was very telling of how far he’s come. It was a well-written scene and I enjoyed what Tom Welling and Erica Durance both brought to it. They were a couple, they were individual characters, and their reactions were note-perfect. This really helped to inform the final scene and Lois’ decision. And, for as frustrating as it was, that final scene was a heartbreaker. What a beautiful, committed performance by Durance, particularly during the part of the scene where Lois gives Clark back the engagement ring. The camera stayed focused on Erica’s face the entire time, even neglecting Clark’s reaction – loved the quiet “What is this?” line reading from Welling – and I thought it was a wise choice to truly reflect the burden of her decision.

That decision, while again very frustrating, plays upon the actual theme of the episode, which is balance. It was something brought up explicitly in the Ollie/Kara storyline and threaded throughout the Clark/Lois storyline, which he brings up at the end in talking about how he copes with the world’s ills. I love that Clark seems to have found that balance. In making his choice to move forward with his life without Jor-El and without Jonathan Kent, having learned from them what he can, Clark practically chose to be Superman in this episode. They made a strong point of that in the scene where Clark visits Toyman after his plan had been thwarted. His line – and Tom’s delivery – about banding together whoever Toyman wants and Clark being there to stop them was classic, and again demonstrated a Clark who is now sure of who he is. I got a kick out of them giving Toyman’s POV of the ‘S’ shield on Clark’s jacket. It was a distinct visual cue in two ways: one, it underlined exactly what Clark was saying; and two, the fact that it wasn’t zipped up to be a completed symbol let us know that there is one final piece of the puzzle to put in place. I don’t know if that was written into the script that way or if it was director Michael Rohl’s choice, but it was a terrific cue either way.

Overall, though, I wasn’t as impressed with Rohl’s direction this episode as I have been in the past. There were far too many close-ups for my taste and it felt more distracting than participating in the proper vibe. I did enjoy the adventure feel he gave to the scenes with Oliver and Kara in the tomb on the Irish coast, coupled with Louis Febre’s wonderful score during these scenes. I’m a sucker for a good adventure story and having Ollie in full-on Indiana Jones mode was a righteous delight. Incorporating Kara into his quest was actually a smart choice, giving Ollie an ally who really didn’t know him well enough to dig too far with questions into what he was doing. I’m haven’t held back on my distaste for the character of Kara, but I did find her engaging and capable enough during the first half of the episode that I didn’t mind her being here. I thought she and Ollie worked together well and Laura Vandervoort and Justin Hartley had a good rapport that sold some great dialogue between the two.

The only thing that really bugged me about Kara in this episode was the abrupt way that they shunted her off into her “destiny”. They crack the vault for the Bow of Orion and suddenly Jor-El calls her off? I thought it was silly and rather ham-fisted. I know they needed to give a plausible reason for why Kara isn’t around as Clark ascends to his role as Superman. Sending her into the future with the Legion is not only something from the comics but actually makes sense in the context. I just wished that they executed this transition better, as the scene between Kara and Jor-El at the Fortress thudded like a heavy weight right in the middle of everything. The exchange between them wasn’t bad. It just felt out of place.

I must say I was surprised by Granny Goodness’ entrance and the fact that she took out the Bow of Orion. It was a nice little twist and it felt like a valid reason as to why the story is rolling into two more hours rather than one. It was also a pleasure to see Christine Willes on the show again, and I wish that they were able to give us more of Granny this season. Knowing the history of the New Gods and that Orion is destined to fight and kill his father Darkseid, it seemed a bit convenient (though a cool reference) that they would track down this all-powerful weapon to set up the final fight. For all the importance of the weapon, it also seemed relatively easy for Ollie to get his hands on it, which is why I love that Granny was able to take it from his so fast and destroy it. No easy outs, especially for Ollie, whose Omega mark of darkness finally plays out. It’ll be interesting to see how the Gold Kryptonite factors into the two-part finale and more interesting to see how Clark is able to save his friend from Darkseid’s control.

A few things I really appreciated in the episode: Toyman talking about the end of Clark and Lana’s time together in ‘Requiem’, for continuity more so than the reference to a rather dark blotch on the overal story; the use of the New Gods storyline without bogging everything down in too much exposition; Toyman speaking to what was likely Lex Luthor on the phone prior to Clark arriving; the shout-out to J’onn J’onzz, as it appears we will likely (and sadly) not see Phil Morris on the series again; and Clark’s final interaction with Jor-El in the Fortress. Though I expected him to actually get the Superman suit at the end, this gives them a reason why he doesn’t put it on so early (if at all) in the finale. He’s ready to. It’s just a matter of actually getting the suit and putting it on now. My guess is Martha or Jonathan (ghost?) are going to give him the final reason why he should use the suit.

Something I didn’t appreciate (the glaring flaw): Lois’ irrational decision to wear Toyman’s device. That seemed illogical, especially with Lois having risked life and limb (although not really) earlier in the day and having just demonstrated her speed with grabbing the phone. I know they were trying to set-up a time crunch and perhaps make it borderline impossible for Lois to have stopped the villains from getting to Clark, but the whole thing played like a bad writer’s twist rather than something proper to the story. Almost as frustrating as Lois’ decision to split with Clark.

All in all, I enjoyed ‘Prophecy’ more than I thought I would, though it’s really an above average episode with engaging dialogue scenes when you come down to it. There were many pitfalls associated with giving Lois Clark’s powers and I think they managed to avoid them, save for Lois’ idiotic decision with Toyman. The episode really became less about that and more about the influence of good and evil in our lives and Clark’s part in that. I was thankful that they really kept to a minimum the scenes of Lois using Clark’s powers. I think if the episode had gotten bogged down in the “coolness” factor and the comedy of it, it would’ve been far less effective. ‘Prophecy’ also served to drive home again how much the show has transitioned into such a comics-focused series. I’m not sure I could ever have imagined a time when Solomon Grundy, Captain Cold and Black Manta would be putting in appearances, albeit wordless cameos. The biggest accomplishment of ‘Prophecy’ is I felt that it did a good job of setting up ‘Finale’, leaving many questions – and the right questions – opened and unanswered. Though I know of some specific events that are happening, I can say that I really don’t have any idea how the two final episodes are going to go.

Summary: A well-written, well-directed epilogue for the 9th season that serves to advance a major 10th season arc in simple but effective ways.
Rating: 9/10

** Note: Review contains spoilers if you have not seen the episode.**

The quick skinny on the episode.

General Wilson is returned to Earth from the Phantom Zone by unknown means, prompting Clark to enter the Zone to see who might have accessed the exit gate. Oliver tags along and both men are captured while fighting phantoms and brought before the new lord of the Zone, Zod. Zod attempts to corrupt Clark again, but when he’s rebuffed, he turns to Oliver, revealing that he has been marked with Darkseid’s Omega. Clark and Oliver are pitted against one another in gladitorial challenge to the death. Meanwhile, Lois and Tess argue at Watchtower about a plan that could trap Clark and Oliver forever.

