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Directed by Nicholas Winding Refn; Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman and Albert Brooks; Based on the book, "Drive" by James Sallis.

"Drive" takes its audience on a journey that is seemingly avoid of road signage. Fortunately, the movie is not a wreck! It challenges its audience through an an unrelenting, unapologetic vision: In doing good, or trying to make things right, does the consideration of moral consequence really matter? The answer is found by the end of the film (though subject to your own personal philosophy),

Refn uses Los Angeles as if he were Michael Mann (see "Heat" and "Collateral"). Anyone who has seen "Bronson" or the "Pusher Trilogy" can attest to the capability of this man to stage slow-burn or demonstrate patience (though perhaps to the chagrin of the audience) in accomplishing his design. The city, predominantly seen through a pane of glass whether a building window or windscreen, is harrowing. Its characterization is the foundation of the lives of these people who are called to make choices, which either they regret, have to run away from, or follow-through on.

The film is shrewdly edited, allowing extremely vivid depictions and downplaying others, leaving the narrative and actors to work in that space via languid film shots, contrasted with sporadic bursts of action. The use of natural lighting appropriately softens the film as needed, especially as we grow to understand what "drives" or is important to the characters played by Gosling and Mulligan. The narrow hallways, confined and cramped spaces, colored filters all give tremendous depth to the feeling that things are not perhaps as they seem.

It is yet is in these precisely the well-crafted moments of anxiety, despair, hope and shock that we the audience are placed squarely at the centre of the movie's heart, Ryan Gosling. Anyone who doubts whether this man can act, needs to see "Lars and the Real Girl" to put that question to rest. At once, he is charming, boyish, harmless, frail, strong, principled and purpose-driven! His mere act of chewing on a toothpick or putting on gloves conveys the essence of this character. Mulligan's role whilst important is grossly underplayed, but I think this is on purpose; I may have to revisit that assessment though, noting that lone other important female character (Hendricks) is underutilized, but effective. The movie really does belong to Gosling. Brooks and Perlman, are as usual very dependable and a delight to watch.

Further deliberating on Mulligan's performance, I have come to appreciate it, as this is where the film works on another level....its Soundtrack. The opening credits of the film looks like something out of the 80s, so I gather synthesized pop sounds (making great use of the fader, by the way), and lyrics would be the order of the day is the order of the day! The effect though is mesmerizing and even heightens/advances the relationship of Mulligan and Gosling and pre-supposes what could be possibly going through their heads at precise moments. In essence, operating almost like a musical!

This is truly film making at its finest and "Drive" is definitely one of the year's best films.

Directed by Andrew Adamson; starring Tilda Swinton, Jim Broadbent, Georgie Henley and others; and based on the beloved classic series by C.S. Lewis.

I distinctly recall the controversy generated the day it was announced that this film was going to be made, knowing fully well that C.S. Lewis' believed that his material would have been reduced to laughs in the face of limited technology. However, it is pleasing to report that his concern takes a back seat.

The story focuses on the Pevensie siblings (Peter, Susan, Edmund and Lucy) who are sent away to a reclusive and odd scholar in the countryside, to escape the perils of war. As typical kids, they wander around the house, trying best to entertain themselves. A game of hide and seek eventually sees the youngest (Lucy) going into a wardrobe, which transports her to the land of Narnia. Immediately, the the audience is besieged by a beautiful wintry Zion of sorts and a host of colorful characters which populate the landscape. However, as we come to learn there is a reason by the land is in a perpetual state of winter and there is a prophecy held to be the truth across the land, involving the children. Narnia, is ruled by a wicked witch (played with such imaginative flair and passion, it's disconcerting). Tilda Swinton, again proves her mettle and is terrific in the role. The kids form alliances with several species (all talking animals of sorts) and come quickly to accept their respective roles and seek an audience with Aslan (the Lion) to assist in what quickly becomes a self-fulfilling prophecy.

I must admit in reading the books, I only caught onto the Christian themes very late (towards the very end of the first book). The movie dramatizes this to great yet still limited extent. Additionally, whilst the cast is led by the omnipresent Swinton, the kids (relatively new to screen) do not appear to remain in character from time to time. The strongest of the young cast is Edmund, a character that many would love to hate. Although his transfiguration on film is slowly progressive, we never really appreciate why he is that way; something which the book beautifully captures. This is one such "lost in translation" moments. Notably though, there are times when fans of the series can hear the beautiful words of Lewis captured on screen. Those who were also attracted by the distinctive British sensibility of the series, will also be a tad disappointed.

On the effects side, there are some really odd moments where you can easily discern "blue screen effects". One might wonder, that Director Adamson, would have done well enough to simply leave those scenes out. However, on the other hand, his deft helming of both Shrek movies, does give him a great foundation to produce the magic he finds on occasion.

While the movie never quite reaches epic proportions or cannot really be considered standard kiddie-fare, it does maintain a sense of wonderment and charm, which worked so well within the primary source material. Despite its flaws, the film is a beautiful realization of a classic tale and gives hope to the future development of the series for the big screen.

Directed by Ron Howard and starring Russell Crowe, Renee Zellweger, Paul Giamatti, Paddy Constantine and Craig Bierko.

The movie tells the true tale of James Braddock who turns to the boxing ring as a way of earning a living to ensure his family 's survival. Set in Depression-era New York, Howard quickly paints a grim picture of loss in the shape of wealth and separated families . The film resonates as if it were the Director' s personal story and largely on this tenet, it succeeds marvelously. The stunning screenplay of Akiva Goldsman (who scored an Oscar for "A Beautiful Mind " ) and Cliff Hollingsworth, chronologically unfolds Braddock' s career, against the Great Depression with the realization of the heart-breaking impact upon not only his family but the working class.

As with movies of this genre, its success depends largely on the credibility of circumstances surrounding the underdog, the actual underdog and the nemesis. The lead up to the big fight with the nemesis features Bierko in a devilish performance, which transcends being a mere cardboard cut out of a character. Crowe continues to astound with his consummate brilliance. Touches of subtlety, machismo, open emotion are all the right reasons why he will receive another Oscar nomination in the lead actor category. The audience never questions the heart of Braddock, and credit must go to Crowe and his Director for that.

Braddock is supported by his trainer (Giammati) and to a more reserved extent his wife (Zellweger). As if the script and directing were not enough, the supporting cast members themselves spar thus constantly improving each other' s game. Giammati is dynamite, brash, able to be both overwhelming motivational and a mouse, when necessary . The chemistry between Zellweger and Crowe hits you squarely in the gut, as we witness the sacrifices they both attempt to make in adjusting to the prevailing socio-economic conditions. She is strong for her kids and her husband, even though she dislikes his profession. However, retains her vulnerability and musings as she comes to realize the importance of Braddock to the working class and how different things could be, in a very mild, yet thoroughly involving subplot with Paddy Constantine.

Although the boxing ring encounters on at least two occasions seemed shoddily shot, the involvement of the audience by using radio coverage vs. ringside views, coupled with the ready buy-in of the characters, easily outweigh this minor transgression.

During and even after viewing this film, I was reminded of the equally terrific, Seabiscuit. On a technical level, Gary Ross' hand was steady in purpose, the script was well written and the supporting cast, turned in stellar performances. On a thematic basis, the destitution and despair of the Depression, the comeback story, the value of friendships/family, and the moral of perseverance against extraneous odds brought about the same range of emotions.

Alternatively titled, "Cinder-Biscuit" is Howard's best work to date and one of the year's great films.