2005 / Ridley Scott > There’s been a lot of talk about how the director’s cut of Kingdom of Heaven is a considerable improvement on the theatrical cut. While I agree that may be true, both cuts fail to take the film beyond a level of superfluous grandiose. Sure, there are some memorable sequences—the climactic siege at Jerusalem is a magnificent artistic and technical achievement—but that isn’t enough for a film nearing four hours where I keep asking myself, “Why do I care?”

There were too many deviations from the main plotline, many of which would have been better left out. The backstory provided in the director’s cut is of importance, however I could have had a little less of Eva Green’s character, who was ultimately time fodder. Worst of all, it feels, was that the epicness of the film was mitigated heavily by the middle third, which became an attention-testing palace drama. The mistake Sony made wasn’t chopping up the film for theatrical release, but rather cutting up the incorrect parts. Who knows, maybe now we’ll get a theatrical director’s cut that will work a little better.

1990 / Whit Stillman > Having the vibes of an upper class, Manhattan Pretty in Pink, Stillman’s directorial debut tackles ideas of social mobility and structure through the eyes of college students on Christmas vacation. Heavily conversation-based, it’s funny, sardonic and Chris Eigeman’s Nick Smith defines both the film and much of his generation. The writing is incredibly sharp and witty, with intelligent one-liners that drive home each respectable point. It’s surprising that this has been off the radar of indie cultists for so long, but that should change with the recent remastered release of the film by Criterion.

2006 / Terry Zwigoff > The term overcriticized is arguably the best way to describe Zwigoff’s follow-up to the heart-warming, gut-wrenching family drama Bad Santa. Be warned, however: This is a bitterly made film, one with direct and ebullient comtempt for the academic world of art. It’s unfortunate that such a well-made satire will be lost on many, especially those who will identify a little too well with the characters in the film. By the end, the joke is on everyone but those who have distanced themselves from such a subjective industry. As long as one does not take the film too seriously, the underlying message, however exaggerated, is in my opinion appropriate and necessary.

2006 / Tim Johnson & Karey Kirkpatrick > While nowhere near Miyazaki or even Pixar quality, this most recent animated offering from DreamWorks is perfect fodder for 80 minutes of summertime. The storyline is simple, but not always plausible. The humanity involved, as often in animal-laden animations, is cliche and at times uninteresting. But with strong voicings by both Bruce Willis and Gary Shandling (plus a hilarious Steve Carell), Over the Hedge is an exercise in filler, biting off from its peers and chewing it successfully.

2006 / Brett Ratner > To my dearest Bryan Singer: I don’t know if I can ever forgive you for abandoning the X-Men. I’m sure I’m not alone in this assessment. Mr. Ratner has meddlingly turned what potential you put forth in this series into a childish circus, filled with caricatures and dialogue that ought to be spoken by eight-grade thespians. Why are there so many wild tangents in this film? Why do people have to die left and right for emotion to be evoked? Why essentially windowdress what could have otherwise been a considerably deeper storyline than the previous two? By the end, I could care less about the explosions because I was so bored by the whole escapade. And what about that silly post-credits “ending?” What purpose does it really serve other than to say, “Hi, I am Brett Ratner, and I am planning on directing another X-Men film!” Dearest Bryan, please do your best to keep him away from such a tragedy. Thank you.

1998 / Jake Kasdan > Two things that this film brings to the forefront: Bill Pullman is underrated, and Ben Stiller needs better scripts. The whole neurotic, private detective role is played to the pin here by Pullman, one that he obviously embraced quite a bit more than the President of the United States (i.e., Independence Day). As for Stiller, I still miss his foray into films such as Permanent Midnight, which lacked the slapstick and had considerably more heart (and a little bit of darkness).

As entertainment, Zero Effect is a fairly good example of how a film can hold your hand but still not patronize you. The detective’s Doogie Howser-like journal entries keeps you in the game, yet keeps the modern-day noir feel in check. I imagine this is a film that has largely been ignored at the rental stores, but it’s one that is definitely worth a shot. It probably won’t hold up against your Vertigo, but then again, there isn’t much that will.

2006 / Sanaa Hamri > This is certainly not a film that was marketed properly: It’s not about African-Americans or simply race issues, but rather a fairly simple, somewhat superficial yet ultimately satisfying story about the hurdles of love (and life). Along with Prime, these are the types of films that Hollywood has lost interest in, films where the Humphrey&Ingrid-type chemistry helps you empathize with the characters and storyline even if you’re uninterested in the actual plot. The emotions evoked by the film are universal: Of misguided hearts, societal norms and family pressures.

Thankfully, first-time director Hamri does an excellent job in balancing style, substance and the manipulation that is so prevalent in romantic dramedies. Often, she utilizes cut-scenes to bring up a topic and then leads to an expository sequence. Surprisingly, instead of creating staccato pacing, it actually smooths out transitions and keep us glued. I do hope now that she builds on this first venture, and would love to see how she deals with a completely different topic.

2006 / Eli Roth > The truest horror is when you find yourself identifying with the characters and their situations, and Roth hits this on the nail. After all, how many college kids have dreamed of backpacking through Europe and picking up girls along the way? Turning fantasies into nightmares is truly a gift, and that’s primarily why Hostel works. It’s real, in the sense that it could be occurring right now, and we could be the next victim.

The film is tightly packed: half of it is the setup, which is unusually interesting and fun, and half of it is the execution. The story is initially subtle, and since most viewers know the basic gist of what will happen, the time leading up to the execution creates a natural tension. My biggest annoyance with the film was its overuse of sound, specifically the high-pitched screeches, to evoke fear, as it felt like an awful cop-out. In retrospect, however, the final work is a well-crafted horror/thriller that ought to stay in the annals of the genre for quite a while. The ending, especially, gives me hope that Eli Roth is a man to watch.

2006 / James McTeigue > I generally tend to like 1984-esque storylines, especially when done with such high production value on multiple fronts (i.e., not Equilibrium, which wasted both Bale and Watson’s acting talent). V, fortunately, was good at worst on most fronts, but fairly disappointing due to the not-too-subtle liberal ideologies that permeate it. Yes, I understand this was written to criticize Margaret Thatcher, not George W. Bush, but the comparisons, in this day and age, are absolutely inevitable. And while there are amazing possibilities in fusing social commentary with entertainment, V fails primarily because the story becomes so one-sided that it loses its credibility as time goes on. Thankfully, if you can turn a blind eye to its hard-handedness, the film does stand well on its own as bonafide, if fleeting, entertainment.

2006 / Paul McGuigan > I’m not sure why I’ve heard so many complaints about this film “tricking” the viewer, since it was fairly obvious from the opening sequence that something fishy was going on. But as I let myself delve into the fantasyworld that was occupied by a very revived Josh Hartnett, I found time slipping past me. Well edited with gorgeous cinematography, Lucky Number Slevin is hands down the biggest surprise (on the upside) I’ve had in a film this year. This is not for those who always want to know what’s going on, but perfect for those willing to give in and indulge what the new Hollywood has to offer. A perfect antithesis to megabores such as Poseidon, LSL is definitely worth a watch for its creativity and no-nonsense mindset.