Remember the Last Green League
Remember Me: "Admittedly, my own sense of loss has been triggered by a (regretfully) missed opportunity to continue poking fun at the Twilight phenomenon, for Pattinson has successfully, if only for a few hours, disconnected himself from the franchise. Hell, Sparklepants actually signed onto Remember Me before he'd even heard of Twilight, and, for that reason and his convincing performance, it is easy enough to distance the Edward Cullen character from the more compelling movie in question." -- Agent Bedhead
She's Out of My League: "The funny thing is that the script is so incompetently written that it actually manages to acquire a entire subtext that I doubt is intentional in the least. Kirk's family and friends are blue collar, lower middle class slobs who have no respect for education, play hockey in the basement, go swimming in tighty whiteys, plan NASCAR-themed weddings and think flying to Branson is the height of chic get aways. Molly's friends and family are highly educated snobs who speak a little bit of French, visit Europe on occasion, have condos in the city and are always impeccably dressed. The disconnect between this couple has nothing to do with their different levels of attractiveness and everything do with class, and the film is too obtuse to do anything but reinforce that that's OK. On their first date, Kirk is mistaken repeatedly for one of the waiters. Note that Molly's parents stick their noses up at Kirk, not until they realize that the pair are really in love, but until they are misled into thinking he's a pilot. Kirk only manages to go be with Molly once he rejects his family entirely and of course ends up in piloting lessons, because of course he wants to be something more." -- Steven Lloyd Wilson
Green Zone: "And yet for those expecting The Bourne Insurgency to unfold, Green Zone is unsurprisingly composed of a little more conversation, a little less action, which wouldn't be so bad if the dialogue hadn't consisted of clunkers along the lines of "You picked the wrong side" and "This isn't what I signed up for," and exchanges like "We're here to do a job. The reasons don't matter." "Well, they matter to me." Worse yet, the lengthy chase that closes the film is a dark, grainy mess, a regression of Greengrass's seemingly honed talent for making shaky-cams and quick cuts exciting instead of exhausting and a fine metaphor for the film itself as a whole, a blur of frantic action and fractured ideals." -- William Goss
Also released this week: Fuel, The Good Guy, Rock Slyde Private Eye
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