The Tillman Story - B+

Rated R for language, 94 minutes

"The Tillman Story" a provocative, stirring doc

It would be completely appropriate to post a review on September 11 of the affecting, powerful new documentary "The Tillman Story," about pro-football player-turned-soldier Pat Tillman, who was killed in friendly fire in Afghanistan in 2004, given that was his inspiration to enlist in the military. Compelling but disturbing, it gives some insight into the appalling U.S. government cover-up of Tillman's death and their subsequent use of him to promote the war, and his family's attempts to learn the truth.

Tillman was a tough, successful defensive back at Arizona State University before being drafted by the Arizona Cardinals in 1998. Four years into his pro career, shortly after the events of 9/11, he and his younger brother Kevin, also an athlete, enlist in the U.S. Army and sent to fight in the war with Iraq. He is killed in April 2004 in what the U.S. Government initially said was a firefight with enemy forces, but it later comes out that Tillman was actually killed by friendly fire in the mountains of Afghanistan by members of his own unit. Worst of all, the U.S. Government uses his death as a way to promote patriotism and the war, and keeps details of his death from his family.

Documentary filmmaker Amir Bar-Lev ("My Kid Could Paint That") provides a compelling, provocative and controversial look at someone committed to his country but is brought down by unfortunate events. The film is at its most fascinating when it examines the events surrounding his death, but it falters a bit when it tries to provide a full, balanced view of Tillman the man. Most controversial and most appalling are when "The Tillman Story" clearly shows the U.S. military and the government clearly knew of the actual facts of Tillman's death and kept them from his family to promote the war.

Most of Tillman's family and some of his Army colleagues are interviewed, giving insight into a sad story that could've likely been prevented. Both of his parents are entertaining interviews, as is his younger brother Richard. However, one chief flaw the film makes is not incorporating more footage and interviews from his brother Kevin who served with him, who could've provided essential insight into Pat's military service. We do see footage of him at the congressional inquiries of Pat's death, but no direct interviews are given. It seems Kevin limited his own involvement, but his silence dampens the story a bit.

Also, "The Tillman Story" overlooks some other facts in Tillman's death (there were possible Army snipers near by, his diary is never recovered and what became of those who actually killed Tillman?) and it doesn't examine Tillman's own anti-war or political views enough (which are in fact ironic given his story), though if he was anything like his family, that should probably be evident.

"The Tillman Story" will make you angry. Angry that he died. Angry of how he died. Angry that it was covered-up by the U.S. Government, and angry that it's now a closed case. "The Tillman Story" is a stirring, unforgettable look at a true hero who leaves an inspiring legacy behind, an honorable thing this September 11th.

I'm Still Here - C

Rated R for language, sexual situations and nudity, 108 minutes

Rambling, pointless Phoenix doc "I'm Still Here"

"I'm Still Here" is the new documentary that focuses on Oscar-nominated actor Joaquin Phoenix's strange transition from movie actor to aspiring rapper. Meandering and a bit absurd, it does have some entertaining moments as it blurs the line between documentary and mockumentary, but it's largely an afterthought since Phoenix's attempts to become a rapper were so public.

Phoenix abruptly announces his "retirement" from film acting to focus on a career in rap music. He self-produces a few tracks and attempts to get help from famous rapper and performer Sean "P. Diddy" Combs. All the while, his personal life seems a total meltdown as he seemingly lets go of himself to a pudgy, dishelved grump who screams and degrades his assistants. He's actually a decent musician who can't seem to get his personal life under control, which is spiraling out of control in the public eye.

Phoenix's best friend and brother-in-law Casey Affleck (the actor of "Gone Baby Gone" and Ben's younger bro) directs the pointless, often strange documentary that has a few entertaining moments, especially as Phoenix lets himself go, but it's also sad, self-absorbed and likely a big act. The now-parodied appearance on "David Letterman Show" is given ample time in the last act, not to mention all the jokes that it inspired.

Because "I'm Still Here" blurs the line between real and fake and because Phoenix's meltdowns were so well-chronicled, the audience may have a hard time showing any sympathy for Phoenix. It's "been there, done that" feel grows old and very repetitive by the end, even after an on-stage meltdown while attempting to perform. Given the fact that Phoenix hasn't released an album (or a movie for that matter) and he's already cleaned himself up speaks to the fact that this is indeed a big hoax or a diversion for the award-winning actor.