The in-depth review.

I absolutely love Callum Blue as Zod. It was announced recently that the feature film reboot of the Superman franchise, The Man of Steel, will feature Zod as its main antagonist. In the part, Michael Shannon has been cast and I think faces a very unique challenge. Shannon has not only to go up against the iconic turn of Terence Stamp in Superman: The Movie and Superman II but now has to work against what I feel is the definitive portrayal of the character in Blue’s turn. For most of the general audience, they aren’t aware of Smallville‘s Zod, which is a shame. That lessens Shannon’s public burden but doesn’t let him off the hook for me.

As Blue was probably my favorite part of Season 9, I was looking forward to this episode, ‘Dominion’. Sure, I had misgivings when it was announced that they were bringing Zod back. Between the phantom version explored at the end of Season 5 and beginning of Season 6 and the cloned Kandorian season-long arc last year, I felt that Zod had been well-covered territory. I also felt that last season’s finale, ‘Salvation’, gave a proper send-off to the character. As more details came out about ‘Dominion’ taking place in the Phantom Zone, I became more and more intrigued. Thankfully, I was paid in spades.

They do a rather unique thing in the episode in tying Zod to the Darkseid storyline. In fact, I would say this is the best jolt of the storyline on the season and did quite a bit to advance the story in very simple ways. More importantly, they assemble a Zod who will now be a major threat in Clark’s tight-wearing future. Combining the phantom Zod with the clone Zod is sort of a no-brainer but that doesn’t make it any less effective. I really enjoyed the fact that this “new” Zod actually retained everything of both lives and that both shared Clark as an immediate enemy. I also enjoyed the subtle way in which the phantom Zod seems to have tempered the clone Zod ever so slightly. Instead of being tempestuous, Zod is even more calculating, devious and divisive. The ego, though, is very much present and I appreciate that, much like ‘Salvation’, Clark and Oliver were able to turn that against him.

I got a kick out of the Mad Maxian gladitorial games, even if it was a little on-the-nose for the environment, and they definitely benefited from the props Warner Bros. shared from the 300 production. Mercifully, Justin Hartley as director saved the emulation of Zack Snyder’s distinctive stop-start slo-motion style for a single fight and didn’t overburden the episode with it. (More on Hartley’s direction in a bit.) There was also a very strong Conan the Barbarian vibe, particularly in Zod’s throne and it was simply marvelous to see Zod planted there, stoically overseeing the proceedings. This is exactly what Zod had always wanted and he took to it like a born despot.

To say I haven’t been the hugest fan of John Chisolm’s scripting on the show the last two seasons would be understatement. Both ‘Checkmate’ and ‘Patriot’ rank lower on the season episode scale for me, though both are peppered with very prominent elements of the comics. ‘Dominion’ is easily his strongest effort and I have to heap massive amounts of praise on the dialogue scenes he gave to Zod with both Clark and Oliver. I also have to give praise to the whole production for allowing such long scenes to make it to airing. Blue’s command during both scenes was exceptional and Chisolm’s words brilliantly sold the character, playing off clearly defined characters in our heroes and their histories. In all honesty, I felt like I was watching a different series this episode, a more confident and competent series. That credit goes to John Chisolm.

It also goes to Justin Hartley, who admitted in interviews this week that he wasn’t necessarily yearning to direct but kind of stumbled into the gig while talking with Executive Producer Kelly Souders about writing an episode. (Last season’s ‘Sacrifice’; Hartley is the only actor on the series to get a writing credit for the show.) There is a lot of support that comes with a well-oiled machine that has been operating for 10 years, offering a net that would keep Hartley from stumbling too bad in his first directing outing. Still, this was one of the most surehanded and accomplished directing jobs of the season — out of the entire directing pool! When you look at episodes other actors on the show have directed – Michael Rosenbaum, John Schneider, Allison Mack, and of course, series star Tom Welling – Hartley’s stacks near or at the top. Same with the writing and producing staff that have taken to directing episodes in the last couple of seasons. Many fans complained about giving Hartley the job with one of the final few episodes of the series, but ‘Dominion’ proved those complaints were unfounded. I think it also helped that Hartley wasn’t required to act for the last two or three episodes prior to his gig, allowing him proper time to prep.

As tends to happen when the actors are directed by one of their own, they rally to support in the best ways they can. Everyone brought their best game, particularly Welling and Erica Durance. I like when Tom is working opposite someone who is strong and giving as an actor – as Blue appears to be – because he really pushes his skills. I also liked that he was game to go after the physicality of the Phantom Zone scenes. (Even if they continue to turn Clark into a total wimp without his powers. C’mon, Clark. You can still punch.) His best scene, though, was the apartment scene near the end of the episode. The intimacy and honesty between Tom and Erica in the scene was touching and raw, a vulnerable moment that almost felt a little too personal to be in on. There are many fans who moan about the chemistry — or lack of, they claim — between Tom and Erica. I defy you to watch that scene and tell me there isn’t chemistry between them. This was another well-written scene that was acted beautifully by our leads. And I completely adore their apartment. Yes, even with the Whitesnake throw pillow.

Erica was on fire in ‘Dominion’. The ferocity of Lois doing everything to protect Clark, even from himself, is an essential part of the character’s DNA in the comics and Erica completely owns that. Her scene holding Tess at gunpoint was powerful and defined her motivation for eternity. Some would argue that Lois has become just an apostle and evangelist for Clark. While she certainly is those things, the fire within her drives her to use everything in her arsenal to help Clark in his cause. This is what pushes her to the upper echelons in her journalism and, while we haven’t seen as much of a focus on that on the show, they haven’t shied from informing Lois’ will with it. Her declaration that she will march with Clark side-by-side into hellish, unwinnable situations were her vows. That scene was as much a marriage of the two characters as their inevitable ceremony will be. Erica grounded Lois’ love and conviction in very real places and it made the Watchtower scenes and the apartment scene that much deeper and heartfelt.

I also found Oliver’s darkness to be more grounded in ‘Dominion’ than what we’ve seen in moments in Season 8 and Season 9 when he was down-and-out. You could feel the weight of his actions on his history more so than his shoulders, which made it more real and gave credence to Ollie being marked. I liked that Oliver was less defensive during his conversation with Zod than he usually is with people, showing a struggle that really is at his core and informs his day-to-day life. Part of it was that he was drawing Zod into the trap, but it was obvious that what he said to Ollie really touched a nerve. I thought Hartley really painted with subtleties here, underplaying what really isn’t a very subtle storyline. The one criticism I would have of the episode in relation to this storyline was the final bit with Ollie at the church. Personally, I felt it didn’t add anything we don’t already know.

The only other criticism I would add actually relates to Blue. It would appear he’s had work done on his teeth in the last year and it was a little distracting at points. I don’t bemoan the guy improving his smile but it was really noticeable. He also seemed to be visibly more gaunt than before, but I thought that worked well for the story. Minor quibbles that really aren’t quibbles. Just things I noticed and seemed to be accentuated by the filter of the camera work and blown-out light. I loved the beard and also got a kick out of the final image of Zod being an approximation of the infamous image of Zod, Non and Ursa floating through space in the Phantom Zone pane.

