"THE DIVING BELL AND THE BUTTERFLY"
In a nutshell, Julian Schnabel's "The Diving Bell and the Butterfly" is an extraordinary piece of filmmaking. Based on the novel by Jean-Dominique Bauby, the film tells the true story of a successful magazine editor whose life takes a drastic turn when a stroke leaves him fully paralyzed. Capable of using only his left eye to communicate with the outside world, he soon expresses his wish to write a memoir of his life before he became a prisoner of his own body. Schnabel's film is unique in the way it explores the tragic consequences of the so-called locked-in syndrome, a condition in which the patient is awake but cannot move or communicate. The first five minutes of the movie are extremely claustrophobic, showing how the patient first reacts to his new predicament. On many occasions throughout the film, Schnabel's ingenious direction and realistic vision, and Janusz Kaminski's flawless cinematography, permit the audience to see what the man himself sees, the people around him, his dreams and deepest thoughts. But the film not only tells the story of a man living with the locked-in syndrome. On the contrary, the plot also comprises a selection of heartwarming flashbacks, which gives the viewers an intense insight into the protagonist's life prior to his stroke. "The Diving Bell and the Butterfly" is a wonderful experiment that invites its audience to explore the tragedies of complete paralysis, digging deep into the conscience of a man whose desperate screams are mostly left unheard.
GRADE: A-


"THE SAVAGES"
In Tamara Jenkins's bittersweet comedy, "The Savages," two middle-aged siblings who've drifted apart over the years struggle to overcome their darkest memories as they begin to care for their dying father. Jon (Philip Seymour Hoffman) is a lonely college professor who's been working on a book on Bertolt Brecht for ages. Wendy (Laura Linney) is an independent playwright who works part time and has a joyless affair with a married man. The last thing they ever wanted to do was get involved with family problems, but when their father's dementia starts to worsen, they have no choice but to face their fears and find a solution, together. "The Savages" draws a wonderful portrait of two siblings who have been living miserable existences, until the decreasing health of their dad forces them to finally act their age. Jenkins's script is an incredibly realistic and convincing masterpiece, which examines two intricate characters wrestling with real-life complications that will prompt them to pull their lives together and start over as a family. Philip Seymour Hoffman and Laura Linney treat their characters with outstanding credibility, creating a sophisticated pair of siblings who offer truthful and memorable dialogues. Select scenes in the film provoke instances of comic talk, but the film prefers to stick to an overall dispirited mood. Jenkins's top-notch camerawork gives the viewer the opportunity to reach out and feel the pain of the protagonists, awarding the experience an even stronger sense of realism. Subtle humor, grandiose acting and solid writing make "The Savages" a must-see, securing the film an early spot on the list of the best films of the year.
GRADE: A

"MAD MONEY"
It's nice to see that Tom Cruise's religious system permits Katie Holmes to step in front of the camera again, because she undoubtedly delivers the most electrifying performance in a rather dull con movie. Indeed, Callie Khouri's latest comedy "Mad Money" is nothing but a cheap female version of "Ocean's Eleven," minus the brilliant twists and spicy humor. Instead of plundering a casino, three employees of the Federal Reserve Bank plan to steal soon-to-be-destroyed currency from the government. Lead actresses Queen Latifah, Diane Keaton and Katie Holmes show enough enthusiasm and would have made an excellent trio in a different movie.  Glenn Gers' superficial script, however, robs them of every chance to shine, failing to supply them with catchy lines and more intriguing characters. The plot couldn't be more banal, the jokes rarely fly, and the entire stratagem to smuggle the money out of the bank lacks punch. In a solid con flick, people usually spend two thirds of the film devising an ingenious scheme for their robbery before surprising everybody who's watching. In "Mad Money," the characters figure out a plan in a matter of seconds, and 20 minutes into the movie, they pull off their first victorious theft. From there, the plot switches to autopilot, as they keep stealing more and more money without ever thinking about the possible consequences of being caught. The movie ends with a drastic but incredibly ridiculous twist, alerting cinemagoers that crime is contagious and the desire for money makes people do bad things. Wow! If you desire some advice, don't spend your MONEY on this.   
GRADE: C-

"THERE WILL BE BLOOD"
GRADE: A
For a capsule review of this film, check out TNJN's best film of 2007 here:
http://tnjn.com/2008/jan/04/ten-best-films-of-2007/