In the movie Tina Fey plays a career bound business woman who suddenly decides that she is ready to have a baby; man or no man. After trying to conceive through a sperm bank, she finds out that she has an incompetent T shaped uterus and that her chances of ever having a baby are one in a million. Faced with that fact she tries to adopt and fails.

After much distress, advice and thought she decides to hire a surrogate to carry her baby for her even though it's not her style. She knows it's the only shot she's got. That's when she meets the wacky, weird character played by Amy Poehler who drags along her common-law marriage boyfriend who is all out to get his hands on the money. After the surrogate confirms that she is indeed pregnant from the procedure, the real adventure begins.

This is a truly wonderful movie about friendship, trust and in the end, love. If you are a woman you really need to see this movie. It brings you face-to-face with the fact that conception is a precious thing and that when you want a baby nothing else will do, but a baby. And if you just happen to end up with a little bit more….that's good too.

Although the movie decided to use the same title, it was nothing like the book. It took more than a few liberties with the story. I'd say the only things that were the same were the theme of lonliness and the fact that Robert Neville was the last man alive. The setting was differnt, the character of Robert Neville was different, it really didn't focus on vampires at all and the ending was completely different which made the movie suck in my opinion. I feel like the ending of the story can be considered a bit controversial so the ending of the movie was a typical Hollywood sellout where they changed it to have a happy go lucky ending with a message of hope.

Those of you who have seen the movie and are thinking that it was great and that I have no idea what I'm talking about, I urge you to read the book! You will then understand fully what I mean.

Other people have enjoyed Shyamalan's output even less than me. I very much enjoyed his THE SIXTH SENSE, UNBREAKABLE, and, to a lesser extent, SIGNS.

Most people I've talked with hated THE VILLAGE and the LADY IN THE WATER--or whatever it was called. Awful movie.

To make a comparison, like the music of the group Counting Crows, the films of Shyamalan have gone steadily downhill--each one worse than the last.... but still somewhat enjoyable.

If Shyamalan doesn't reinvent and improve his screenwriting quickly, his movies will soon dip under the box office waterline to become exclusively direct-to-video releases.

Certainly we now know that Shyamalan is not the cinematic modern-day equivalent of Hitchcock that he was touted to be just a few short years ago.

He has jumped onto the new extremist religion: the anti-Christian pro-Environment "Green" bandwagon with this last film.

"The Happening is a terrible title for a movie, I was thinking, as I paid for my ticket to the Christie Digital Presentation at the Carmike Cinema box office. (Powers and Pulsar Drive.)

I went out to the movies alone that Monday afternoon, and I was the only one in the theater until, a couple minutes before the show started, three women, maybe in their thirties, walked in.

If you've read the book "Hollywood Worldviews," by Brian Godawa, then you will know where I'm coming from as I analyze this film.

The premise of the film is as insulting to humans in general, as it is transparent: the Environment, (specifically trees and vegetation), is taking it's revenge on a mostly non-Environmentally friendly humanity by exuding a deadly virus into the air that causes people to commit suicide in spectacular ways. (Our "heroes," the Environmentalists, are granted immunity by their "God," (The Environment, of course.

Yes, I find this an aggressive and offensive and politicized premise, indeed.

I have just described the entire film, whose main source of suspense is wind blowing in the tall green grass. Very ineffective. (But very pleasing, I am sure, to the studio execs counting the cost to make this film.)

To add to the offensiveness that something like a TWISTER never had, Shyamalan makes the only really creepy, mean and villainous character in the movie a Christian woman who has a wall in her house covered in Christian crosses and paintings of biblical scenes.

After showing a wall full of her Christian art, this evil creepy Christian woman smashes her head into the windows of the house repeatedly, killing herself. To me, this was the very image of the Shyamalan's contempt for Christianity.

Yes, believe it or not, I find that offensive.

(In the fairly recent film, SUNSHINE, the villain aboard the spaceship is also a fanatical man who believes in God.)

The strong believers in God are almost always the bad guys in films nowadays.

