ANXIOUS

I am basically foaming at the mouth to see the new (and supposedly mostly silent) Viking epic Valhalla Rising. The director is the incredible Nicolas Winding-Refn (the mesmerizing and brilliant Bronson). From what I've heard, Valhalla Rising is like a Terrence Malick film crossed with some period-action/horror elements which relies heavily on dialogue-free visual storytelling. Like I mentioned a moment ago -- FOAMING AT THE MOUTH. The tatted actor in the shot above is the awesome Danish actor Mads Mikkelsen (Casino Royale, King Arthur, After the Wedding). I've read some superb reviews for Valhalla, which opens in NY/LA on 7/23. I am almost positive (but not certain) that it will also hit On-Demand next weekend (got my fingers and toes crossed).

THIS BETTER OPEN IN MY AREA SOON

I CANNOT WAIT TO SEE THIS DOC

THE SLEEPER OF THE SUMMER?

It does look funny...

MOVIES FOR THE WEEKEND

Predators is a definite big-screen movie -- either this Saturday afternoon or one day next week after work. It looks pretty slick. And it's rated-R.

Despicable Me looks like colorful, cute fun -- I'd like to see that as well at some point.

Nothing from Netflix for this weekend -- just finished watching The White Ribbon last night. Cold, mean, calculating, and heady -- the typical ingredients in a Michael Haneke film. I enjoyed watching the film without ever actually loving what I was watching (if that makes any sense).

Last week I also saw the Neil Jordan/Colin Farrell mermaid movie Ondine and it's one of the best of the year. Modern-day fairy-tales are hard to pull off but this film casts a spell immediately. Sumptuous cinematography from Chris Doyle and a lovely script that twists and turns and adds up to something special. As usual, Farrell owned every moment that he was on-screen.

I also caught Greenberg, which was excellent, but in a low-key and very depressing way. Stiller has never been this good or focused (or at least since The Royal Tennenbaums) but the movie was completely stolen by the effortless charms of Greta Gerwig. Writer/director Noah Baumbach is a master of the awkward moment (of which there are plenty in Greenberg), and if the film didn't quite leave you with a major emotional uptick by the conclusion, it certainly showed you some characters who need a lot of therapy. As usual, the sly cinematographer Harris Savides brought his A-game.

CAUTIOUSLY OPTIMISTIC

For me, the only recent vampire movie worth a spit is Tomas Alfredson's haunting thriller Let the Right One In, which was one of my favorite films from 2008. Next January sees the release of Matt Reeves's remake, now being called Let Me In. While I loved Cloverfield, I'm slightly hesitant about seeing Let the Right One In remade. It's a perfect movie and easily one of the best horror movies in recent years. Except, while it is horrific at times and it's easily labeled as a "horror" film, it's much more than that. The script is layered and deep, and themes of friendship and love are explored in very interesting ways. How close will Reeves stick to the original template? What changes are in store for the narrative? How will the two child actors fare? I'm very curious and hopeful but keeping my fingers crossed...

MOVIES FOR THE WEEKEND

It's kind of funny how the critics have completely and utterly crucified M. Night over The Last Fartbender, er, I mean, Airbender. I have next to no interest in the film. So, sadly, this will be the rare July 4th weekend without a trip to the theater (a crime in my estimation).

From Netflix is the B&W German film The White Ribbon. I've heard nothing but tremendous stuff.

I watched the Robert Pattinson melodrama Remember Me earlier this week. A solid film, better than I expected after reading some terrible reviews. Pattinson has decent chops as an actor but it was Lost's Emilie de Ravin who stole the film. The finale was EXTREMELY bold, and I'm still wrestling with it a bit from a decision-making P.O.V., but overall, I liked the film. Director Allen Coulter showed some style chops and any movie benefits from having Chris Cooper in its ensemble. Also, Pierce Brosnan showed that he plays a great a-hole. I thought the film veered into too-easy sentimentality at times, but it's the sort of film that wears its heart on its sleeve -- unabashed melodrama. In this cinematic day and age you sort of have to respect that.

The Wolfman, Edge of Darkness, The Killer Inside Me, and Ondine are all available On Demand. Would love to check at least one of those out over the long weekend...