THE AMAZING SPIDER-MAN 2 Review

I don't really understand critics' distaste toward "The Amazing Spider-Man 2." Not only is it a great superhero flick, it's even better than Marc Webb's first entry. No, I haven't seen last month's "Captain America: The Winter Soldier," so just spare me there. But even on its own terms, not compared to other superhero movies out there, this second Spider-Man outing strikes a keen balance of light and frothy fun, genuine humor and high-flying action with ample amounts of romance, depth of emotion and real pathos. Take, for example, the film's first two sequences. The opening in-flight scene is harrowing and heartbreaking, while the opening re-introduction to Spidey swings briskly with grace. The control of tone is impeccable and more than makes up for any pratfalls in juggling plot lines.

Andrew Garfield cements himself further into the role of Peter Parker with great panache. Donning the suit, he slaps crooks across the face with charm and snappy one-liners. They're goofball and cheesy but also loyal to the source material. Spider-Man is a jokester. Here, even his ringtone is his own theme song. There's certainly not a lack of talent involved, with Emma Stone reprising her role as the glowing and independent Gwen Stacy. Not to mention the talented Sally Field as Aunt May who can carry a scene all her own.

It's graduation day while Spider-Man is busy dealing with an escaped convict (Paul Giamatti) trying to hijack precious Oscorp materials. Already wrestling this double-life, Peter is also haunted by the memory of Gwen's dad (Denis Leary) warning him to stay away from his daughter, in order to keep her safe. Must he let her go because he loves her too much to lose her? Meanwhile, the mysterious Oscorp has a new king, and it's Peter's old school friend Harry Osborn (Dane DeHaan). What starts off as a friendly reunion soon turns sinister once Harry's life is at stake.

The major threat is the seemingly harmless Oscorp employee with a strange Spider-Man fetish, Max Dillon (Jamie Foxx) -- that is, until he gets in a catastrophic accident rendering him into the frighteningly powerful and ready-for-revenge Electro. He's a daunting villain who's certainly more threatening and whose motives are more structured than the Lizard, who basically just wanted to turn the city's citizens into a bunch of self-healing green lizards for some reason. Foxx isn't given too much to do, but he works with what he can, while the more personable foe for Peter Parker is rightfully played by Dane DeHaan. They share an uneasy chemistry that is far superior to anything Tobey Maguire and James Franco churned out a decade ago.

For those complaining about the film getting weighed down by too many villain threads, it's safe to say it doesn't feel overstuffed. It's definitely no "Spider-Man 3." A third onscreen villain hardly gets any screen time. Sure, it's all universe-building, and while I was certainly aware of it here, it hasn't become too distracting. Yet. The movie is also visually gorgeous, from the choreography of Spidey's web-slinging through the city to the fine orchestration of the action set pieces. I didn't see it in 3-D because I made that mistake last time -- it darkens everything far too much.

The new "Amazing Spider-Man" franchise still comes back to the chemistry between real-life couple Andrew Garfield and Emma Stone, whom Marc Webb directs so eloquently. Remember, folks, this is the guy who did "(500) Days of Summer" before signing on to a Marvel franchise. The scene of Peter crossing the street toward Gwen with that song playing, it's enchanting. There's a clear emphasis on interpersonal relationships, which is something to appreciate within a superhero flick. But, yes, there's a whole lot being set up here for the future films, most notably the villain-focused "Sinister Six" film. In that regard, I'm glad Webb decided to step down when he did because after this, it would be no surprise to see the Spider-Man world take a drastically steep nose dive.

THE AMAZING SPIDER-MAN Review

It is certainly debatable whether or not we needed a reboot of the "Spider-Man" franchise ten years after the first film and just five years after the most recent one. But if we are going to receive a "Spider-Man" reboot, then I'm glad it's this one. From director Marc Webb (fitting last name, right?), "The Amazing Spider-Man" is essentially a remake of Sam Raimi's original "Spider-Man" (2002). But that's to look at it in the most basic sense, which wouldn't do Webb's version justice. He presents a re-imagining of the web-slinging hero's origin story, a more emotionally invested and comprehensive back story as to what happened to Peter Parker's parents and what ends up motivating him to don a mask and start fighting against criminals. And while Raimi's "Spider-Man 2" (2004) is the best of the Spidey movies, this one comes in a close second.