Certainly in the Christian world, there are crazies and hypocrites and televangelists (no wait, I repeat myself), but, mostly, religion and faith, even looked at socially, are positive elements in people's lives.

The is no real suspense, drama, or other deep meaning in THE HAPPENING.

I'd avoid it like you would avoid a flesh-eating virus...

Unless, of course, you enjoy that sort of thing.

The story of a driven, possibly evil, oilman.

*Read this after you've seen it: (plot details revealed)

On the DVD box, Manohla Dargis of The New York Times says that this movie is "a consummate work of art."

Well, not quite.

At 2 hours and 38 minutes, it is "epic" in length, that's for sure.

Parts of it, as the box indicates, are "masterpiece moments," but the movie as a whole isn't.

There Will Be Blood is very watchable and entertaining, but the beginning does not have the visual "loading" in the first ten minutes that audiences have come to expect.

I think that for today's instant gratification/information overload/short attention-span audience, the fast front-loading of images and ideas is important for most movies.

The film is probably about 45 minutes too long. At this length, there would have been time for a whole new act.

The premise of the film is extremely simple: a fiercely determined oilman sets out to beat the competition, and get rich putting in oil wells.

He has a very young son in tow, and he needs to buy up land in a certain oil-rich area, thus attracting the concern of the town's young and driven preacher.

Daniel Day-Lewis plays fierceness and rock-solid determination and gravitas very well.

For so great an actor, as everyone keeps calling him, you would think he would have more emotional range and layering to his portrayals.

Ironically, that's the genius of this movie.

Day-Lewis had me completely convinced that Daniel Plainview's love for his boy was keeping his soul from rotting completely.

But, ultimately it is revealed that his character becomes a hate-filled greedy monster intent on killing the competition. Literally, if necessary.

The film is a timely depiction of the origin of the gas companies that today dominate the newspapers and the gasoline price signs.

Though the film is set in the late 1800s to early 1900s, today's "religious right" is represented also in this film by a charismatic, ambitious and corrupt preacher who tries to force Plainview to do his will.

Both men are after power and money.

Both resort to degrees of physical violence.

The showdown between these two men centers on Plainview forcing the preacher to be baptized, and the oilman getting his revenge in forcing the preacher to admit that he's a false prophet, and that God Himself is a "superstition."

The beginnings of greedy corrupt oil company power and greedy corrupt televangelist power are on major display in this film--both preying on the hopes and dreams of everyday people.

I felt that the music was too much trying to carry the film, but it could also be seen as an opera, with moving picture art flowing past you--especially in the dramatic scenes of the oil derrick blowing up.

In the end, the portrait is of a greedy desperate liar and murderer in his mansion--alone. This is what this man became because he followed greed, hated people, and rejected God.

The ending less than "bowled" me over.

Definitely worth watching.

CODE46 was released on DVD in 2004.

It is one hour and thirty-three minutes in length.

The first time I saw this movie, about two years ago, I thought it was kind of cool, and it seemed a bit like BLADE RUNNER. I later came to realize that it was one of those rare films that would leave an indelible impression on me. I was thinking about it and remembering it long after I saw it. Now, after seeing it seven more times in the last couple of months, I think it is the greatest movie ever made. So what happened between my first viewing of the film and my seventh viewing?

1. I was drawn to watch it again and again because it had a certain visual and emotional appeal that fascinated me. It also had certain indefinable qualities.
   
   I believe that this film is the CITIZEN KANE of today--and I haven't found any reviewers that have noticed the major cinematic innovations in this film.
   
   Just now, after watching it for the eighth time, I unfortunately read others' reviews of it on Metacritic. Reading those reviews made me realize how precious my own perceptions of things are to me, and how precious others' perceptions must be to them. And how very differently people see things.
   
   Some reviewers gave the movie 10 stars (the highest rating), and other reviewers gave it zero stars. Some reviewers said there was "great chemistry" between the two main romantic characters, and others felt that they had "zero chemistry." Some reviewers said it was boring and hard to follow, while others said it was engaging, magnetic and fascinating.
   
