Year: 2005

High-school sophomore Debbie is the absolute biggest fan of an insipid boy band called Dream Street, and she’s crushed when she gets taken by a scalper and misses the band’s big show. But then, lo and behold, miracles and wonders, she wakes up the next morning to find the 17-year-old lead singer, Chris Trousdale, in … more…

Paramount was right to keep images of the alien creatures and the alien ships tightly under wraps (though perhaps requiring Steven Spielberg to check his cell phone at the door of the New York premiere last week may have been a tad unnecessary), because when you finally see them, you’re sharing the experience with the characters in the film, and that is: Holy fuck. And you almost want to look away, it’s too much to deal with, and yet you can’t, it’s so horrifyingly fascinating.

What happened is this: Seattle-based indie filmmaker Timothy Hines’s Pendragon Pictures set out, in early 2001, to make a contemporary updating of H.G. Wells’s classic novel of alien invasion, with skyscrapers under attack and urban terror and the like. You know what came next: 9/11. With his project — which had already been shot! — suddenly lost to propriety and good taste, Hines came back with an even better idea: a faithful, Victorian-era adaptation of the novel, which had never been done before. And then Spielberg’s modern version of Wells got pulled up from 2007 to 2005… to just after the Pendragon period piece was to be released.

See, there’s this beaten-down weariness to *Land of the Dead* that’s unlike your typical gore-and-shuffle zombie movie, and — even though this is Romero’s Big Hollywood Film — it’s unlike anything that the typical big-budget splatter flick has going for it, either…

There is a place for snarky meta-commentary on pop culture, but that place is clearly not at the hands of anyone named Ephron. Sisters Nora (who directed) and Delia (who cowrote with Nora) have concocted an evil brew of misogynist tripe, faux-ironic nostalgia, and painfully false romantic comedy that purports to be an ‘edgy,’ modern updating of a 1960s sitcom.

Ever see one of those movies where you’re moaning ‘crap… crap… crap… crap’ through the first two-thirds and then it starts gripping you in the end so that you by the time it’s over, you’re thinking it’s not so awful after all? *Herbie: Fully Loaded* is like that. Now, I’m not sayin’ it’s any threat to *Madagascar* or anything as something both the kiddies and the ‘rents will enjoy. But it’s not bad. It’s not good, but it’s not bad.

You know why this new Batman feels so potent and important and *necessary*? Because he *is*. Because the world, the real world, feels like it’s falling apart, rotting away at its core from all manner of injustice and greed and indifference. Because we share this Bruce Wayne’s incoherent grief and shattering rage at the misdeeds of the powerful and the cowardly timidity of those supposedly in the right. Because the world is desperate for a champion like this, who channels fury through compassion *and gets things done.*