Peter Parker is played by Andrew Garfield ("The Social Network," "Never Let Me Go") whose name is going to blow up after this movie. After being mysteriously left behind by his parents, he comes into the care of his Uncle Ben and Aunt May, played exquisitely by Martin Sheen and Sally Field as loving parental figures. Peter stumbles across his dad's old briefcase filled with brilliant scientific work, a clue into his past and why he fled. The documents lead him to a skyscraper housing Oscorp, your everyday comic book science corporation working on potentially dangerous cutting-edge technology. There Peter meets a genius scientist, Dr. Curt Connors (Rhys Ifans), his dad's old lab partner. Together they were working on cross-species interbreeding, hence the availability of a toxic spider to bite Peter and change his life.

Even after Peter's transformation, the movie is smart to keep focusing on his personal story for a solid hour, especially focusing on the blossoming first love between him and his female classmate, Gwen Stacy, played by the always delightful Emma Stone ("The Help," "Easy A"). Gwen's father is the police captain (Denis Leary) who's skeptical of Spider-Man busting crooks. Gone are the days of civilians submitting photos of Spider-Man to the local newspaper. Now to catch a glimpse of him, all you have to do is watch a viral video on the internet. Peter is still a photographer, yes, but it's more of a vintage hobby. It's a cultural update that makes sense. But even with video evidence of Spider-Man serving the people, the police captain is not convinced.

Soon a larger threat than just petty criminals emerges. Dr. Connors, desperate to grow back his missing arm, experiments with lizard genes and gives himself a disastrous transformation. He morphs into the ultra-strong and violent-minded Lizard who seeks to make all men equal in the worst way possible. Lizard proves a formidable villain, but he feels limited to being, well, simply a large, angry reptile. The action sequences to follow are all well-choreographed, easy to follow and make sense for the narrative. The effects are great, and the CGI is never overdone. Watching our web-slinging hero swing through the Manhattan skyline is breathtaking with swirling camera angles and stunning lighting. Some purposeful 3D shots are used such as a first-person Spidey view, which are a fine touch, but as usual the technology makes an otherwise vibrant picture too dark.

"The Amazing Spider-Man" will wow audiences in terms of its spectacle, its moving grace and swift blockbuster appeal, but what audiences will most take away from it is the experience of a first-rate romance. This is only Marc Webb's second feature, which is an impressive feat all its own, his first being the indie love story, "(500) Days of Summer." With that experience, he's able to infuse the Peter/Gwen relationship with quiet magic and a hint of modesty to let his actors shine.

The chemistry between real-life couple Andrew Garfield and Emma Stone is lively, effervescent and adorable in all of its teenage high school shyness. Stone gives Gwen a compassionate and charming allure while Garfield's awkward skateboarding Peter is a creation all his own with perfect nuance. This includes when he's in Spidey mode being smart-mouthed and snarky with criminals much like in the original comic. The actor's spindly limbs and slim yet sturdy frame, as well, are an ideal fit to the limberness and agility of Spider-Man. Individually these two gifted actors make their characters something wholehearted. And together? They're an absolute dream.

THE HELP Review

"The Help" (2011)

It's 1961 in Jackson, Mississippi at the height of the Jim Crow era in the heart of the Deep South middle class. While blacks and whites co-exist casually and brushing shoulders every single day on a regular basis, they are still separate and not equal. White women go about their days of leisure while their black maids take care of the house raising the women's white children. And while they're called maids, they might as well be titled house slaves and -- even more -- surrogate mothers. "The Help," the alive and rich adaptation of Kathryn Sockett's 2009 bestselling novel, is aware of the sobering truth at its center: segregation in the South wasn't just wrong -- it was a grand and sweeping delusion as a proper way of life.

The story is told from the perspective of Aibileen Clark (Viola Davis), a maid who says she's raised 17 white children in her lifetime. Her grandmother was a maid, her mother was and so is she. Your heart breaks for her when Skeeter (Emma Stone) -- the journalist writing a book composed of interviews with the maids of Jackson -- asks Aibileen if she wants to do something more. The book is dangerous to write exposing the unfair and cruel Southern domestic life these women endure. Completing the book is the film's narrative force, and Emma Stone carries the leading role well. We've seen her as a chipper comic, but here she plays a woman grown to be disturbed by what she witnesses around her.