A scene of defecation on Phoenix's face and a couple of needless frontal male nudity don't really add to the film, either. Phoenix is a decent actor and from what we can tell, maybe a decent musician if he really decided to go that way, but joke or not, he comes across as a real ass and a mess personally. Maybe Phoenix and Affleck haven't really let us in on the joke yet, and one that requires explanation. And we all know when you have to explain a joke, it ceases to be funny.

Resident Evil: Afterlife - C

Rated R for sequences of strong violence and language, 97 minutes

Flashy, trashy "Resident Evil" installment for fans

If you're a fan of the "Resident Evil" video game series, you'll have the most fun seeing the cheesy new film "Resident Evil: Afterlife" inspired by the video game. While films such as this are hardly serious fare, this proves that in the world of cinema, there's something for everyone. The best thing about the energetic fourth installment of this franchise is its pure escapism entertainment for those seeking solace from a crummy world.

"Afterlife" picks up where the third film ended. Alice (Milla Jovovich) has been roaming the world searching for any remaining survivors. Alice also finally comes face to face with her arch-nemesis, Albert Wesker (Shawn Roberts), for the first time. As she enters the ruined Los Angeles, she stumbles onto a base of Umbrella, surrounded by zombies. She then teams up with a group of survivors who had been hiding in Los Angeles since the T-virus outbreak, including Claire (Ali Larter) and Claire's long-lost brother, Chris Redfield (Wentworth Miller) to stop Wesker from his experiments on uninfected humans, only making him more powerful and everyone else weaker.

The trashy, violent "Afterlife" continues the adventures of Alice in a not-so-wonderfland full of zombies. Paul W.S. Anderson, who wrote and directed the other "Resident Evil" films, also directs and writes this installment with the same unoriginality as the others. As with the rest of the films in this rather vapid franchise, the highlight of "Afterlife" is the special effects, the sets and a few decent action set pieces that give it the life it so desperately needs.

Anderson's real-life spouse, former model Jovovich, is back as Alice, the experiment gone awry, and while her acting skills remain as dull as ever, she continues to pack enough energy in the film to make a decent action hero. This one is a little better than the previous in that it brings more characters in from the video game series and packs a few more genuine scares than the others. On the downside, the convoluted, predictable story will be best understood by true fans of the video game and/or film series, as it's filled with details from the video game (including a big guy with even a bigger axe).

It's nice seeing "Heroes" Larter back again, "Prison Break's" Miller is cast as a...surprise here...prisoner, while British actor Roberts makes for a slimy, "Matrix"-like villain. The stale ending, quite unsurprisingly, leaves it open for even more sequels and those really interested should stay through the credits for more story. However, for the first time, the "Resident Evil" series is in 3D, with knives, blood and zombies coming at you full force, though as with most recent movies in 3D, it doesn't necessarily make it a better film.

"Resident Evil: Afterlife" is a forgettable, mid-grade sci-fi horror-zombie thriller that packs a few punches and will help you escape the real world for a few moments.

Machete - B

R for strong bloody violence throughout, language, some sexual content and nudity, 105 minutes

Lots of fun and gore in Rodriguez's campy "Machete"

If you're looking for loads of humorous violence and gore, then Robert Rodriguez's "Machete" is the perfect vehicle for you. Done in Tarantino-esque exploitative style, "Machete" is a spin-off of sorts from the 2007 Tarantino-Rodriguez double bill "Grindhouse" that featured a "Machete" fake movie trailer. Admittedly, the excessively violent "Machete" isn't a film for everyone, but then with a film named Machete, what else would you expect. Don't take it too seriously, and you'll have a grand time.