I have a feeling ‘Dominion’ is going to be labeled as “filler” by a vocal part of the fanbase. Mostly because many were labeling it as such going into the episode. Personally, I found it to be a wonderful episode that gave the proper epilogue to an important character in the series and advanced one of the main arcs of the season. For me, this is one of the season’s true highlights and you gotta love any episode that puts Clark in some version of red cape.

Summary: An uneven episode that nevertheless introduces the compelling concept of marketing a public face to Clark’s exploits.
Rating: 7.5/10

** Note: Review contains spoilers if you have not seen the episode.**

The quick skinny on the episode.

Booster Gold, a man from the future, comes back to the past to usurp Clark Kent’s destiny. Using historical records – relayed to him by an AI known as “Skeets” – Booster is able to locate trouble and performs acts of heroism that gain him public notice. He wastes no time in milking the notoriety for all its worth, rubbing Clark the wrong way. One of Booster’s saves causes an extraterrestrial technology to fall into the hands of a teen and become a danger to himself and those around him. Meanwhile, Lois attempts to help Clark define his new public face to separate himself from the Blur.

The in-depth review.

Geoff Johns, a DC Comics writer so popular that he was eventually promoted to the big wig of all creative direction of the company, has provided event episodes for Smallville for the past three seasons. To say that his influence has been felt in the series’ move toward a more comic-based reality would be an understatement and each of his episodes now has introduced well-known members of the DC Comics Universe to live-action. Of the three episodes Johns has written (four episodes if you count the two halves of the Season 9 event Absolute Justice, which was produced as two episodes and aired together as one), I would have to say that this is actually his least effective episode, though offers some compelling movement forward toward Clark’s endgame of Superman.

Booster Gold, the man from the 25th Century who stole a power suit and a Legion ring to parade himself as a hero, is actually the perfect character to set up the premise of this episode, the concept of the public image of a hero. While the show has danced around the idea of Clark actually facing the public as a hero, it’s always been talked about in a fashion of “yeah, that’s something I should really figure out”. With three episodes left in the series before the two-part finale, this is a rather significant aspect of the Clark Kent/Superman dynamic that needed to be addressed. By bringing in a glory-mongering braggart to contrast Clark, this brought everything in to stark relief. And while the episode was actually a bit too Booster-heavy, I thought it did an above-average job of showing the positives and pitfalls of public relations.

Though it was full of some great laughs and a couple of superb Clois scenes, the episode grades down for me because it felt a bit too indulgent from Johns. Booster Gold is a character he helped to resuscitate in the comics and who is now enjoying a great deal more importance in the DCU as a result. As a result, I think the script captured the character perfectly. So much credit should go to Eric Martsolf and I’ll elaborate on that shortly. The problem is it felt like there were scenes that were covering the same ground and came across as padded as Booster’s costume. Did we really need three scenes of Booster rehearsing for his acceptance of the key to the city? A couple of the Lois interactions with Booster felt like they could’ve been cobbled together, as well. The script also felt chocked full of DCU brickabrack – Steve Lombard, Ron Troupe, the Daily Star, Dan Garrett – that was a bit geeky fun but also a bit overkill.

Martsolf as Booster Gold was a stroke of casting genius. I’ve had a chance to read through a number of the interviews he gave this week and his enthusiasm for the part really shone through. He talked about the research into the character he did and I think it really appears on-screen. Booster is one of the best translations of character from the comics that the show has ever produced. Martsolf had the appropriate of pungent cockiness with just the right amount of sass to see why crowds would flock to him. At the same time, he invested the character with the appropriate amount of pathos that allowed those quieter moments toward the end of the episode where he mentions parts of his past to really have weight and consequence. The last conversation between Booster and Clark was, well, gold. I thought Martsolf sold that moment where he admits to Clark the error of his ways so well I was actually taken aback at how effective it was. I also enjoyed the moment where he let Clark’s words about looking over Jaime melt in and that new purpose to take over. My hats off to the man for exceptional work. As the episode was so focused on Booster, they had to have the right man to pull it off and I think it was clear they cast him.

In contrast was Jaime Reyes. In full disclosure, I’m not a particular fan of the character. As a result, I haven’t spent a whole lot of time with him. I am a fan of the Ted Kord Blue Beetle, though, and ‘Booster’ did make me sad that we didn’t get to see more interaction between Booster and Kord, a relationship that informs and defines the two heroes in the funny books. Johns created the Jaime Reyes Blue Beetle and this brings me back to his indulgence in the script. Reyes wasn’t a very strongly written character in the episode, even though the main threat ended up revolving around him. The concept of the threat felt contrived and convenient, a way just to have Reyes on the show. Perhaps if another scene or two had been spent with the teen, it would brought a little more depth to his arc. I thought Jaren Brandt Bartlett did a serviceable job with a sketch of a character. The convenience of using Reyes as an example for Clark’s bumbling persona was a novel approach, but the scene where Lois tracks him down to take notes on his mannerisms and personality and then coaches him in self-reliance and confidence felt forced. I could also comment on the grotesque appearance of the Blue Beetle armor – was it really effective to give it an Iron Man feel – but I think the limitations of the budget speak for themselves.

I think where Johns really nailed the script were in two scenes with Clark and Lois – the Watchtower scene – and in the use of Cat Grant. I’ve relatively enjoyed the portrayal of Cat Grant this season – though, to be honest, I still actually lean toward Emilie Ullerup’s turn as Catherine Grant and would’ve like to have seen more of that character – but I must admit I was rather tired of her in her last appearance in ‘Icarus’. The Cat written into this story – and Keri Lynn Pratt’s performance – was a bit softer and much more palatable, recalling her quieter moments in the episode ‘Shield’. Her motivation behind her Booster fascination was a good one and worked really well with the dynamic they have created between Cat and Lois. Her insistance that heroes should have a public face also fit into her beliefs that were led astray by Gordon Godfrey earlier in the season. I enjoyed the use of Cat in this outing and also got a hearty laugh out of her in the Boosterette (“Booster Gold Dancers”?) outfit.

I actually wasn’t a huge fan of Lois or Clark for a majority of the runtime this time out. Lois had some great moments that felt like the hard-edged reporter — rewarded in the promotion that takes her out of the basement and upstairs. (I like the fact that Lois is promoted but Clark is left in the basement for the time being.) She also had times where she felt a bit too preachy. I’m not sure if that was the script, if it was Erica Durance’s performance, or if it was Tom Welling’s direction. She was just a bit abrasive at points to me. Clark, though he had a valid reason, really came off jealous and whiny when complaining about Booster early in the episode. I think part of it was kicking Clark off in the story with a little snit-fit about his disguise. That seemed to pervade Tom’s performance throughout until he changed into his Blur duds.