Take for example when Skeeter persistently questions her mother (Allison Janney) on what happened to Constantine (Cicely Tyson), their maid of 29 years who mysteriously left. The betrayal she feels after hearing the answer brings the South's wrenching moral condition to a personal level. Skeeter takes a job at the Jackson Journal writing a cleaning advice column and recruits Aibileen for help; this leads to the collaboration on something much greater.

Bringing a weight and solemn sincerity to the film is the tough and brilliant performance from Viola Davis as Aibileen. Playing Aibileen's best friend Minny is Octavia Spencer (known primarily for smaller roles), and her performance is just as note-worthy full of fiery sass and spark. These women steal scenes left and right, and the movie becomes solely theirs weaving a story of aspirations and squandered dreams.

Like the book Skeeter is writing, this is the story of the maids and the women they work for. Under the facade of prim and proper bridge games and fundraiser benefits, saying these women take what they call the help for granted would be an extreme understatement. It does, however, seem like most of the women have feebly accepted the social norm and treat their black maids how they have been shown they should be treated. That is except for Hilly (Bryce Dallas Howard), a vile princess and blatant racist pushing for separate outdoor bathrooms for the black maids -- the domestic equivalent of being forced to the back of the bus. She fires Minny sending her over to Hilly's archenemy Celia (Jessica Chastain of "Tree of Life"), a flaky but well-meaning blond bimbo who hires Minny without the knowledge of her husband; that way home-cooked meals and a clean house look readily prepared by Celia.

When opting for light humor, the movie really gets the laughs. This is especially true when Minny surprises Hilly with a very special dessert delivering hilarious returns. The incident does get played to overkill, however, and here newcomer writer/director Tate Taylor lays bare the film's obvious intentions as a surefire crowd-pleaser -- but it also worked wonders on me. I didn't mind knowing the exact desired emotions because I felt them -- the warmth and hopeful joy sprung from these women's story showing that cruel people in the world get their just desserts. Pun intended.

What I most admire about "The Help" is how it escapes the bounds of its Oprah book club wrapping with exceptional actresses who all make for a touching and exhilarating tale that, in between the humor, is a truly affecting tear-jerker with characters we are moved by and care about. It also doesn't shy away from the dark ugliness of the era. Within the cheer there's a whole lot of sad and aching pain, and at the film's end is the realization that it's still the same Jackson, Mississippi we started with even after Skeeter finishes writing her book.

CRAZY, STUPID, LOVE. Review

"Crazy, Stupid, Love." (2011)

Emma Stone is the new go-to girl for light comedy, there's no question about that. She's charismatic, glowing and provides the perfect blend of sassy and self-deprecating humor. In the warm and welcome delight of the summer, "Crazy, Stupid, Love." she's no different.

The revelation here, however, is Ryan Gosling who brings a remarkable knack for comedy we never knew he had before. As the suave, overbearingly charming and hustling womanizer Jacob, he nails it -- with or without his shirt on. I guess that's what you get when an Oscar-worthy actor gets casually tossed into the mix. And after being quietly overlooked for his performance in "Blue Valentine," he's bouncing back with more force, and it'll be nice to see him as the lead in George Clooney's "Ides of March." Gosling and Stone serve as one of the couples we follow in this unassuming comedy, and after seeing them together you might be wondering why we haven't seen it sooner.

Sometimes a movie comes along that takes you for surprise and sweeps you off your feet. "Crazy, Stupid, Love." from directors Glenn Ficarra and John Requa ("I Love You Phillip Morris") is that movie. You may go in just expecting a conventional romantic comedy, but don't be fooled. With a stand-out ensemble cast and a thoughtful look at life that feels ever so real, it's a movie that is potent with true value and emotion firing on all cylinders. Best of all, it comes off as such breezy entertainment while dealing with weighty issues about love, longing and loss. Its characters are able to laugh it off because, before truly understanding what it means to follow your heart, they understand the pain that comes with it.

