George Clooney’s newest film, The American, directed by Anton Corbijn, is a sort of combination of Clooney’s past films Up in the Air and Ocean’s Twelve/Thirteen. In one sense, Clooney’s character is deep, profound, and brooding, much like his character in Up in the Air. Yet though detailed and precise he is also an immoral “bad guy,” which is of the same vein as the character he played in the Ocean’s films. Unfortunately, The American deviates from the aforementioned films in that it fails to maintain the audience’s attention, sympathy, or concern for the character’s final outcome.
The Last Exorcism could have been a very thoughtful exploration of skepticism being thrown into doubt (if not out the window) in the face of spiritual evidence to the contrary; unfortunately, however, the film throws all that out with its ridiculous ending.
Though she has been dubbed the anti-Mary Poppins, Nanny McPhee is essentially a repackaged version of Mary Poppins, minus the lovely beauty of Julie Andrews and a spoonful of sugar, and with the addition of a snaggletooth, enormous nose, and magical walking stick. This does not distract from the charms and adventures of the Nanny McPhee films, however. Directed by Susanna White, Nanny McPhee Returns tells a slightly different tale from the original 2005 Nanny McPhee movie, but manages to attain the same hearty comedy, morality, and special effects that made the first film a success.
Directed by Ryan Murphy, Eat Pray Love is a movie adaptation of the New York Times bestseller Eat, Pray, Love: One Woman’s Search for Everything Across Italy, India, and Indonesia, �written by Elizabeth Gilbert. Based on Gilbert’s real-life experiences, the memoir focuses on Gilbert’s struggles with her divorce, from which she attained closure through her journeys across the world. Unfortunately, both the novel and the film appeal to a very specific audience, leaving all others in a coma-like state throughout the reading/viewing experience.