Except … and so much credit has to go to Tom Welling for this … in the moments when he gave over fully to the bumbling Clark Kent persona. His entire interaction with Ted Kord in the warehouse where Kord’s guys were investigating the wrecked SUV had me on the floor. It wasn’t even that you felt like Clark (or Tom) was putting on a great performance. It really felt like he was stumbling around for his words there for a brief moment, which totally sucked me into the persona. When he got to asking to use a restroom because of a milkshake, I would’ve done a spit take if I had been drinking something. It was a wonderful bit of characterization. The only thing I dread about it is it makes Clark seem like an incompetent reporter, something the comic Clark Kent is not. They shouldn’t confuse ineffectuality for mild-mannered. I hope we get to see the persona a few more times before the series shutters to see him really nail it down.

My favorite moment of the episode, though, was the denouement with Clark and Lois at the Kent farm. (Looks like they haven’t gotten that Metropolis apartment just yet.) It was a very touching moment for Clark to share his concern over Lois’ own public persona for falling for and marrying this boob. It’s still a stretch on credulity that people at the Planet have already bought into this new persona, given that they’ve worked with Clark Kent for two years now. Especially Cat, who was all but in love with Clark earlier and now dismisses him as a nobody to Lois. Accepting, for the sake of argument, that they do take Clark at face value now, I think Clark has a very valid concern about Lois. As much as we want to think we aren’t impacted by the thoughts and impression of others, we wouldn’t be human if we weren’t. That Clark was looking out for this woman he loves was special and I loved how tight and intimate Tom shot this scene. Lois wearing the glasses was a lovely touch – and a gorgeous sight – to start the scene and the connection between them was vibrant and alive. I thought the shirt rip was a bit much and kind of out of place, but otherwise everything about the moment was note-perfect.

For the most part, I enjoyed Tom’s direction in the episode. I think because of the story the tone was a somewhat uneven throughout, but he crafted some well-done character moments. I also enjoyed that he chose some rather odd locations for the action to take place. For the most part, an episode about being out in front of the populace was mostly filmed in places that had a behind-the-scenes, backstage kind of feel. This wasn’t Tom’s strongest effort but it was better than ‘Patriot’ earlier this season.

I wish that my experience of ‘Booster’ matched my excitement going into it, but overall I found it to be a good, not great, installment. The episode had some splendidly fun bits, some of the best chuckles of the season, as well as a couple of very strong character beats. I enjoyed the idea that informed ‘Booster’ and I think it was a vital component along Clark’s journey towards becoming Superman. For that, I fall down on the side that doesn’t have a problem with where this episode fell in the run this season. I think using Booster Gold as the catalyst to explore the idea was also a smart decision, but I felt the episode gave a little too much focus on him. That said, this seemed to seed exactly what Clark needs to put on the classic outfit and take on that iconic name.

Summary: A sharp, well-drawn episode heavy on character that debates the idea of home as a place or as the people that fill it.
Rating: 9/10

** Note: Review contains spoilers if you have not seen the episode.**

The quick skinny on the episode.

Clark and Lois are given an early wedding present by Martha: the deed to the Kent farm. While they consider whether to keep the farm or sell it off to move into Metropolis, Clark Luthor emerges from the alt-universe and sends Clark Kent on a one-way trip back there. Clark Kent discovers Jonathan Kent is alive in this world but a broken shell of the man he knew as his father. As Clark sets forth to offer guidance to Jonathan, Clark Luthor plans to kill Lionel Luthor, take Tess as his consort, and stealthily assume control of the world in the regular universe.

The in-depth review.

Let me begin by saying this is one of the most gorgeous episodes of ‘Smallville’ that has ever been produced. From the lighting to the shot selection to the visual gags to the cast itself, everything about this episode was stunning and pretty to look at. As Jeannot Szwarc’s directorial swan song, you got the feeling he was giving a Valentine’s card to the show, a thank you and respectful goodbye after years together.

The playful spinning Chinese food in the teaser. The reveal of the gift box over Tess in the reflection in the mirror. That fabulous wide framing of Tess with the windows of her office behind her. The lighting with Clark L in shadows at the Ace of Clubs. The soft and glowing way all scenes with Lois were shot.

Earlier in the season, we had what I’d consider to be the crowning achievement of Season 10 (so far), the episode ‘Luthor’ that introduced us to “Earth-2″, Clark Luthor and gave us back our beloved John Glover. It was a wonderfully atmospheric episode that featured a commanding performance from Tom Welling in the role of his unscrupulous, Luthor-bred counterpart. Hearing that we were going to revist that world and Dark Kent, I was thrilled with anticipation. In the same turn, however, I was worried that it was kind of late in the game to be taking this kind of detour, what with only 6 episodes left in the entire series run (four episodes and the two-part finale). It can be said now that ‘Kent’ was far from a detour and actually represented precisely what this final season should be about: closure, remembrance, moving on, and typifying exactly how much Clark Kent has grown and is ready to head into the next (and well known) phase of his life.

What I enjoyed most about ‘Kent’ was that it was thoroughly a character piece and not exceptionally driven by plot, as is often the case with the show. With three of the four main cast members and guest star John Schneider making up the bulk of the dramatis personae, the characters were allowed time to simply interact with one another. That gave ever interaction a greater weight and feel, particularly Clark Luthor and Tess’ dinner, Clark Kent and alt-Johnathan’s time together, and Clark and Lois’ closing moments at the farm.

I have to give big praise to Tom Welling. Not only did he get a little more screen time than he’s used to getting lately, but he convincingly played two separate roles. This is none more evident than in the scene with Lois at the new apartment in Metropolis. Clark Luthor is pretending to be Clark Kent and we know that going into the scene. But there is a subtle shift in Tom’s energy and presence throughout the beginning of the scene that really captures how different the two men are. It’s an impressive skill Tom has picked up and shows how much he’s grown as an actor since the beginning of the show, for sure, but also since the last time he played an evil twin in Season 7 with Bizarro.

Of course, his Clark Luthor is very different again from anytime he’s played Red-K Clark. That could be evidenced in the scene at the Ace of Clubs with Tess. Red-K Clark is a man without inhibitions who tends toward darker, more selfish choices. Clark Luthor is a confident, diabolical man with no compuncture about doing anything to get what he wants. One could very easily picture Tom in a gangster movie or some type of conspiracy drama filled with hardened, nefarious men. His command over Clark L’s darkness is effective, especially because they added more layers to him this time. There was a softer side exposed in the way he talked about being the most wanted man in his world, a wistful moment that helped to add a little color and shade some depth to him. It was a superb way to set up the conversation between the two Clarks where Clark K tries to convince Clark L that he has humanity and he can be redeemed. (Once again, a very Superman-ly thing to do.) It gave creedence to what Kent saw in Luthor in regards to Tess and made believable Luthor’s drop in guard that allowed the Fortress to send him back to the alt universe.