The story revolves around Machete (Danny Trejo), a former "Mexican Federale" turned renegade. After a shakedown with a druglord (Steven Seagal), Machete roams Texas as a day worker. Michael Booth (Jeff Fahey), a slimy local businessman, offers $150,000 to kill. Machete accepts the murder contract. But Machete is double-crossed so the Senator can get votes, and now Machete is on the run again

Agent Sartana (Jessica Alba), a persistent U.S. Immigration and Customs Enforcement agent, is sent by her superior, Lt. Von Jackson (Don Johnson), to go find and capture the injured Machete. Machete, with the help of Shé (Michelle Rodriguez) recruits an unconventional priest(Cheech Marin) to help him gather some of the immigrants to turn the tables and hunt down those who have wronged him.

"Machete" is one of low-brow films that's pure predictable trash, but enjoyable, fun trash that will keep you interested until the end. The cast and the violence make for a colorful, memorable film that seems like a male, Mexican version of Tarantino's "Kill Bill."

Only Rodriguez could assemble a cast that includes Oscar-winner DeNiro, former TV star Johnson (who for some reason is being "introduced" here as if it was his first film), washed-up action star Seagal, airhead Alba and resident whore Lohan. But the film is grounded by ex-con-turned-movie-star and familiar face Trejo (seen briefly in the recent Rodriguez-produced "Predators" remake), an unconventional character actor with a rough, hard look that fits the Machete role perfectly.

Even more fun about the entertaining "Machete" is the over-the-top violence and gore that fills the film, with some comic book-style (loads of blood and body parts) fight scenes that will make you first about eating those licorice sticks. The story is pure pulp and done in such a broad style you wonder if Rodriguez (who co-wrote the script along with just about everything else) has any other style but this. It grows a little tiresome after awhile and you have a sense of what will happen in the end.

"Machete" sequels will likely follow if this is a hit and it likely will find some resonance outside the comic-con audience this is geared for. This is a good, if not, forgettable, way to end the summer and pure escapist entertainment.

Going the Distance - B-

Rated R for sexual content including dialogue, language throughout, some drug use and brief nudity, 100 minutes

Cast the best thing about the witty "Going the Distance"

Sometimes long-distance romance works, sometimes it doesn't. The same could be said for the new Drew Barrymore-Justin Long romantic comedy, some it works, some it doesn't. Profane, witty and filled with some good one-liners and a decent cast, "Going the Distance" is an above-average rom com with an otherwise predictable script that nearly lets its overly-charming supporting cast take over.

Drew is Erin, a Southern Cali girl working as an intern at a New York City newspaper. She bumps into New Yorker Garrett (Long), a music promoter who hates his job, while playing the video game Centipede at a bar. They fall in love, but Erin has to go back to Stanford after the summer is up and the two forge a long-distance relationship. The two desperately want to be with each other but the jobs are scarce on both coasts, and they must ultimately make the tough decision of moving or breaking up.

Fun but slight, you'll be "Going the Distance" only because of the appeal of the handsome leads, who need more screen time together. The film takes too long decide who's doing what, but there are a handful of amusing moments along the way. Drew and Justin make for a cute pairing given their real-life relationship though you wish they had more interplay, and they're regularly upstaged by several strong supporting characters. The film's profane tone, along with plenty of sex and drugs, is a little different for the seemingly clean cut Drew and Justin, but that works to help the somewhat slack script.

As Garrett's somewhat dense but one-liner filled pals, "Saturday Night Live's" Jason Sudeikis and "It's Always Sunny in Philadelphia's" Charlie Day have the most fun in the movie, the latter of whom has the breakout potential of the next Zach Galifianakis. The scruffy roommate regularly listens in to his buddy's amorous adventures, keeps the door open while pooping and inadverdantly shaves his moustache resembling an infamous German dictator. Just as good is Christina Applegate as Erin's protective, OCD sister who scrubs her house down after her sister's sexual adventures and gains pleasure from dry-humping.

"Going the Distance" goes back and forth too much and in the end there's not much there, but the charming appeal of the leads make something this predictable seem so effortless. This is one long-distance relationship, that in spite of its flaws, is worth it. Recommended mainly for Drew and rom com lovers.

The American - B

Rated R for violence, sexual content and nudity, 106 minutes

Clooney is "The American," a dark, subdued but stylish thriller

If you watched the Emmy Awards earlier this week, you got a chance to see an abundance of George Clooney. He was given a humanitarian award and also showed off his comic chops in a skit with TV's "Modern Family." The ever-versatile Clooney shows off his dark, serious side in the low-key new spy thriller "The American," which much like the actor himself is intelligent, suave and handsome. It's more of a moody, slow-moving character study than action-adventure, but the refined Clooney gives you something to watch.