2. Only a significant work of art can inspire such sincere and opposite reactions. I believe that CODE46 is an amazing work of art. It is at once completely realistic and cinematically artistic. But why do I feel that it is the greatest movie ever made, so far? Let me count the ways...
   
   CODE46 is a science fiction romance with virtually no special effects, except natural reflections and in-camera filters. There were no Hollywood sets. It was all filmed on location in London and ultra-modern Dubai.
   
   One thing to watch for is why the moral failure at the center of the story may have happened.
   
   Please realize that this is a very well thought-out film. If some things seem not to make sense, you might have fun thinking about them again a little more, or even watch the film again.
   
   CODE46 is the futuristic story of an investigator named William Geld (Robbins) who is searching for the person or persons who are making fake passports ("papelles") The futuristic world of this movie has all of society segregated into either high-tech cities or deserts. You need a valid papelle to get into the cities--or out of them. One of the reasons you need a papelle is that a huge IT database, The Sphinx, monitors the actions of all people to protect them from genetic health risks.
   
   One of the health risks concerns the then widespread practices of IVF (In Vitro Fertilization) and cloning. Many people are genetically related to one another without knowing it. To avoid genetic disaster, people are required to check with The Sphinx to find out if they can have sex or marry or have children. So the "Big Brother" in this movie is not portrayed as being all bad--The Sphinx often saves people's lives.
   
   The investigator, played by Tim Robbins, has a job whose objective is to find out who is counterfeiting the papelles. He takes an "empathy virus" in order to read the minds of potential suspects. When he finds the guilty person, he decides to protect her from prosecution because he has fallen in love with her.
   
   It is a tale of doubly-forbidden love. Make that triply-forbidden, now that I think of it. At the end of the film, it is the viewer who must decide if their sin was punished or not, and whether there was something right about it, despite the obvious wrongness. Or possibly whether, in the future, there might be something wholly legitimate and good that could come out of it.
   
   I must mention that there is one graphic nude shot in the film that lasts for about five seconds. This shot makes sense when understood in the context of one of the main themes of the story. In other words, it is not gratuitous for no reason.
   
   I think this scene was put into the film partially to shock and also to underscore the romantic vs. genetic conflict at the core of the story. If the director's purpose were pornographic titillation, the graphic scene would have been longer, it would have been repeated, and other more obvious things and physical interactions could have been shown, but they weren't. I found out that there are several versions of the film, and my guess is that this scene, obviously played by an extra, would have been cut in one of them.
   
   Nudity is not always done to incite lust. It all depends on the intention of the artist or performer or author. I think director Winterbottom threw that five seconds in there to be controversial and to make people think. One last comment in this connection. The love scenes in this film are warm, human, and real.
   
   There is no violence in this film, (except for a two-second shot of a boxer), and I don't remember any profane language.
   
3. The main reason I love this movie is that it is about human empathy--people loving people just as they are, and for who they are, a theme that is rarely shown in movies. In that sense, it is the healthiest movie I have ever seen.
   
4. There is one very innovative thing about this film. Something very subtle. Something I have never before seen in a movie. Something that is generally considered taboo in movies. The characters are actually, and extremely subtly, and continually: looking at you. Little glimpses here and there. In rear view mirrors. When they enter the room. As they are looking around. As they are thinking. Very quick. Very subtle.
   
   After a while, you strangely begin to feel that somehow the characters are aware of you: they know that you are there--a very unique connected emotion to experience while watching a movie. This was so subtle, I couldn't figure out how the director achieved this effect of making me feel like I was a character in his movie!
   
   I had to use my remote to slow down the action to see what was happening. The director, Michael Winterbottom, has an amazing amount of empathy for his characters and an amazing cohesiveness in his visual storytelling.
   
5. The contemplative and heart-felt music by The Free Association is wonderful, and the voice-overs by Morton are emotionally intimate. Once Winterbottom hooks you in, which takes him about three seconds, you are there for the duration.
   
