2006 / John Curran > It’s beautifully filmed and Desplat’s score is impressive in its ability to turn violent at a moment’s notice, but the film is flawed in its ability to say something beyond the obvious. People make mistakes and redemption often comes when the world is put into perspective, but The Painted Veil tries to say that in a way that finds itself to be almost self-congratulatory. I’ve never read the novel and am unsure of its depth versus the film, but maybe something is lost in the adaptation that keeps it from being of interest. As a period piece, it works on basic levels, and Norton’s passion in making the film comes through, even if a little forcefully at times, quite well.

2006 / Gabriele Muccino > The reason the film is ultimately bearable isn’t because of Will Smith’s performance, but rather the predictable yet heartwarming moments our protagonist finds himself in. Much of the storyline progresses as expected, and by the end all is swell and life goes on. The voiceovers are probably the worst part, and it brings down the film a whole notch. As an underdog movie, it’s nothing special—at least not something a dose of Rudy can’t cure.

Of note is Thandie Newton’s portrayal of Smith’s wife, which I found striking considering she’s often billed rather lackluster roles. Her character’s not particularly multi-faceted, but what she does, she does well. As for whether Smith deserves a nod for the Oscars, it’s tough to say. He’ll probably get the nomination since the role is a made-for-Oscar one, but without a doubt there are better options out there.

2006 / Darren Aronofsky > It’s pretty, and the music’s not bad either. But how much validity there is in Aronosky’s interpretation of love and death, I’m not sure. I found myself quite bored and annoyed at the lack of any real tangible concept in The Fountain. What Aronofsky’s trying to say is there at the tip of his tongue, but it never comes out as it should. Many have commented that the film is for the deeply intelligent thinker, but I would argue that they may be deluding themselves into believing a rather self-important piece of work that’s force-fed via the glowing face of Rachel Weisz and bald head of Hugh Jackman. While Aronofsky should be commended for standing by his labor of love, it does not excuse the film’s excesses. The remainder is filled with style, repetition and naive philosophies that fail to support the initial premise.

2006 / Michael Mann > Dreadful, monotonous and an underwhelming disappointment. Having expectations for a Michael Mann film is a bad idea, since living up to the standards he set with Heat and The Insider are a little unfair. But I was hoping the re-imagination of Miami Vice and the mainstream debut of Gong Li would be reason enough to keep me interested. But unfortunately the music, cinematography and the presence of Ms. Li is not enough to save the disjointed, unnecessarily contrived plot line from caving into its own back.

2006 / Paul Weitz > I expected more from the director of About a Boy: After all, Weitz should have been capable of a well-done, imaginative satire on the state of today’s media. But American Dreamz basically ends up engulfing itself in several layers of useless satire that render it cliche’d and predictable. The irony here is that the message of the film—a mockery of American Idol and our government—gets lost in the silliness that ensues. The subtlety of Weitz’ previous films (including American Pie) is completely lost here, as is the film’s potential charm.

2006 / Justin Lin > There are a few great scenes in the film, including an incredible sequence deep in the heart of Shibuya. And many will argue that these scenes make the film worth its running time. Unfortunately, the story itself is so bland and teeth-tugging, it’s hard to care for any of the characters, including the horribly miscasted Lucas Black as an good ol’ Southern boy who just can’t stay away from his cars. The races, of course, are the focus, and they are successful for the most part. I did find the climactic race a little boring compared to the introductory one, and up until that point I had hopes for a smashing finish. I find myself disappointed, having put my faith in Justin Lin since he will direct the American Oldboy. After all, high standards are warranted when you’ve been picked to do such a project.