Devil in a Blue Dress (1995)

Rollercoaster (1977)

Woefully underrated thriller stars Timothy Bottom and George Segal in a brilliant game of cat and mouse set at a series of theme parks. Disaster films of the 70s were big on gimmicks and short on characterization. Rollercoaster was marketed around its catastrophes. And while the action is highlighted a couple of accidents, it's the performances of these two leads that draws you in. It's really not a disaster movie at all, but a battle of wits. The narrative strips away needless extras and lays bare an intense relationship between good and evil. Timothy Bottoms portrays the demented young man who sabotages roller coasters around the country in an effort to extort $1 million dollars from the authorities. He presents the terrorist not as a crazed madman, but as a calm handsome, preppy type. The depiction is thoroughly unexpected and goes a long way in making him a delightfully uncharacteristic villain. He's matched in his scheme by George Segal as Harry Calder, the Standards and Safety Inspector, whom he personally selects as his contact. Segal has got a world weary cynical tone that makes the dialogue better than it's actually written. Together their discomforting but occasionally amusing exchanges are what drives the script.

I'll admit this isn't a complex picture. There aren't many plot twists that will be difficult to follow. But it's that glorious simplicity that I find so appealing. The climax takes place at the opening of "The Great American Revolution" roller coaster at Magic Mountain in Valencia, California. The unveiling is introduced with a lot of fanfare. Cult Los Angeles rock band Sparks even makes an appearance as the entertainment for the grand opening. This is a big deal people! Apparently this was the world's first modern roller coaster to feature a vertical loop. Ah these were innocent times. Given the excitement of the cluster at the front of the line, you'd think they had tickets to the moon. In the end, this isn't the type of film to win a lot of Academy awards, but you knew that when you read the synopsis. It is however an incredibly entertaining thriller with wonderful performances. I loved it.

Drive (2011)

Elegant thriller based on James Sallis's 2005 crime novel concerns an unnamed Hollywood stunt driver who also operates outside the law by driving getaway cars at night. There's something decidedly 80s about Drive. From the "Purple Rain" font of the titles to the Giorgio Moroder-ish score, this feels like some recently discovered movie from 1983 directed by Adrian Lyne. The retro vibe gives this action thriller an artistic sheen that makes the drama so exciting. Perhaps the plot isn't quite as brilliant as the impressive mood would have you believe. But the drama is underscored by a mesmerizing cast.

Drive is full of mysteriously complex individuals. Individuals that have that classic charisma reminiscent of the past but in a 21st century setting. We care about these people, but we don't understand them right off. They don't always behave in foreseeable ways. Drive is a stunning triumph of minimalism over gaudy extravaganza. Danish film director Nicolas Winding Refn keeps the operation simple and lean. It's a retro thriller with a show don't tell mentality. The production design is a celebration of retro modernism. But the experience is far from glamorous. As the story plays out, the situation escalates. By mixing elements of a 60s action movie and the synthpop gloss of the 80s with a modern sensibility, we get something wholly unique for the modern age.

Brighton Rock (2011)

Based on a Graham Green novel, Brighton Rock was previously made into a British adaptation back in 1947. But where the novel and original were both set in 1939, this modern re-telling has been updated to 1964. The re-imagining adds to the narrative immensely. There's a certain stylishness to 1960s era England amidst the clashing Mods and Rockers that's very appealing. These are hoodlums, but they wear natty suits and ride Italian scooters. It all kind of suggests the British New Wave, a neo-noir thriller if you will.

Brighton Rock is highlighted by an expressionistic style that uses shadows, rain and religious iconography to set the mood. These stylish visual flourishes are further complemented by a musical score by award-winning composer Martin Phipps. At once ominous and beautiful, it's reminiscent of the sumptuous music of a classic 1940s film noir. It's decidedly old fashioned and I enjoyed how the vocal cues complemented the action on screen. This is the feature debut for screenwriter Rowan Joff� who just happens to be the son of director Roland Joff� (The Killing Fields, The Mission). Talk about pressure. Brighton Rock is not the hard-hitting political story his father is know for, but he does have a way with setting a mood. The evocative music and poetic visuals help dress up a slight story that is still is an excellent character study. There is much to enjoy in this minor, but entertaining period drama.

Charly (1968)

Contagion (2011)

Contagion is a thriller that traces the origin of an unknown deadly disease as it spreads from person to person traveling at a rapid rate infecting humanity. We follow the virus at it becomes a pandemic. From Hong Kong to Minneapolis to London to San Francisco, we see various cities and how the sickness multiplies exponentially throughout the population. Around the world, doctors from the CDC and the World Health Organization race to find a cure for an infection that kills within days.

The narrative unfolds intelligently. You'll be riveted for the majority of the picture. The transmission of the virus is the most unsettling part. Frightening because it could genuinely happen. Circulated through causal contact - a glass, an elevator button, a subway pole, it's unstoppable. You'll think twice the next time you graze a public surface and then touch your face. It's invisible so the threat is particularly hard to protect against. Disease is mysterious. The plot flawlessly instills that fear. The action is lean and unadorned. There isn't a lot of flashy embellishments getting in the way of its expertly told tale. It's not as commercially accessible as 1995?s Outbreak for example. Contagion has a somewhat documentary mood to it with its somber tone. That's a wise choice given the subject matter. And while the simplicity benefits the material, in the end, it all feels a little insubstantial. Perhaps the climax doesn't quite justify the buildup.