6. There are so many ideas (scientific, moral, spiritual, political, relational, emotional), sounds, humorous touches, editing combinations, subtle verbal cues and gorgeous visuals in this movie that it overwhelms you and just starts to wash over you. CODE46 is a masterpiece of cinematography without equal or even a close second.
   
7. The movie is so layered and multifaceted, you can watch it probably five times before you become aware of even the basic things that Winterbottom is doing. In some ways, this movie might remind you of BLADERUNNER or GATTACA, but in many ways it is far superior to both.

CODE46 is my favorite film. I have never seen a film like it.

I didn't, and you might not either, appreciate everything that is in this film in the first viewing.

This is probably a movie to watch alone, on DVD--with the lights out, and maybe a glass of good wine. And your full attention.

Better yet, skip the wine so you will realize that it is the acting, the story, the beautiful cinematography, the music, the editing, and the directing that are making you feel wonderful.

CODE46 has a great emotional arc, and an ending that might satisfy you, once you think about it.

CODE46 is available for rental at Hollywood Video.

I hope you enjoy this movie as much as I do.

Somehow, a supernatural crow brings him back to life and allows him invincible, resurrected vengeance on the creeps who murdered him. Justice.

The Crow's revenge has the purity and passion of a man who has lost something he knows he cannot get back: his life.

1. In that sense, THE CROW is a tarnished Christ analogy. But not gentle Jesus meek and mild. No. The Crow is like the Christ who will exact merciless vengeance on His enemies on Judgment Day. Indeed, the Crow kills one of his unrepentant victims by burning him to death.

There is a message of encouragement in this movie. That message, however, is not to be found in the revenge story. There is a subplot involving a young girl who roams the streets on a noisy skateboard.

Her mother is a haggard heroin addict, trying to kick the habit.

After being threatened by The Crow to be a better mother, the woman decides to give it a try and make her daughter eggs for breakfast.

The mother is bad at this, but at least she is giving it her best try. A start.

Her daughter does not expect breakfast from her mother and it looks like the eggs are going to taste terrible. The girl makes a discouraging comment and refuses the eggs. Her mother comes back with, basically, "What's the use? Who am I trying to kid? I'll never be a decent mother anyway."

Suddenly, the girl realizes she has made a terrible mistake...

******

2. She decides she wants the eggs. If she discourages this first attempt of her mother to become a decent mother, she may not get the opportunity to go down this road again. So she encourages her mother to keep going in the direction of becoming a good mother. By eating her mother's breakfast eggs.

Breakfast symbolizes a new day, and the eggs symblize womanhood and children.

It's the most touching moment in the movie.

3. God is like that little girl. He encourages our failing steps as we move in the right direction in every area of our lives.

We never know when the person next to us is ready to give up and start going in the wrong direction. The person next to us could be ready to go into depression, fear, anger, lying, adultery, fornication, abortion, drinking, drugs, violence, smoking, or some other downward reaction to our wounding thoughtless idiot words and selfish deeds. They could even be on the verge of suicide.

One way or the other, we all die without love. (Remember the Internet story about the high school student who didn't commit suicide because of the encouragement of one anonymous friend on the day he was going to carry out his plan?)

When you see someone who is down and out, that is not the time to do heavy lectures on their head. They need gentle life-giving encouragement and kindness. They are probably doing their best.

God help us to do the right thing when the moment arrives, and to be a friend when we see someone who needs our encouragement in their effort to do the right thing.

God bless us all as we go in the right direction. Amen.

When I got there, they didn't have it in stock, nor the next time. But it was worth the wait. Eagle vs. Shark is a true gem. It's wonderful to discover a film that is not marketed at you with all the commercial strength and success of the film making industry.

Eagle vs. Shark is pure cinema. By that, I mean that it is all about using visuals, characters, story and music to create an emotional response in the audience. (It's not about movie stars or special effects or hackneyed plot devices.)

I was very touched by this film. It's about two dorky nerd "kids" in New Zealand who are strangely attracted to each other. It comes from a very wise perspective, and it's perceptive social criticism taught me a lot about surface impressions, reality vs. fantasy, true friendship, forgiveness, and the nature of true love.

