In a world of mega budgets and global marketing campaigns and releases, Steven Spielberg is a director with few equals. By thirty-two he had crafted more hits than some with a lifetime in Hollywood. And he continues. Staggering ticket sales aside, the scope and variety of his work is just as impressive as the library of special effect technologies he helped pioneer, and War of the Worlds reaffirms his position in the movie world.

This is a big picture in terms of the scale of star power, the cast size, and digital effects. The story is a bit lean, just as the basis for the original movie was. It’s a classic Spielberg formula, an every man styled broken family must negotiate a situation of earth shattering importance. Aliens invaders, you have a pickup! Please report to the front counter for your nefarious plans of conquest and domination.

What’s good about War of the Worlds:

1) Effects, effects, effects. Steven Spielberg wrote the book on eye candy.

2) Key characters – Tim Robbins, Dakota Fanning and Tom Cruise excel here. Tim Robbin practically steals the movie from Cruise.

3) There was a distinct M. Night Shaymalan influence to the camera work. Several of the shots involved reflections off water, glass or mirrors. Maybe Spielberg has always done that but this seemed different in this context and it was a nice touch.

4) The robot attack ships were way cool.

5) Easy to follow, easy to watch.

Areas needing improvement:

1) The ending pales against the opening and buildup. I wanted for more verve for the climax.

2) It’s neither scary, nor particularly suspenseful. Either approach might have helped the ending.

Verdict: Theater, matinee price. DVD if a theater system is available.

For every generation, a hero rises. For every hero, there’s a story. This is the story of Batman.

Everything that was wrong with the franchise, including the director, production team and approach has been discarded. This is a fresh, clean look at one of DC Comics longest running, and most intriguing, characters.

Gone are the codpieces, the soap opera grade acting, the gratuitous butt shots and nipple rings. Goodbye Joel Schumacher, Tim Burton and George Clooney. Hello Dark Knight, we’ve been expecting you. Welcome darkness.

This is a serious look at the origins of Batman, the first film that answers questions like – How and where did he get all those wonderful toys? Who taught him to kick ass? Why is the bat his symbol? Patience, all is revealed in a stunning two hour and fourteen minute narrative.

What works about Batman:
1) Actors. Every actor is perfectly cast and directed properly. There’s no stiff delivery or overeager method crap here. Bravo, Christopher Nolan!
2) Narrative. The story flows, never drags, and always entertains. A sign of the narrative’s strength: based on what we’re shown, the plot is feasible. It’s not a question of wanting to believe in Batman and giving the movie the benefit of the doubt. Rather, this is Batman, check him out on the screen.
3) The Batmobile. Best bat transport vehicle yet.
4) Tone. This is not a soap opera drenched with glib jokes and carnival colors. Under the reign of Schumacher I thought everyone might break out in song and touch themselves ( and perhaps the audience too ). Instead, it’s a serious look at Batman’s origins, with the proper blend of humor and drama.
5) Gotham. A great looking Gotham, and the first that feels like a real city instead of a set. Real, but with an edge and tinge of comic book netherworld.
6) Score. We all love Danny Elfman, but it was time for a new sound. This classical themed backbeat is the finishing touch that takes the film to the next level.

Verdict: Theater full price. Buy the DVD and invite me over.

Like most of America, I cringed at the amount of Bennifer 1 press. The national nightmare seemed it might never end. Months after the split, talk of the Bennifer 1 effect on films that starred either Jenifer Lopez or Ben Affleck hounded both actors. Some movies flopped, some did well. Ben Affleck hasn’t moved past the stain of overexposure yet. Jenifer Lopez has. Monster in Law proved it.

She was everything in this film once assumed she was not: likeable, funny, charming and down to earth. I liked her character, I liked her performance, I liked this movie.

The plot – Love Story-esque – common girl falls for a rich only child of an overprotective mother who disapproves of the new love, and railroads the relationship. Jane Fonda, the monster, was al dente. While I disliked her years ago for other reasons, she’s back on the will watch list. Oh her character was mean and vicious and calculating, and it worked for her very well in this role.

What’s good about Monster in Law:

1)Casting. Every character who matters in this flick is cast properly. Good performances. Aloha, Hanoi Jane!

2)Plot. Tight. The writing works for it, the characters are consistent. Conflict keeps the story interesting.

3)Execution – everything comes together.

Verdict: A good date film. Matinee, DVD rental.

A better title for Crash would be Bomb. Stink Bomb that is. From the very first scene until the final credits, the stench only increases.

Besides the fact that the characters are wretched, save the locksmith, who is the only reasonable and believable individual, it’s a “themeâ€? film. I’m of the opinion that if you want to send a message, try Federal Express. If you want to tell a story, write a book, a play, or make a movie.

What is this magnus theme? We are all racists. We must be, because every character says nasty and derogatory things about other ethnic groups. When the actors are mouthpieces for a writer with a mission statement, they must break character and accommodate those pearls of wisdom. The net effect – each actor sounds and acts the same – bitter and bigoted.

What’s good about this movie.

1)All cameras are in focus.

2)Soundtrack is hopping.

3)The color processing is correct.

4)The cast is varied and diverse, and effective. Just not in this film.

Verdict: No stars, no cookies, no thumbs up. Avoid Crash. See it on an airplane and don’t rent the headset. Or buy the soundtrack, where available.