The understood main thrust of the episode going in was that Clark Kent was going to visit a very much alive Jonathan Kent in the alternate world. That this Jonathan was going to be a broken, desolate man and the episode was going to showcase just how good of a man Clark K has become and the guidance he can offer others. There’s a little apprehension on my part about Clark just willy-nilly offering up “the way things should be” to people on Earth-2 without thinking of the consequences. His telling alt-Lois how he felt in ‘Luthor’ was a bit rash to me, though it was good to see that she ended up marrying alt-Oliver anyway. That Clark was just going to lay it all out there for this “other” Johnathan seemed a bit self-serving, but it was evident that the man needed a kick to move forward with his life. While the transition to Jonathan believing Clark’s story was a little too brisk – a fault more of the time constraint of the episode than of the story – it was touching to see these two interact and lovely to see Clark being softer in the way he was revealing what he had learned from his own father than he’s been in the past. Though this was all to be expected, Tom and John Schneider sold the whole thing wonderfully and made you realize again just how special their connection has been to the show. And what a great moment to give John to end the episode: possibility. (Though I was a little drawn back by the name ‘Martha Kent’ being on the doorbell tag. I would’ve expected ‘Martha Clark’. I guess it opens up the hope that she hadn’t really moved on.)

Erica Durance was positively adorable throughout the episode. There has been so much criticism this year that Lois has turned into nothing more than a cheerleader for Clark. While I don’t agree with that wholesale, there have been a few treacly moments and times where her enthusiasm and support have come across a bit shrill. Things that cannot be said of Lois in ‘Kent’. There was a more relaxed and natural performance to Erica’s work in the episode and that lent itself to some fine exchanges. The scenes that bookend the episode with Clark and Lois at the Planet and then their closing moments at the farm were superb, without a false bit of dialogue and featuring a real connection between Tom and Erica. In the run-up to their likely wedding in the finale, it’s terrific to see just how well these two work together and give them some quiet – though life-changing – moments before the storm.

The one word that screamed out in these two scenes – as well as in the scene with Clark L before she realized the truth – was ‘partnership’. I think Erica, especially, knows how to approach the intimacy of their shared life from the point of individuality. This felt like the same headstrong, driven Lois we’ve always known who recognizes that she has a strong and caring partner in her life. She didn’t have any hang-ups about their relationship, which would’ve felt entirely out of place, but was vulnerable in regard to the sense and loss of “home”. Instead of running away, though, she looked for a solution and helped Clark feel comfortable in his own. Tom brought his ‘A’ game and Erica was right there with him.

Cassidy Freeman, as well. Building further upon the seeds of doubt that Lionel sowed in Tess in ‘Scion’, Cassidy brought wonderful nuance to the continued struggle for Tess over her light and dark sides. It wasn’t just that she was scared of Clark L for her life, it was that she recognizes how in her core she is seduced by these darker impulses. I think there is a danger that this can fall into really heavy-handed territory but Cassidy walked that fine line with amazing skill, engaging us to invest in Tess’ final arc of the series. I also enjoyed the subdued nod to the Tess-Emil dynamic from ‘Fortune’. Without explicitly getting into what occured between them, Emil danced around a bit of jealousy and a bit of concern to let Tess know that he thinks highly of her as a person. It was a solid way to give focus to the light, good side of Tess after her ordeal. And it has to be said that Cassidy wore the hell out of that dress. Yowza.

I’m not sure why showrunners Kelly Souders and Brian Peterson had to rewrite Genevieve Sparling’s script for the final shooting script but kudos must go out to all three for a fantastic story. The pacing was dead-on and, as I mentioned earlier, that the characters were allowed to breathe and spend so much quality time together was welcome and appreciated. What could have come off as a very preachy way to show what Clark has learned in his life turned into a touching duet between (almost) father and son. ‘Kent’ gave us a chance to say further goodbyes to long-standing parts of the Smallville tapestry. I liked the juxtaposition of Tess preparing the guts of the Luthor mansion for demolition with Clark and Lois deciding to sell the farm. Goodbye, Kent Farm. We love you and we thank you for all your years of service. I, honestly, didn’t believe that we’d actually see a move by Clark and Lois into Metropolis on the series, but it was a well-handled next step toward Clark taking on the mantle of Superman.

‘Kent’ is a fave of mine this season, just as all of the episodes that have strongly featured the Luthors have been. I’ve mentioned previously that the Luthors are easily the “big bad” of this season rather than the threat of Darkseid, and I think this episode holds that to be true. It’s fascinating that they managed to bring everything back full circle in the series to a story about the Kents and the Luthors, but that’s exactly where the show belongs. For that, I’m kind of grateful for the way they’ve handled the Darkseid arc.

And to prepare you for two-hour series finale on May 13th, the CW market department has created what is probably their finest Smallville promo ever…

Summary: A lavish and assured start to a grounded but driven retelling of the ages-old Arthurian legend.
Rating: 8/10

** Note: Review contains spoilers if you have not seen the episode.**

The quick skinny on the episode.

Full of vengeance and spite over feeling her mother was tossed aside and forgotten about, Morgan Le Fay kills her father Uther Pendragon, the king of Britain, and banishes her stepmother so that she may assume the role as royal head of the country. Morgan makes a pact with Uther’s chief rival, Lot of Lothian and Orkney, to take advantage of his power and reach. Unbeknownst to her, Uther and Igraine sired an heir that the sorcerer Merlin hid with commonfolk to protect the future. Merlin gathers the heir, Arthur, and tells him of his lineage and rightful place as King of the country. He also has Morgan, Lot and other dukes and lords meet them at the old ruin of Camelot to recognize Arthur as the true next-in-line.

The in-depth review.

Starz seems to have found a formula for its distinctive, winning series: period epics dressed up with the sex and language that premium pay cable allows. It’s what has turned an exploitative series like Spartacus: Blood and Sand – and its limited-run prequel Spartacus: Gods of the Arena – into a beaming success and paved the way for an ambitious retelling of the Arthurian legend in Camelot.

Just like with Spartacus, these trappings reveal themselves to be mere enticements that don’t truly represent or reflect the true strength of the show: the writing. Unlike its Roman-based kin, which took me two to three episodes to succumb to, this strength is displayed right from the get-go in a literate and well-informed pilot script.

I have always been a fan of King Arthur’s stories. In fact, when I was in an advanced extra-curricular education program in middle school (way back when), one of the classes I elected to participate in was specifically devoted to studying Arthurian legend. As a writer, I’ve always been keen on developing my own Arthurian film, but it’s such a well-hewn path that it’s hard to find the appropriate “in” to tell the story. Even Camelot feels a bit familiar, informed by elements of John Boorman’s Excalibur; the two Halmi Merlin mini-series with Sam Neil; the deconstructive King Arthur with Clive Owen in the lead role; and the BBC’s recent Smallville-inspired Merlin series. There is also a tone and texture influenced by the Showtime series The Tudors.

All of these influences actually merge well together on-screen with an excellent concept that allows the series places to go with its story. By starting with Arthur so young, the potential to mine this material for years and seasons is vast. If they can hold on to their players – Joseph Fiennes and Eva Green in particular – I’m interested to see just how much of the story they want to cover and end up getting to.