Don't be fooled by the seeming simplicity of this film. I had to watch it twice before I realized it is NOT a sad, depressing, hope-less story about a pitiable girl with no self-confidence. The second time I watched it I laughed a lot more and I had so much admiration for the "nerd girl," Lily.

Her New Zealand accent is a delight. She reminds me in looks and somewhat in her personality of a girl I once loved, and still love. The funny thing is that I loved the "nerdy" part of my girlfriend more than the "cool" part of her personality. So life imitated art there.

This movie, like life, is definitely not what it seems to be, and it is definitely worth seeing. Your full attention to every detail is rewarded by this movie.

This is the rare movie that has the power to change your perspective on life.

Please don't miss this one.

Plot

EAGLE VS. SHARK is about the human condition in this fallen, failed, superficial and deceptive world.

It's about many important issues in life: insecurity, disappointment, pain, lies, pretense, family stuff, unemployment, rejection, and failure.

It's also about security, real success, truth, happiness, forgiveness, love, truth, acceptance and joy.

In the end, it's a lot about both.

The title EAGLE VS. SHARK refers to costumes by Lily and Jarrod, the title characters: they get dressed up as these for an "animal party."

It's a story about Lily's feminine pursuit of her love, Jarrod. It's about her success. She's a "Dangerous Person." She's a shark. A big soft shark of love.

The music in this film is wonderful.

The second time I watched it, I realized that Jarrod was not as much of a jerk as I thought he was the first time, and that Lily was not as weak as I thought she was in my first viewing. For example, Lily gets strong with the rude girl who confronts her at the counter at the Meaty Boy fast food restaurant in the very beginning of the movie. I didn't really even notice this the first time I watched it.

There are many other things in this film that you might miss:

Lily tells a "white lie" to the the two little girls who approach her counter, saying that her register is broken--because she wants to wait on Jarrod.

Lily is the "solitary predator" just like a shark is, and after she achieves some kind of "success" with Jarrod, she is shown walking (swimming) by a group of girls--the lone predator who has actually done what the girls over there are only talking about.

I love the transformation of the little slips of paper that the boss used to fire her, all with Lily's name on them: I love how they become the confetti of success in the hula-dance scene.

Lily is a beautiful flower of a girl and she is going for more than just sex with Jarrod: she wants his love.

When she arrives at the costume party, there is a bassy piano that plays a simple theme reminiscent of JAWS.

Think of all the ways winning and losing can be looked at in this film: the dad, who just wanted his suicided son Gordon to "win." Nobody wants to be valued just for winning: it's dehumanizing.

It's very interesting in this film to pay attention to what the characters say--and what they don't say. (If you watch a film you enjoy more than once, consider turning on the subtitle captioning feature--it can be a very enlightening experience.)

I love the scene where Lily is playing the video game against Jarrod--it seems that she certainly could win, but she is looking at her real prey: Jarrod. So, she wins by losing. Big insight into female psychology there.

Note Jarrod's prideful remark to Lily about what it takes to beat "a real champion."

When Lily goes to Jarrod's place of work, notice that after she talks with Jarrod, she blows on her hands and then wipes them on her clothes: she was sweating. She got excited that Jarrod asked her out, that he showed her some kindness.

Notice the very telling connection between Jarrod's anger and his "depression." Notice also how he doesn't take responsibility for either--or forgive.

It's hysterical that Damon, Lily's brother, is in the room when they are having their intimate conversation on the couch.

Notice that when Jarrod comes out of the store he works at, that he says to Lily that the "six" (sex) was good--not that he cared about her.

Lily wants more than cheap sex--she wants love.

The movie is saying: What is cool? What is winning? Not being a fake, but being sincere, and loving people, that's cool, that's winning.

I love what the movie is saying about the dad in the wheelchair: he is crippled by his grief, he is not physically crippled at all.

Notice that Jarrod lies, saying that his brother died in a fire while saving children, (something noble and impressive), instead of the truth: he committed suicide by jumping off a cliff.