Opening with a punch to the gut, Cal (Steve Carell) hears from his wife, Emily (Julianne Moore), on a nice dinner out that she wants a divorce. He's shocked to the point where exiting a moving vehicle feels like an appropriate response. She has slept with another man, a co-worker whose name turns into a repeated curse word, David Linghaden (Kevin Bacon). Maybe Cal has lost his alpha male instinct after being a cozy husband and father of three as he loafs around in wrinkled khakis and worn-in New Balance sneakers. Enter Jacob who finds Cal pitying himself in a glitzy bar and makes it his duty to give Cal both a physical and personality makeover. As Jacob tells Cal to "be better than the Gap," their moments together are magnetic, and that's only the beginning.

Other romantic mismatching involves Cal's 13-year-old son, Robbie (Jonah Bobo), who has a major crush on his babysitter, 17-year-old Jessica (Analeigh Tipton). She, however, has eyes for an older man: Robbie's dad. There's also Marisa Tomei having tons of fun as Robbie's eighth grade school teacher who feels betrayed by Cal. And, of course, there's Jacob relentlessly courting law student Hannah (Emma Stone). All of these minor subplots surround the main issue of Cal and Emily's divorce, and they are all fleshed out with fully realized characters. Each of them play an important role in the larger scheme, and even when the converging plot lines amount to absurd coincidences, the script from Dan Fogelman makes sure to keep the situations grounded in rather poignant naturalism.

There are plenty of moments worth savoring such as Emily calling Cal under the facade of having a maintenance problem but only wants to hear his voice or the night of flirtatious seduction between Jacob and Hannah which is easily the film's highlight. "Crazy, Stupid, Love." is at last what feels like an updated look at contemporary behavior in relationships -- the way they work through all the hardship and heartbreak and the hope that leaves us clinging to that crazy word we call love.

FRIENDS WITH BENEFITS Review

"Friends With Benefits" (2011)

This year has brought us two romantic comedies with exactly the same premise. First there was "No Strings Attached" about two friends agreeing to have sex without a relationship. Now we have "Friends With Benefits" about two friends agreeing to have sex without a relationship. So, who wins? From director Will Gluck (who directed last year's breakout comedy hit "Easy A"), the latter is the clear victor thanks to good casting, good writing, good direction and great sex.

Will Gluck might just be on to something. First with the glowing Emma Stone in "Easy A" and now this, he really has a way with getting actors to perform at their comedic best. Romantic comedies are all about the chemistry, and Justin Timberlake and Mila Kunis sure have it. They fit together and spar perfectly with each other in quick bursts of playful, sexy energy. Both of these talented actors have showed us their funny and serious sides--Timberlake stealing the show when he hosted "SNL" and his effective performance in "The Social Network" while Kunis made a splash in "Forgetting Sarah Marshall" and stood her ground against Portman in "Black Swan." Here they take what they've got and bring it together on screen in a sizzling display of wit, charm and sex appeal.

Timberlake plays Dylan, the dapper head of a small blog site in Los Angeles who gets whisked off to New York City for a job interview with GQ magazine. He's brought there by an executive headhunter named Jamie played by Kunis. With two attractive, well-dressed leads it only makes sense to make their romantic playground two big glamorous cities. Jamie spends the evening after Dylan's interview showing him around the city to convince him to take the art director position. Of course he accepts, and through time in the office and a few lunches and dinners out as well as getting drunk in Jamie's apartment on a few occasions...you know where this is all headed.

Dylan figures he's too emotionally unavailable while Jamie figures she's too emotionally damaged. They're not looking for a relationship and require only the physical act of sex, so they agree to give it a try. What follows is a romp under the sheets where we don't see what's going on but we can certainly infer. They rattle off a running list of the things they like and don't like in bed while doing the deed. Their casual sex is humorously awkward while sufficiently steamy -- with the sheets conveniently placed but also still showing enough skin -- and provides some of the movie's best moments of rapid-fire banter.

