unexpectedly good reviews, and the personnel involved (including director Phillip Noyce and ace cinematographer Robert Elswitt) are top-notch. So yeah, I'll get around to this one.
Ramona and Beezus: I harbor no illusions that this one is meant for me, but 26 years ago, I would have been way fucking excited about this movie. Here's hoping it does well, so we can finally get the Henry and Ribsy movie I've been clamoring for since my Book-It days.
Life During Wartime: All I knew about Life During Wartime going in was that it was a new Todd Solondtz film-- and even that didn't turn out to be accurate. It's not a new Todd Solondtz film--it's the same one he made in 1998 and called Happiness, though the fact that he's made this follow-up with a new cast (including some racial switching! Daring!) is somehow supposed to make his decision to create a sequel to his last successful movie seem artsy and indie. It's not. Revisiting old material without bringing anything new to it smells as desperate when Solondtz does it as it does when Michael Bay or Brett Ratner does.
Jean-Michele Basquiat: The Radiant Child: Tamra Davis's documentary portrait of her friend and contemporary Basquiat, the New Wave artist who stormed the New York art scene when he was barely 20 and was dead of a heroin overdose at 27, is shockingly amateurish in places (seriously, get some lav mics), but it is heartfelt, and loaded with fantastic stories and terrific archival footage.
And to answer your question, no, I still haven't seen Inception. FILM CRITIC FAIL.