I love that Lily doesn't want just anyone to love her--she wants Jarrod, and she turns down the guy on the bike who asks her out. (I love that he is wearing a T-shirt with a black-and-white photo of Hugh Grant in a mugshot, holding jail numbers. (Even winners are losers sometimes.)

At the end, the rock Lily throws at the bird, accidentally, is shaped like a heart, and the rock also is the color of renewal, green, as is her hat, and the grass that she and Jarrod lie on, in the end.

Everyone is this film trades on lies and borrowed fame, trying to bolster their image in the eyes of others, not just Jarrod. Note all the references to Rambo, Mr. T, James Bond, Hugh Grant, Hugh Jackman Austin Powers. (Austin Powers himself being a mockery of James Bond.)

Kinda like Americans in general, no?

I love the foreshadowing of the dad's wheelchair to the final confrontation with the Samoan at the end. (And that the crippled and regretful Samoan finally gets mad and wins again, anyway.)

I love the PULP FICTION music and the reference to a Samoan, which is also a PULP FICTION reference.

I like the symbolism of how Jarrod's hatred gets him to burn a cross. (Burning the love and forgiveness of Christ.)

I love movies where you have to read between the lines and think, not just get the plot spoon-fed to you through obvious actions.

I love that Lily tells Jarrod that the girl he originally invited to the Animal Party is a "lesbian" --hysterical!--to force Jarrod to stop thinking of her as a possible love interest.

I love that the most externally beautiful girl in this movie is NOT the love interest.

I love that the dad calls his ex-wife a "lesbian" to avoid any responsibility in the failure of of his marriage.

I like how Jarrod fakes a fall on the bike just to get Lily's loving attention. (Yes, much of this stuff is very subtle. I missed this the first time I watched the film.)

I love that Jarrod's eight-year-old daughter starts performing her rock band dance only when she is being watched--another person looking for attention and admiration by association with a "rock star."

I love the "AWESOME" sports jogging suits. This has to be the most un-Awesome name for a line of clothing!

I love the commentary on what is really failure and what is really success.

I love that Lily changes her mind about the horse counting game when Jarrod says it is dumb, but then Jarrod starts playing it again at the very end, just because he can win, but we all know who has really won: Lily, just as she planned from the very first shot of the film.

This movie is saying that love is the most important thing: kindness and commitment.

Not hypocrisy or fakeness, or false values.

And the movie is right.

The goofiness of the characters in this film disarm us and allow its truths to penetrate deep into our hearts.

What a persevering and loving character Lily is.

Finally, I love Lily's commentary on life:

"You know, life is full of hard bits, I think. But in between the hard bits, are some really lovely bits."

This movie is one of the lovely bits.

Star Wars - The Empire Strikes Back

The reason why I like this movie so much is because the bad guys actually win.  This is the best Star Wars movie of the six by far.  Darth Vader, one of my favorite movie villains, is relentless in his pursuit of the rebel force and succeeds in actually outsmarting them.  The action is consistent throughout the movie with each character being developed further from Episode IV.  We meet Yoda for the first time and begin to learn, along with Luke Skywalker, the true nature of The Force.  And, of course, we find that all the pre-release rumors are true that Darth Vader is Luke's father.  This movie also creates tremendous anticipation for the next Episode simply because we can't fathom Darth Vader and the Evil Empire succeeding in destroying the Rebellion.

Best line: "No, Luke.  I am your father" - Darth Vader

The Godfather II

Who can argue with the Academy?  It followed the original by being nominated for 11 Academy Awards and won Best Picture for 1974.  Michael Corleone shows that being the head of The Family has its price.  He is ruthless in his pursuit to protect his family, even if it means sacrificing those closest to him.  We also get to see a young Vito Corleone rise to power in somewhat of a prequel to the first movie.  With both stories being told, we are given the opportunity to see the difference in the Godfather roles the father and son play.  In the end, Michael gets what he wants.  But was it worth the price of destroying his self conscience with his greed for power?

