The 40 Year Old Virgin was one of those surprise hits you never really see coming. A movie about a guy in his forties whose idea of a wild night is watching Survivor with his elderly neighbors who can’t get a date doesn’t immediately strike you as the kind of fodder for a movie that pulls in a hundred and seventy seven million dollars, and yet, this one did.
Oh Let’s Face It—It Was All About the Carell.
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Yes, please, stop screaming! I hear you! A lot of you are genuinely honked off about the whole Transformers thing. Megatron’s got the wrong voice! Where’s Prowl / Soundwave / the rest of the Constructicons! Bumblebee’s not supposed to be cool or useful and his name’s really Goldbug anyway now after he changed it back in the comic!
But First, Some Background
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Tim Burton is not exactly a face you’d associate with Christmas. And neither, frankly, is Jack Skellington. To be perfectly honest, if you were ever in need of a replacement for Santa Claus, the gangly, spindly, seven-foot-tall scarecrow / zombie hybrid is not someone you’d be looking to. At least, not ordinarily. And in Nightmare Before Christmas, you can see firsthand why there are far worse choices out there…and conversely, far better.
Proving The Critics Wrong: Jack Skellington
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Okay…we’re all looking at the calendar and dying a little inside because we know it’s almost January, that great traditional dumping ground of spectacular movie studio offal. This time, 
though, we’ve got a reason for hope—and that reason is called Sweeney Todd. Reuniting once again the great
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Few filmmakers would be courageous enough to parody a biopic, but Judd Apatow, drunk on the success of Superbad and Knocked Up, decided to go for it.
The past few years have been good for musicians’ life stories. Movies like Ray and Walk the Line were quite successful, particularly the latter, a long-awaited biopic of the late great Johnny Cash. Based on Cash’s self-titled autobiography, it chronicled his life from a tragic childhood in rural Arkansas to his famous performance in front of inmates at Folsom Prison.
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It’s still the holiday season, folks, so with that thought in mind, here’s a winner Yuletide recipe for you—how to make a twenty minute short cartoon into a one hundred four minute movie!
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Mention the name James Caan and you’ve got my interest. From Santino Corleone to Paul Sheldon, he’s been in plenty of roles that force me to acknowledge that the man’s got chops 
and to spare. But when you put him in a movie with Frat Packer Will Ferrell…in tights…in a Christmas movie…you’ve got me downright sold.
Will Ferrell Really Makes a Good Elf.
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Nelson Mandela once said, “our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure.” It’s a difficult, controversial, and important message - not exactly the type of moral you’d expect from an animated kid’s movie.
Then, The Incredibles came along.
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When I first saw the trailer for Spider-Man, one thought dominated my brain: finally.
A live action Spider-Man extravaganza has been a long time coming. Even for those of us who aren’t Spider-Man fans, or fans of the Marvel comic book characters in general (DC FOREVER!), a good superhero movie never goes amiss. It all 
looked promising: an appropriately nerdy Peter Parker, a pretty redhead, and Willem Dafoe. They even did us the courtesy of not insulting our intelligence with a “radioactive spider bite” - it was a genetically enhanced spider. Take that, science!
And for the most part, Spider-Man does not disappoint.
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Like most comic book writers, Frank Miller has been burned by Hollywood. The third Robo-Cop movie disappointed him so much, he refused to allow his work to be adapted to the silver screen again. But Robert Rodriguez, Quentin Tarantino’s protégée, hoped to change that. Miller’s popular series Sin City was ripe for adapting, and Rodriguez thought he was the man to do it - so much so that he filmed a “proof of concept” to show Miller, featuring all the stylistic flair of the graphic novel. Miller loved it. Out of great respect for the writer, Rodriguez offered him the co-director’s seat, which Miller accepted gratefully.
But the director’s union had something to say about that.
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