One of the more appealing aspects of this pilot episode was the brisk pace of the events. They start Arthur out in the traditional hero myth role of the put-upon “common” man. It’s a shrewd choice in that it allows us more exposition to set up this world as Arthur becomes exposed to it all for the first time. Thankfully, they didn’t spend a whole lot of time with a reluctant Arthur. Yes, the boy king is in way over his head, but it would be tiresome if he spent the whole first episode kicking around his adopted family’s homestead while deciding if he wants to embark on a grand adventure. I also like the fact that he brought his adopted brother, Kay, with him. As Arthur will come to rely on his Knights of the Round Table as a brethren, this plants the first seeds of that aspect of the character. A man made stronger by the company he keeps.

Obviously, the most realized character on display in the premiere is Eva Green’s Morgan Le Fay. In just the few opening scenes, she’s already got a nicely drawn backstory. I do look forward to her shading Morgan with more layers as the series goes forward. She played within the realm of the bitchy aspects of her Vesper Lynd from Casino Royale the majority of her time on-screen. Yes, Morgan is a mean, nasty witch, hellbent on Arthur’s downfall and the destruction of Camelot for her own gains. But she should be shifty and less outright vile. We’ll have to see how things shake out following the mourning period Lot gave Arthur for his adopted mother.

James Purefoy was also a treat in the episode, making Lot into a brute who would be king. He wears his id and his ego on either side of his armor and it makes for great scenery chewing. The point where he walks out of the hall when Morgan and Queen Igraine first meet Arthur was delicious. He’s also uncompromising, which plays a nice contrast against the novice liege.

The two I have issue with are also the two main focii of the story: Fiennes as Merlin and Jaime Campbell Bower as Arthur. Bower did a fine job in the episode, starting out a little rough by seeming to grow into the plot as it went along. My issue is that he’s somewhat of a slight actor and I’m not sure if he’s going to have the presence or the skill to effectively grow with the role. It’s one episode, so I’ll give him the benefit, but he does seem a bit weak. It works now, at this stage. It’s later that will be the concern.

As for Fiennes, I’m running into the same problem with his intensity that I had trying to follow him on FlashForward. He has gravitas and flair, but his scowl, furrowed brow, and dour line readings that always seem filled with menace make him quite unsympathetic. I’m not sure I’d want to spend much time with the character if he’s just going to be an angry taskmaster the entire time. If Fiennes can reclaim some of the charm he displayed in Shakespeare in Love, I could see Merlin being fun as well as devious. There’s a brief moment when Arthur decides to go with Merlin where the wizard/man-at-arms displays a puckish grin that belies potential. Also, while recounting the story of Uther’s deception to sleep with Cornwall’s wife that sired Arthur, he seems to be enjoying the moments.

I’m actually quite a fan of the rugged and run-down look of this world. It feels lived in and helps to ground the story. That Camelot is a relic of Roman occupation on the edge of a severe cliff both diminishes the legend and also holds great promise. In many tellings of the story, Arthur has Camelot built from the ground up as a city unlike any ever seen by man. In the fashion of this version, the abandoned castle gives them something to visually strive for, the rebuilding of once-proud glory and the hope and possibility of a greater future. I must admit that I was a bit underwhelmed by Camelot when they showed it in the establishing shot. Once inside the great hall, though, with that look to the delapidated ceiling, the scale was immense and almost intimidating. It speaks to the reach and ambition of the production.

I also like the fact that the show doesn’t shy from sorcery. For some reason, there is this schism in the last couple of decades regarding telling this type of story. It’s either complete fantasy, losing a connection with reality that lessens its weight; or it’s pushed all the way to the other side of spectrum where no magic is allowed to live in favor of more of a sword and armor historical epic couched in the violence of films like Braveheart.

All in all, ‘Homecoming’ is an assured start for a series that shows great potential to be one of the definitive adaptations of this ages-old tale. It’s not flawless but as pilots go it presents itself well. There’s also a great exchange between Arthur and Merlin about fate and destiny and how destiny is not just handed to you but must be won. It’s a great battle cry for the series that looks like it wants to earn the various facets of the legend and not just throw them at the audience like a foregone conclusion.

Summary: A well-done episode that roots itself in the past of the series to highlight how Clark has grown and proves the strength of the Luthor storyline this season.
Rating: 9/10

** Note: Review contains spoilers if you have not seen the episode.**

The quick skinny on the episode.

Tess introduces Clark to Conner, the next step in the clone Alexander’s evolution, as it’s revealed he was born of the spliced DNA of both Lex Luthor and Clark himself. Conner is coming into his powers and Clark takes it upon himself to mentor the boy. Meanwhile, Tess and Lionel fight over the boy and LuthorCorp.

The in-depth review.

What a lovely mini-finale for the spring hiatus. Chalk yet another rousing success in Season 10 up to the Kent and Luthor dynamic that began this whole series. With ‘Luthor’, ‘Beacon’, and the Tess and Alexander parts of ‘Harvest’, everything related to the Luthors has been nothing short of phenomenal and ‘Scion’ builds even further upon that solid base.

I have to heap praise on the script by Al Septien & Turi Meyer. The care for the series, its history and its fanbase is extremely evident and I couldn’t help but be giddy with all of the little shoutouts to the series’ past throughout it. The callback to Season 2′s ‘Heat’, when Clark first developed his heat vision in a metaphor for puberty, as Conner caught a glimpse of the rather tasty looking Lois. Tying Conner’s Kent origins to Helen Bryce and the blood she took from Clark back in Season 2, as well. Conner’s mini-’Exile’-like attempts to woo Lois when he saved her from Lionel. As much as last week’s ‘Fortune’ was a rather weak Smallville episode, this one is one of the strongest.

The script was helped even further by surehanded direction by Al Septien, his first (and only) appearance in the canvas-backed chair for the show. While I thought there were a few points when the dark in the show was real dark, I thought Septien (with DP Glen Winter) framed terrific scenes and kept a solid meter of tone and pace throughout. I’m not sure if this was his first director gig ever, but he handled it like a pro and kept the focus on the story rather than tricks or gimmicks. For my money, it was one of the best episodes directed by a member of the writing/producing staff.

In the name of full disclosure, I hate Conner Kent. I hate Superboy, both the Conner and Clark Kent versions. (I’m not even going to get into Superboy-Prime and all that mess.) I have never been a fan of the concept. A teen swathed in the traditional red and blue flying over Smallville, Kansas, who then reappears as a “super” man in Metropolis, all at the same time Clark Kent is around. A boy band clone version attempted to be sold to the public as the genuine article following Superman’s “death” at the hands of Doomsday. The retcon that made the clone, as Lois puts it in the episode, the “lovechild of Clark Kent and Lex Luthor”. I could do without any of them and the fact that they are around continues to make me roll my eyes.