Best line: "I know it was you, Fredo! You broke my heart." - Michael Corleone

Aliens

Horror movies, even the good ones, are usually never followed up with good sequels.  Here is an exception.  In the sequel to Alien, we find Ripley awoken from a 57 year hypersleep.  When called to investigate LV-426, the planet where the first Alien creature was seen, she encounters a colony of them that have wiped out the human inhabitants.  This time, though, she has an elite team of Space Marines to help her do battle.  While not as suspenseful or frightening as Alien, there is much more action and a lot more Aliens to fight.  Unfortunately, the series continued after this movie.

Best line: "Game over, man.  Game over." - Private Hudson

Spiderman II

Spiderman was the best Superhero movie since 1989's Batman.  But unlike Batman, our webslinger followed it up with another great movie.  In this adventure, Spiderman must battle the idea of giving up his superhero life to save his failing life as a normal human being.  But when a new villain emerges, Doc Ock and his mechanical tenticles, Peter Parker must once again swing into action and save the city.  It is refreshing to see that this superhero is really just a normal guy with everyday problems like you and me.  The movie balances this subplot with great superhero action better than any other Superhero movie, period.  And in the end, Spiderman can still find a way to live his life and be Spiderman.
Best line: "You do too much.  College, a job, all this time with me.  You're not Superman, you know." - Aunt May

Star Trek - The Wrath of Kahn

Is this a sequel to the Star Trek movie or to the Star Trek TV episode "Space Seed"?  Either way, the movie hit a homerun.  Following the first movie wasn't very hard.  It was a terrible attempt to simply lengthen a TV episode plot.  But with The Wrath of Kahn, we have one of the series' best villains out for his long awaited revenge on Captain (now Admiral) Kirk.  Several sub-plots develop along the way as well with the victor taking a prized scientific invention known as "Project Genesis".  The best part about the movie is watching both Kirk and Kahn involved in a battle of wits.  The action sequences are very good, but even better is watching how James Kirk plots and plans his moves and counter-moves to thwart Kahn.  We also see a surprise ending with the death of a great friend.  (Ok? I didn't completely spoil it.  You all know who I am talking about, though.) Overall, The Wrath of Kahn is the best movie of the entire series, including The Next Generation contributions.

Best line: “I don't like to lose.” - Admiral James Kirk

“Charlotte's Web” is an outstanding movie based on the animated version which is also based on the original book. This movie is for the young and old who have an imagination. It's for anyone who is still a kid at heart. In the movie, facts intertwine with fantasy in a quest to save a pigs life that is doomed to become Christmas dinner.

“Charlotte's Web” is a (2006) G rated family movie based on the book, “Charlotte's Web” by E. B. White which was first published in (1952). This film is 96 minutes of pure fun for any child or adult.

The main character of Fern is played by Dakota Fanning who does an outstanding job of portraying a little girl with a big heart for a runty pig who seems to be doomed from the day he is born.

In the film the little pig (Wilbur) is moved to Zuckerman's farm when he can no longer stay in the house with Fern. At the farm he makes all kinds of friends, but only one, (Charlotte) the spider cares so much that she tries time after time to save him from his certain destiny of becoming Christmas dinner.

In the end, Wilbur's life is saved thanks to his best friend Charlotte and the whole town celebrates with him in a parade. This children's story truly has a happy ending indeed.

 

In the movie, she is an undiscovered author and illustrator of children's books who tries repeatedly to get her work published but is turned away when the publishers think her imagination is a little too risky because she likes to put animals in people's clothes. After a long hard search for the one publisher who will accept her work, she finds not only a publisher but also love.

Some time after the publication of many of her children's books, her fiancé dies leaving her lonely and without a publisher. His brothers agree to continue working with her on her upcoming publications in their family owned firm. After a while her financial advisor tells her that she is a rich lady. She decides to buy herself a house out in the country running into a long time acquaintance while doing so.

She lives out her life doing what she loves at her 40 acre country home and ends up married to her childhood acquaintance who introduced her to her dream home.

This film introduces writers and illustrators to the struggles that the very popular Beatrix Potter faced on her way to the top. It is an inspirational movie that portrays the importance of never giving up on the dream of becoming published, even when your own family doubts your dreams.