The Movie Blog

Yoko Ono approved use of former Beatle’s voice, image to support charity.

Hollywood received a Christmas bonus this weekend, as movies from Jennifer Aniston and Owen Wilson, Brad Pitt and Cate Blanchett and Adam Sandler all opened strongly.

Liam Neeson is an unstoppable force in this adrenaline-fueled thriller from director Pierre Morel. Bryan (Neeson) has taken early retirement from the CIA in order to live closer to his teenage daughter, Kim (Maggie Grace). Bryan’s government work kept him away from Kim for much of her childhood, and he’s now trying to make up for lost time. When Kim announces that she’s taking a trip to Paris with her friend Amanda (Katie Cassidy), Bryan is apprehensive about her traveling on her own. His worst fear is soon realized, as Kim and Amanda are abducted upon their arrival in France. Bryan immediately springs into action, using his well-honed CIA skills to piece together clues from a single, frantic phone call he received from Kim. He hops a plane to Paris, determined to rescue his daughter before she falls off the grid completely. With some help from his old CIA buddies, he tracks down the kidnappers–an Albanian crime ring known for selling young girls into the sex trade. He quickly takes matters into his own hands, plowing his way through Paris’s underworld as the clock ticks down and the bullets fly. His search propels him into the upper echelons of a massive crime ring, putting him closer and closer to his beloved daughter.<br><br>Neeson is known for tackling extremely cerebral roles, so it is interesting to see him in full-on action-hero mode. In TAKEN he is no less than a crime-fighting machine–a Bourne/Bond hybrid with a deathly serious baritone. And while he spends most of the film firing Uzis and snapping necks, he still manages to deliver a moving performance as an estranged father fighting for what he loves most in the world. The film undeniably owes a lot to Neeson’s acting chops. He manages to raise this rather thinly plotted, deeply violent film a bar above your typical action fare.

Winner of the Palme d’Or at the 2008 Cannes Film Festival, master French director Laurent Cantet’s THE CLASS is an absorbing journey into a multicultural high school in Paris over the course of a school year. François Begaudeau–an actual teacher and the author upon whose work the film was based–is utterly convincing as François, an openminded teacher in charge of a classroom of youngsters from a wide variety of backgrounds. Of course, the mere fact that he’s older and in a position of authority causes his students to challenge him on many occasions. François is stuck in the middle. In the teacher conferences, he butts heads with the harsher adults who don’t appear to have any sympathy for their students. In class, his attempts to be lenient and understanding are somehow misinterpreted and he finds himself arguing with the kids that he so clearly wants to help. As the school year progresses, tensions rise, until François finds himself in a position he never imagined he’d be in.<br><br>Unlike his more formally written early films like HUMAN RESOURCES and TIME OUT, Cantet proves that he has an ability to work in a more improvisational manner. Shooting on HD and working with a cast of young non-actors, he allows THE CLASS to breathe, resulting in a fictional drama that has the spirit and energy of a documentary. His startlingly assured ensemble brings the new, culturally diverse France of the early 21st century to striking life.

Filipino director Brillante Mendoza brings a frank, gritty immediacy to SERBIS, a multi-character, day-in-the-life portrait of a family-run movie house in the Philippines. Only this isn’t your typical movie house. It’s actually a downtrodden venue that shows graphic double features and allows the clientele to make their own sexual connections in the dark shadows. Today is a very important day, for Nanay Flor, the family matriarch, is going to discover if she won a years-in-the-making bigamy case against her husband. Meanwhile, her children are involved in dramatic situations of their own. Alan has just learned troubling news about his girlfriend, and Nayda is married but attracted to her cousin Ronald. As the day develops and the verdict comes down, the Pinedas struggle to focus on the daily tasks associated with the theater, even as their own personal conflicts threaten to overwhelm them.<br><br>Shot on video, SERBIS recalls films from the Dogme 95 movement. Mendoza and screenwriter Armando Lao have clearly constructed these dramatic situations, yet they are shot on consumer video with such energy that the film often feels like a documentary. Mendoza pulls no punches, showing multiple scenes of behind-the-scenes sexuality that are even more graphic than the X-rated behavior unfolding on the cavernous theater’s silver screen. SERBIS provides a realistic, unflinching glimpse into this hyper-sexualized world.

“The Curious Case of Benjamin Button” and “Bedtime Stories” were also expected to move past the previous Christmas Day mark, according to some studio estimates.

A federal judge has ruled that 20th Century Fox owns a copyright interest in “Watchmen,” potentially jeopardizing the superhero movie’s March U.S. release.

The Academy of Motion Picture Arts and Sciences mailed 5,810 official Oscar nominations ballots to voting members Friday, and perhaps no one was more excited — or more daunted — to cast votes than its 105 newest members.

On “Valkyrie,” the writer and director of “The Usual Suspects” reunite for their most substantial project together since their 1995 film.

Bush, McCain follow; Hillary Clinton tops Palin, Winfrey among women.