It's no spoiler saying that we know who ends up together in the end. No romantic comedy would give us these two individuals connecting on such a level and then tear them apart at the end. Doing that would just be criminal. The movie doesn't stray far from the conventions of the genre, but they're put to use in the best manner I can recall from recent memory. The added fun is that Dylan and Jamie believe they're too hip to fall for love movie clichés in their own life. While consciously avoiding them, the movie steers them directly toward each other and, as a result, those very clichés. But I didn't mind because the romantic comedy formula will never change. The breath of fresh air here is that Dylan and Jamie aren't treated with condescension toward their situation but instead realism and cynicism as presented in their characters--with a dash of updated and timely humor about iPad apps and Youtube.

All of that is fine and well, but things really get kicked up to a new emotional level when the parents are introduced. The always excellent Richard Jenkins as Dylan's father suffering from Alzheimer's and Patricia Clarkson as Jamie's free spirit mother show up as the loving but imperfect parents who give us clues as to why both of our leads are so afraid to commit. And you can't forget the brief but hysterical cameo from Emma Stone as Dylan's crazy ex-girlfriend at the movie's opening who's a huge fan of John "Fucking" Mayer.

"Easy A" (2010)

In the tired genre of teen movies, which then got rejuvenated with the likes of "Superbad" and then exhausted again, here is "Easy A" which flips the genre on its head again pumping it with a level of sharp, intelligent satire that'll have even Diablo Cody blushing. And as a teen movie derived from classic literature, such as "Clueless," "10 Things I Hate About You" and "She's the Man," this movie uses Nathaniel Hawthorne's "The Scarlett Letter" to clever effect. It's the story of a girl named Olive Penderghast who is labeled as the school skank at East Ojai High School. The truth, though, is that she's a virgin, and it starts with one fib to her best friend about how she spent her weekend. Embarrassed to admit she spent it dancing around her room singing along to "Pocket Full of Sunshine," Olive creates an elaborate story about how she lost her V-card to a college guy.

Olive is embodied by Emma Stone (probably most recognizable from "Zombieland"), the beautiful, husky-voiced redhead who exudes genuine charm and sass in every single scene. Sometimes there are those actors who go unnoticed until a certain role lets them shine. This is Stone's role, and she's now, safe to say, a breakout star. She is irresistible and nothing short of remarkable as Olive who wears her skimpy lingerie wardrobe and embroidered letter A to match her reputation with such biting wit and irony that it goes right over the heads of all her peers. Nobody knew who she was at her high school until she became known for her floozy promiscuity, and now everyone knows her. Rather than denying the bold claims against her, Olive embraces her new imaginary and degrading identity.

Olive finds a way to put her new rep to good use by helping out a gay classmate named Brandon (Dan Byrd) who gets harassed at school. At a bustling party, Olive stages a drunken hookup with Brandon allowing for the bullying against him to stop. Word of this favor gets out, however, and while there are still those who believe Olive is legitimately whoring around there is now a sector of guys who are willing to pay Olive in gifts to let them say she slept with them. Lies get piled upon lies and stories continually get more twisted placing Olive under the scrutiny of the worst of the school population including Marianne (a hilarious turn by Amanda Bynes), an overly pious bitch who promotes Olive's exploits as a lesson to everyone else.

One of the movie's best features is Olive's relationship with the adults in this hormone-filled environment. Her parents are played effortlessly by the talented Stanley Tucci and Patricia Clarkson who are admirable, understanding and almost impossibly down-to-earth, funny and kind. The scenes between them and Olive are full of joy and warmth. Thomas Haden Church is great as a teacher, Mr. Griffith, who attempts to view Olive's situation from an objective lens even as his wife, Mrs. Griffith (Lisa Kudrow), the school's guidance counselor, takes a certain interest in it. Lisa Kudrow is also great, and her maniacal whimsy makes me wish she could land a lead role in something soon.

Director Will Gluck ("Fired Up!") and writer Bert V. Royal have made "Easy A" not only a great comedy but a really great, a surprisingly and pleasingly great, movie that is near-perfect on its own terms. What makes it that good? It's the level of sophistication at which every instance of comic timing and variation has been spun from the simple and potentially one-trick premise. It's the way the movie is an ode to 80s teen movies while keeping with the spirit of today's habits of social networking and the rumor mill and doing so with such verve. And, of course, it's Emma Stone, the exuberant delight that she is.