Warrior (2011)

Two brothers seek redemption in a mixed martial arts or MMA tournament. Brendan is living in suburban Philadelphia with a wife and kids. He's behind in his mortgage and will lose his home within a month unless he can make the payments. The other, Tommy is a troubled Iraq war veteran back from the conflict, who hides a secret. Audience pleasing sports drama does for mixed martial arts what Rocky did for boxing. It probably goes without saying, but if you're even remotely interested in the UFC (Ultimate Fighting Championship) this is required viewing.

This is an old school schmaltzy rise from the ashes tale of family. Sibling relationships, father and sons, it's the genuine emotion that gives weight to the thrill of the altercations in the cage matches that follow. And what fights! They're incredibly brutal. They mean so much more because we know the stakes behind them. This isn't original, but it masterfully appropriates from the best and gives us a remix that amplifies emotion to the highest degree. Everything feels vaguely familiar and yet I ate every clich� up with delight.

Higher Ground (2011)

Emotionally shattering tale of a Fundamentalist Christian who struggles to keep her beliefs in a religiously tight-knit community. The movie is loosely based on novelist Carolyn S. Briggs' memoir This Dark World: A Story of Faith Found and Lost. She also co-wrote the screenplay. Given that ominous title, I would've expected a much more critical take. Higher Ground is surprisingly sensitive of a religion often caricatured in contemporary films. This year alone has seen it an object of ridicule in both Paul and Red State. The script goes a long way in dislodging the stereotypes of Christian Fundamentalism. It's the unique perspective that makes the film so utterly original. Never mocking, it's a vividly written and moving account about a convert.

Higher Ground is challenging. Fundamentalist Christianity is a difficult subject. It's pretty foreign. Usually the source of comedy, it becomes a tough sell as sensitive drama. Few people will brave this story. But for those with an open mind, they're in for a take on a subject that is wholly original. People will ultimately take away many different reactions to her journey. But writers Carolyn S. Briggs and Tim Metcalfe imbue their characters with dignity and respect. That's what keeps the viewer riveted. This is a deeply poignant drama that approaches its subject with intelligence and sensitivity. Make no mistake, this is not a glorified tale. It's heartbreaking. But the struggle presented here is honest and unexpectedly life affirming.

Our Idiot Brother (2011)

Our Idiot Brother is funny. It's full of sensitive, honest and heartfelt depictions. So why did the producers feel the need to saddle it with a title like "Our Idiot Brother?" It betrays the underlying sweetness of the story and casts a dim-witted vibe on the marketing. Much of the humor has to do with Ned's hippie-style mentality in contrast to her sister's more ambitious designs. For me, the big surprise was how I ended up liking the dude with the slacker mentality and resented the aggressive family members. Ned really isn't an "idiot" per se. He's just trusting and good natured. Those are good qualities in fact and make this comedy something to champion.

I adored the acting. The plot is character driven. It's practically a drama with some amusing circumstances. Paul Rudd portrays the lackadaisical, but sweet biodynamic farmer. He's matched by Elizabeth Banks, Zooey Deschanel, and Emily Mortimer as his loving but seriously flawed sisters. That's a strong supporting cast, all capable of greatness. This might be the best Elizabeth Banks has ever been. She reminded me of actress Parker Posey. As the go-getting journalist for Vanity Fair, she's all brittle personality and chilly exterior. She's memorable. It's never clear how Ned acquired such a temperament so contrary to his more determined sisters, but it supplies the basis for a lot of funny situations. The rest of the actors are fantastic as well. I hate simply listing names but everyone bears a mention. Kathryn Hahn, Steve Coogan, Hugh Dancy, and Rashida Jones round out the impressive list of players. It's the ensemble work that raises the level of drama to something more than just a lightweight comedy.

The Debt (2011)

Sturdy spy thriller features three Israeli intelligence agents who must return to Eastern Europe when the questionable reappearance of a Nazi war criminal, long thought dead, reappears. The cast is large. We have 6 actors playing 3 parts in younger and older versions. Although everyone puts in solid work, the casting is somewhat flawed. Marton Csokas and Sam Worthington do not readily suggest their aged counterparts portrayed by Tom Wilkinson and Ciar�n Hinds, respectively. It's difficult to tell who is supposed to be who. Their personalities are not magnetic enough to make this clear and they don't even physically resemble each other. Jessica Chastain and Helen Mirren as Rachel Singer are by far the most impressive. Obviously being female makes matching them up easy, but they both put in solid work. Their performances elevate this thriller beyond the routine. This is Jessica Chastain's 3rd high profile production this year and she has a full slate still to come. She seems poised for superstardom. Without a doubt, THE actress to watch.

After a slow beginning, the drama picks up with the introduction of Nazi doctor and war criminal Dieter Vogel played by Jesper Christensen, the "Surgeon of Birkenau". He's great. His interaction with the three leads provides the subject with its most affecting moments. There's a particularly a gut wrenching conversation with Sam Worthington's character that is the most intense situation of the entire picture. If the script had included more raw emotion like this, it could have been a searing study of a shocking historical period. Instead there are too many ho-hum situations. The love triangle plot for example is a contrivance. As it stands, the movie is adequate. See it for Jessica Chastain and Helen Mirren. But its story with respect to the Holocaust, is less than stellar.