The cast is made up of some astounding actors.  That can’t be denied.  It’s sprinkled with mediocre performances as well (stick to selling weed in the ‘burbs, Mary-Louise Parker), and some of the better talented is restricted by a script that is reminiscent of that viral Chris Klein video showcasing his dialog in Street Fighter).  Our heroes are retired CIA agents coded RED (retired and extremely dangerous, an example of the film’s wit) by their former employer.  They go on the lam and plan their retaliation.

Parts of the film were inspired by Timor Bekmambetov’s Wanted, although not executed as seemlessly.  In other sections, directive style was ignored almost completely.  Major characters are willing to sacrifice their lives (and do!) for next to no reason.  The crew has mad skills went convenient, and are completely lacking when it’s not.  The best example of this is Ms. Mirren’s character who’s meant to be one of the best ‘wet work’ agents in the history of the CIA, meaning she’s good with guns.  But for a large span of the films climactic moments, she can’t hit her target twenty yards in front of her while using a stationary machine gun bigger than a Geo.

This, simply put, is not a good movie.  But it will still delight others, like the group of senior citizens enjoying their discount at the same screening as me.

1.5 out of 4 stars

The story is based on true events that came to pass in Los Angeles in the 1920s and 30s.  Christine Collins is a single mother, raising her nine year old son.  She works as telephone operator (and a damn good one at that).  She’s called into work on a Saturday, and leaves her son Walter at home.  When she returns, he’s gone.  She seeks the help of the insanely corrupt LAPD, but is met with ambivalence.  Five months later, the police return a boy that is four inches shorter than Walter, and doesn’t look like him at all.  When she tries to convince the police that it’s not her son, she’s thrown into an insane asylum until she’s willing to admit that the boy returned is, in fact, her boy.  Assisting her in her fight is Gustav Briegleb, an outspoken reverend who uses his weekly radio broadcasts to expose political and police corruption.  Also sprinkled in is a completely insane Canadian serial killer that may or may not have killed Christine’s son.

The drama is ultra compelling.  The lengthy two hours and twenty minutes flies by as Eastwood deftly works his magic.  And who could want a more talented cast than Angelina Jolie, John Malkovich (who plays the good Reverend), and Amy Ryan (who plays one of Christine’s fellow internees at the asylum).  Jolie is an acting tour de force who may have given the best performance of her career, if the Academy ignores her again (they completely ignored her compelling performance in A Might Heart) they need punched in the face.  The script writing was also a feat, albeit it slightly surprising, coming from J. Michael Straczynski who spent most of his time until now writing for Babylon 5 and Walker, Texas Ranger.  The chief complaint of most critics thus far is the fact Changeling gives into convention far too often.  While the plot is slightly formulaic, it doesn’t deter how much you’ll enjoy this film.  Don’t let the trailer fool you into thinking this is a light, sad story about a wronged mother either, it’s dark, really dark, and fantastic all the way.  Don’t listen to the naysayers, this is one terrific film.

3.5 out of 4 stars

Rottentomatoes: 54% – Cream of the Crop: 46%

The Coen brothers supply the film with a terrific, clockwork script (the kind we’ve learned to expect from them) that shows their fascination with those who fatally act first, before learning all the facts.  Frances McDormand and Brad Pitt lead the whole cast with their comedic prowess.  Pitt is a good actor, there’s no doubt, but his best roles are the ones of the stupid pretty boy, and Burn is the perfect example.  The rest of the cast seems to be a who’s who of the acting world (Tilda Swinton, despite being involved in that Narnia nonsense, must have joined this esteemed rank as of her Oscar win earlier this year).

The plot is so complicated (and I don’t want to give away any spoilers), a summary isn’t really possible.  At the end, it doesn’t make a whole lot of a sense, but suffice it to say, this film is terrifically funny, and you should watch it.

3 out of 4 stars

Rottentomatoes: 78% – Cream of the Crop: 54%

Below is the ‘approved for all audiences’ trailer, and the redband trailer (squeamish be warned).

Spike Jonze started out as a music video director.  Directing videos for Bjork, the Beastie Boys, and others, he developed quite the style, which is immediately evident with his direction in Being John Malkovich.  Some directors that make the Jump from music videos to film put all their effort into style, and let the content (plot lines, character development, etc.) slide (unfortunately, Tarsem falls into this catagory, even though The Fall is one of my favorite films this year).  Fortunately for Jonze, Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Adaptation) wrote one helluva script that leaves you completely satisfied and yet wanting more.

The script was fresh, entertaining and wickedly funny.  One of my favorite parts follows:

“Excuse me, are you John Malkovich?”

“Yes, I am.”

“Wow, you’re really, uh, great in that movie, where you play that retard.”

“Oh, thank you very much…”

“I have a cousin who’s a retard.”

“…oh, thank you.”

“Yeah, so, um, as you might imagine, it means a lot to me to see retards portrayed on the silver screen so… compassionately.”

“Well thank you very much, I appreciate that. Good night.”

Read here for more memorable quotes from the movie.  If I can’t convince you to see this movie, those quotes will.

All the players are remarkable.  Cameron Diaz isn’t even recognizable as Lotte, the frumpy wife animal-lover, that believes she’s transgendered, once experiencing lovemaking with a woman from Malkovich’s point of view.  There’s her husband Craig (John Cusack), who just wants to share his artistic vision with the world as a puppeteer  and resents his wife for wanting children.  There’s Craig’s co-worker Maxine (Catherine Keener, who is the true star of the show) who falls in love with Lotte, but only when she inhabits Malkovich.  I’ve always felt the Academy has snubbed Catherine Keener, but they finally recognized her fantastic performance in this movie with a nomination nod.  Craig discovers a small door in his office that serves as a portal to the conscious of John Malkovich.  Because he’s in love with her, Craig shares this with Maxine who decides to rent out the experience afterhours to those who want to be somebody else.  And finally there’s John Malkovich who is, as always, (except that musketeer movie) tremendous.

I can’t praise Malkovich enough.  It is endlessly entertaining, and I gaurantee you will lose yourself in it, if you only give it a chance.

4 out of 4 stars

Rottentomatoes: 92% – Cream of the Crop: 92%

Rated R for language and sexuality.