That said, I haven’t been too terribly bothered by Conner’s appearance on the animated Young Justice series, even though he’s a bit too whiny. More importantly, I really wasn’t bothered by the transition of Alexander to Conner on this show. The bit of exposition where Tess explains that the clone is transforming was the right amount of explanation for this change from distinctively all-Luthor to this more Kent-like side. I thought Lucas Grabeel handled both sides wonderfully and he felt like an organic part of the series. I’m also keen on the fact that this Conner looks like a boy. So often in the comics, they have him built like a man yet hanging around with all of these teens. The difference in size, stature and look between Welling and Grabeel gave visual weight to this story of Clark being a father and a mentor.

In addition, quite in contrast with Justice‘s Superman – who has been anything but accomodating to the arrival of Conner in that series – it was a joy to see Smallville‘s Clark Kent step up and be so fatherly. Having Clark explain to Lois and Conner what his parents gave to him was touching and gave heart and depth to this little storyline that sold it on me. Plus, it’s so nice to see Clark reference his parents with such fondness and lack of depressive weight.

Tom Welling shone in this episode and, though I know there are many who toss about comments like this often, I couldn’t help but be impressed with how much like Superman Welling carried himself throughout. His confidence in dealing with Conner as well as his unwavering belief in the good side of the boy. His trust and intimacy with Lois that he’s able to just openly share of his feelings of being an outsider without resorting to pleas of pity. The hilarious but spot on ways he would just pop up unfazed when Conner was chucking him through walls. Everything Welling did in this episode just clicked for me.

The humor in ‘Scion’ was also of the right vintage, which was such a relief and joy after the grotesque quality of the attempts in ‘Fortune’. The aforementioned moment where Conner popped his heat vision upon seeing the curvaceous Lois was executed wonderfully by Welling and Grabeel. From the turns to shoot the beam the other direction, to the spins back and reactions in response to Lois, their timing was superb. Clark attempting to train Conner in using his heat vision was also a treat, and I enjoyed it much more than the watermelon gag with Kara from Season 7.

Lois Lane was everything in this episode that people had complained she’d lost this season: an investigative reporter, intelligent, caring, headstrong, and independent. That it was Lois who came up with the plan to prove Lionel a fraud was in-character and great reaffirmation of the woman. Erica Durance not only looked stunning this episode – particularly in the silhouette she was cutting in the barn when she appeared – but she did feel more in her own skin, as well, which gave her some fine moments on her own as well as her scenes with Tom. I’m really enjoying the fact that Clark and Lois are a happy and functional couple. To see them support one another and positively look to their future without dread brings smiles to my face.

I could gush for ages about the work of John Glover and Cassidy Freeman opposite one another. I like that there is a lightness to Tess but she still retains so much of the sternness of the character when facing Lionel. Lionel is absolutely right; she is still a Luthor. And I like the fact that they aren’t going to ignore that dichotomy but hope that they don’t spend the rest of the series having Tess flip flop every episode. It was nice to see how cooly – and simply – Tess dealt with removing Lionel from power. Glover as Lionel was the perfect amount of reptilian slick this episode you almost just take it for granted. I look forward to what kind of deal or interaction Lionel has with Darkseid. It would appear that the Dark Lord is going to reanimate the corpse of the deceased Lex and that is how we’re going to get Rosenbaum back. (I still would rather prefer that the Lex that died was a clone and not the real one.)

A few things to note: It’s interesting that they decided to model the look of the dark side of Conner on the recent Superman: Earth One style that charted in the mainstream media a few months back. Personally, I wasn’t a huge fan of Earth One and it seemed like that Clark had a little bit of a dark lining to him in an effort to be “relatable” to today’s youth. This fit with the Alexander side of Conner.

Just when we thought the Luthor mansion was no more, they managed to sneak it back in there. I actually rather enjoyed using the scorched out innards of the den as the setting for Clark’s and Dark Conner’s showdown. I wonder if it will show up again.

I also enjoyed the peace with which everything occured in this episode. By that, I mean that everything felt absolutely right within the world of Smallville. It didn’t feel like they were trying to foist something upon us just because it was a sci-fi/fantasy series and we should accept anything within that realm. (Kind of like charmed champagne.) Tying back into the past of the series, I think, went a long way toward fostering that peace and identity.

And they squeezed in Red-K in for one final appearance in the series. I dare say, it was even the perfect way to do it. I had worried that they were going to try to milk Red-K Clark once more before they closed up shop. I felt that they had really played out everything about the trope, but it was great stroke of creativity to have Lionel use it to pull out that Luthor side of Conner’s duality. It gave credence to why he would suddenly be acting out in evil, selfish fashion and it was a nice visual way to show kinship with Clark but also the distinct difference of the boy. I tip my hat to them for a note-perfect use of the gimmick.

‘Scion’ was a strong episode to send the series into this extended break. Kind of hard to believe that when they come back it will be the home stretch. If they can keep up with the quality that they presented this week, we’re in for a finish the likes of which we could only imagine.

Just in time for the telecast of the 83rd Academy Awards, I have revised my original list of top 10 films of 2010. Again, these are of films that I have seen, but I think it represents a truer look at the head of the class of the past year in film.

To view the original list, please visit: My Top 10 Films of 2010

To quote from the previous list, “Overall, I can’t say I was really impressed with 2010 in film. But that said, the top films I saw were exceptional – the top 3 bordering on classic – and could stand up with many of the best from other years. I guess you could probably chalk it up to ‘awards season’ but I also found that much of the best in film for the year wasn’t released until the later part of the year. As a result, it really stood head-and-shoulders above the rest of the year.”

I have also decided to include 3 films that were “also-rans” for context. In another year, these films could likely have been in a Top 10 list.

3 Films Nearly in the Top 10 of 2010

13. Blue Valentine
The film was promoted on the strength of the performances of leads Ryan Gosling and Michelle Williams and I have to agree that the two are amongst the best actors of their generation. I love the commitment on both of their parts and the movie covers some exceptional ground. I feel, though, that it shortchanged their courtship, which made it harder for me to believe in the connection that these two characters shared.

12. Wall Street: Money Never Sleeps
(Originally #10 on Top 10 List)
Fabulous performance by Michael Douglas reprising what could be his signature role in Gordon Gekko. The story actually feels organic rather than just a way to cash in on the cachet of the first movie. It’s also fairly well-restrained for Oliver Stone and a nice dissection of the events leading to the Financial Collapse of 2008. The love story/family tragedy between Shia LeBeouf’s and Carey Mulligan’s characters is a little treacly but both turn in fine performances and give you people to root for.

11. The Fighter
(Originally #9 on Top 10 List)
I think Christian Bale is a phenomenal actor, but I always hesitate to heap praise on him because it seems not only de rigeur to do so but also somewhat dismissive of what he accomplishes. His Dicky Ward seems a bit over-the-top at first glance, until you realize it’s very true to the living, breathing person he is playing. Just watching Bale’s fidgeting in the part was an astonishing lesson in commitment. Mark Wahlberg, who does his best work with director David O. Russell, is compelling in the role of boxer Mickey Ward, something the actor struggles with in other roles. The Ward family is beautifully and believably realized. I only wish I felt a little more heart from the film. And the ending, though true to real life events, felt a bit off and anti-climactic to me.