As an assassin, Jack (Clooney) is constantly on the move and always alone. After a job in Sweden ends more harshly than expected for this American, Jack retreats to the Italian countryside. He relishes being away from death for a spell as he holes up in a small medieval town. While there, Jack takes an assignment to construct a weapon for a mysterious contact, Mathilde (Thekla Reuten).

Savoring the peace he finds in the mountains of Italy, Jack accepts the friendship of local priest Father Benedetto (Paolo Bonacelli) and pursues a torrid liaison with a beautiful woman, Clara (Violante Placido). Jack and Clara’s time together evolves into a romance, one seemingly free of danger. But by stepping out of the shadows, Jack may be tempting fate.

A subdued but dark Clooney turn makes the handsomely shot "The American" worthwhile. It's often very leisurely and understated, but then that is also part of the appeal. On one hand, you wish more would happen, but what does happen is usually satisfying enough. Music video director Anton Corbijn has the enviable task of directing Clooney this time out, and he handles the Italian scenery well along with eliciting an unusually low-key performance from the Oscar-winning actor. Corbijn lacks efficiency in moving the story along (the first hour seems much longer) and needs to tighten up the film's pacing a bit.

The glum screenplay by Rowan Joffe (son of acclaimed director Roland Joffe) is flawed: it's overly familiar and lacks depth, but Clooney, with his usual charm and skill, makes it more entertaining and interesting than it really is. There are some decent twists and turns along the way to get you to the haunting ending, yet it seems in no rush to get there.

"The American" may be too slow for some and true it isn't Clooney's best, but his low-key, earnest turn makes it worth seeing.

Animal Kingdom - B+

Rated R for violence, drug content and pervasive language, 113 minutes

Highly-charged, involving crime thriller "Animal Kingdom"

"Animal Kingdom" is a superbly-acted, explosive Australian low-budget crime thriller arriving late in the summer and will be a true crime if it's not remembered come awards time. It's an auspicious directorial debut, featuring universally stellar performances, including one debut from one young actor.

Melbourne, Australia teen Joshua "J" Cody (James Frecheville) has no family after the overdosing death of his mother, so he goes to live with his estranged grandmother Janine (Jacki Weaver), also known as Smurf, who watches over her boys, a group of armed robbers and thugs. The oldest, nicknamed Pope (Ben Mendelshon) is a dangerous thug who believes he controls the family; the middle brother Craig (Sullivan Stapleton) has a hair trigger and deals cocaine on the side; the youngest Darren (Luke Ford) debates his conscience of being involved in a crime family. J realizes that he's being drawn into something far more menacing than he ever thought, and to survive he must learn his place in the family and the business or be destroyed by them.

"Animal Kingdom" is a fierce, intense and entertaining tale of a crime family that plays similar to a low-level Australian Godfather. The story is a familiar one, but it's an often frightening tale about a family who'll do anything to get ahead, even destroy their own. The film is an auspicious feature film directorial debut from Australian filmmaker David Michod, who loosely bases his script on real-life events that occurred in Australian in the late 1980's.

The layered performances and the dark tone are the highlight of "Animal Kingdom." Newcomer
Frecheville grounds the film well in a subtle, low-key performance in his debut feature film. Mendelshon is also memorable in a fervent turn as the older brother who thinks he has it all together when we all know better. Guy Pearce, the only recognizable name here, also has a few good scenes as the good guy, a detective who has J's best interests in mind.

Most memorable of all the cast is veteran Australian stage actress Weaver as the deadly matriarch, who runs the family with a kiss rather than an iron hand; she has the film's best scenes in a subtle but menacing turn. She makes all the deals, knows exactly where everyone is at all times and is at the center of all the action. Weaver's excellent, wholly believable turn is award-worthy and hopefully will be remembered come awards time later this year.

"Animal Kingdom's" engrossing story and superb acting is worth a look for the independent film that's already been a hit in its native Australia.