And without further adieu…

My Top 10 Films of 2010

10. 127 Hours
Danny Boyle continues to impress as a director, finding a story that, in some ways, is built for the big screen but is in many ways totally unfilmmable. James Franco gives perhaps the most fully realized performance of his career as Aron Ralston, the real-life outdoor enthusiast who was trapped in a crevasse for 5 days when a lose rock trapped his arm forcing him to amputate his own arm to free himself. The movie encapsulates the heartache and triumph as only we could best guess that it would be in the situation.

9. True Grit
The story and film are a lot more straightforward than I had expected, to the point I’m almost tempted to use the word “simple”. But being the Coens, they manage to layer on character and life, not to mention humor, to each person in the film and every actor, particularly Hailee Steinfeld as Mattie Ross, steps up and inhabits it all fully. This is one that I think will grow on me more and more, much like Fargo – a film I actually didn’t like when I first saw it – did.

8. Exit Through the Gift Shop
I always hesitate to mix narrative features with documentaries in any kind of list or comparison, but Banksy’s Gift Shop is such an entertaining highlight of the year it belongs in the Top 10. In fact, it probably would’ve ranked higher on the list based on the first 2/3s of the movie alone. It’s when its subject, Thierry Guetta, decides to become a “street artist” named Mister Brainwash that it becomes exceptionally uncomfortable and even a bit vindictive. It’s still compelling throughout but you feel a bit dirty and worse-for-wear afterward.

7. Black Swan
Speaking of films growing on you, Darren Aronofsky’s obsession masterpiece is a bit of a tough swallow the first time through. I have to admit to being somewhat disappointed in it at first given all the the hype it had received. But this is a story – and a turn by Natalie Portman – that sticks with you. My only real drawback with this film is that it didn’t focus enough on the ballet, the art and the drive, to fully sell the obsession for me. The supporting cast throughout, led by a lascivious Mila Kunis, is superb and helps to shade depth to a rather dark story.

6. Toy Story 3
I never saw the first Toy Story when it came out. I was in my early 20s and couldn’t really be bothered with an animated kids’ film. I ended up catching it on DVD a couple years after it was released and was astonished at how literate and emotional the story was, not to mention just outright fun. The second added even more depth and to say that I was fully invested in these silly cartoon characters by the third movie is an understatement. I’m so glad that the Disney-Pixar merger happened and that Pixar was able to rescue this sequel – which they originally didn’t want to do – from what could have been a sub-par cash-in on Disney’s end. The movie is a fitting tribute to the series and, as someone who still has trouble putting away childish things, a heartfelt and touching ode to the kid – and toy buff – inside me and us all.

5. How To Train Your Dragon
Here’s another that was completely off my radar before I was sucked into it on DVD. Most of the Dreamworks Animation stuff, aside from Shrek, I’ve shied away from. Plus, I wasn’t familiar with the book that this story was based on, so I paid it little mind. That is until I saw that first flight Hiccup takes on Toothless. Now, I didn’t see this in 3D, but the flight was so captivating and engrossing, I actually teared up from it. The technical achievement of this film blows me away, from the flights, to the fire and smoke, to the lighting. This was one of the most beautiful movies I’ve ever seen. It had a stunning story to match. And the fact that there are consequences to Hiccup’s great bravery in the end that they actually stuck to in a “kids” movie renewed my faith in writers.

4. The King’s Speech
You have to enjoy a film that is built on the strong interplay of two main characters and Colin Firth and Geoffrey Rush together are exquisite. Firth’s dedication to the part of King Edward VI, “Bertie”, is captivating – if a bit gnawing at those points where you the audience want to help him with his stutter – but it’s Rush who nearly steals the show with an unbridled, uninhibited performance that commands every moment he is on-screen. Though the film is a bit standard as far as period pieces go – perfect Oscar bait – I find the examination of such a specific footnote of history quite refreshing. The humor with which it’s told also makes a fitting mockery of all the supposed “comedies” that are shoved in our faces throughout the year. Praise should be given to the splendid supporting cast as well. Helena Bonham Carter, who I’m not a big fan of, is engaging and Guy Pierce and Timothy Spall stand out as well.

3. Inception
I am a Nolan fan. I don’t make excuses for it. And I certainly don’t bow down to people who knock on Nolan fans as being the “in” thing to do following The Dark Knight. I fell for his style, commitment to character, and ambition in Memento and I’ve been hooked since. His track record, in my book, hasn’t let me down and Inception is no exception. I know a lot of people who complained about the too “realistic” world of dreams that Nolan created in the film, saying it seems uninspired and showed a lack of imagination. For me, I always took it as a common way of lulling other people into a false sense of reality that masked the dreaming so that the team could accomplish their goals. If I was trying to delve into someone’s mind, I would need constructs that were more based in reality for it to make sense to us both. The concepts of the different levels, the loss of self, and the seeding of our own destruction were very palpable and meaningful, as was the quality of redemption and of letting go to move forward. The intricacies of the script are awing and the performances across the board – particularly from Tom Hardy – are surehanded and remarkable.

2. Scott Pilgrim vs. The World
This was, by far, the most entertaining movie of the year for me. The fact that it was so overlooked by audiences is criminal. Sure, it’s a flavor not for everyone but I think people might have been misled in how accessible it actually is. Yeah, it’s rooted in video games (particularly 1980s 8-bit Nintendo-era gaming) and comics, but it actually has a pretty universal message about love, baggage, expectation, and compromise in relationships. It’s a pretty and fun film, as well, with great turns by Michael Cera and the beguiling Mary Elisabeth Winstead in the leads and brilliant support led by Jason Schwartzman, Chris Evans and Brandon Routh. I just hope more people are able to stumble upon it.

1. The Social Network
I’m a Sorkin fanatic. I’m a Fincher fan. I like Facebook (for the most part). Hearing that all of these elements were coming together for a movie … left me cold. I really thought this sounded like a cheap way to cash in on the “craze” that was being hyped about social networking and that it just wouldn’t make for a good movie. Boy, was I wrong. As more and more came out about the movie in the months prior to it opening, I started to get more and more intrigued. I finally managed to snag a look at the script and it was a Sorkin classic. It told a story that was not about Facebook as much as it was about the ideas of connecting with the public at large in this new day and age. In the race to connect and build a business around it, the story painted a fascinating picture of the drive of people and the ironic way in which the connections amongst these particular individuals dissolved. Fincher brought everything to power life, pushing a great script into a watershed film. This movie is compelling in a way I haven’t seen in many stories over the past few years and is probably the first to really capture the way the technology to socialize in our world has diminished that ability in real life. Don’t get me wrong, social networking and social media are phenomenal tools. But there does seem to be a disconnect in life and I think the Mark Zuckerberg of this film (whether it’s an accurate portrait or not) encapsulates that.