Perhaps what the sisters have in common is that they see life on earth now as particularly hopeless. Justine’s melancholy is internal. Claire’s is from above. The opening sequence lets the audience in on the truth, that the mysterious blue planet that is hurtling towards the earth will indeed be our end, but until the moment it happens, there is always the faint hope that it will, as Claire’s astronomer husband John (Keifer Sutherland) keeps insisting, pass us by. It is a strange movie in that this planet that spells our doom is simply a given, but there is nothing else to hint at science fiction. There is no government agency scrambling to find a way to save the earth. In fact, the entire film takes place on an isolated estate somewhere on some coast – a mansion, stables, and, John’s pride and joy, an 18-hole golf course.

The film opens with a very arty sequence (think Tree of Life) depicting the sisters in strange tableaux around the estate, some is such extreme slow motion as to be nearly still, culminating with a planet crashing into earth. This is none too subtle foreshadowing of the strange and strained tale that is to come. There is a sense from the beginning that nothing quite fits here. When we meet Justine, she and her new husband are in the back of a stretch limo, which cannot navigate a tight turn and despite trying every conceivable approach, it is just stuck. She seems happy and fun, but it becomes clear at the reception that she is in desperate need of emotional aid and despite pleas to both her parents, she gets less than nothing. Claire seems mostly concerned with having the affair run on time, though it is obvious that she is the only person who understands what is happening with Justine and will take care of her. In the Claire chapter, a nearly catatonic Justine returns to stay at the mansion and is nursed back to mental health, just in time to help über-anxious Claire cope with the end of the world.

Melancholia is definitely not a mainstream film. But there is a lot to like about it, including wonderful acting from both lead actresses. So far, Kirsten Dunst has gotten a lot of kudos (Best Actress at Cannes), but I think Charlotte Gainsbourg deserves a few nods, as well. And the supporting cast is excellent. I particularly liked seeing Keifer in a non-Jack Bauer role for a change. Visually this film is stunning! The opening sequence is mesmerizing and who’d have thought a golf course could become such a magical landscape? But at the end of the day, it is a very depressing film. You need to be in the mood for an Art Film, because ultimately Melancholia is all about futility, though neatly wrapped in a gorgeously shot and beautifully acted package.

I won’t bother delving too much into the plot, because it will just propel the non-Twihards among you to wonder how and why the “young adult” novels by Stephenie Meyer grew to such Potter-esque proportions. It is what it is, people.

Breaking Dawn picks up where Eclipse left off. Eighteen-year-old Bella Swan (Kristen Stewart) and her immortal boyfriend, the intense but charming vampire Edward Cullen (Robert Pattinson) tie the knot. Bella gets pregnant on their honeymoon and the ‘baby’ grows at an accelerated pace, feeding off the ever-weakening Bella, and triggering a potential war between the vampire clan and the local werewolves whose pack includes Bella’s best friend Jacob (Taylor Lautner). Jacob remains ever-protective of Bella despite his hate for all things vampire. I know – it’s absurd. But every time Jacob rips off his shirt and leaps into werewolf mode, you can almost forgive the cheesy, stilted, so-bad-it’s-funny acting that often fills the screen.

This particular movie is simply a means to an end – the end being Bella’s transition to life as a vampire. For the rest of the story, you’ll have to wait for Breaking Dawn – Part Two, hitting theaters just in time for Thanksgiving 2012. Twihards, save the date. As for the rest of ya – don’t be hatin’ or criticizin’ or mockin’ (too much). Just skip it and move on, knowing it’ll all be over soon.

For the two-and-a-half minute version of the entire movie, watch the official trailer:

It’s about the “haves” and “have-nots” in a future world where time is – literally – money. Everything is bought and sold in units of time: minutes, hours, days, months, years. So a cup of Joe might cost ya four minutes… a nice car could set you back a few years… and there’s a “99 seconds only” store on the corner. Get it?

Oh, here’s the big catch: Everyone is genetically engineered to stop aging at 25. Then a clock embedded in their forearm starts ticking down. If it zeroes out, they drop dead. So folks need to make more “time” to survive.

Justin Timberlake stars as Will Salas, an inherently good guy who lives “day to day” in the equivalent of a futuristic ghetto. When he suddenly comes into a whole lot of time, he also becomes a wanted fugitive. Though on the run, Will is determined to challenge a system that basically decrees, “For a few to be immortal, many must die”. In other words, the “one percent” is golden. The other 99 have a rough go of it. Sound familiar?

Timberlake rocks this role, proving he can do much more than romantic comedy, SNL skits, singing and dancing (all of which he does remarkably well – it’s really not fair). He is at once sympathetic, empathetic, endearing, mysterious, serious, cocky, cute and charming – even when he’s taking a rich, rebellious and beautiful young woman (Amanda Seyfried) hostage at gunpoint.

Click here to watch the official trailer

It’s a little bizarre to watch a movie where everybody looks approximately the same age regardless of their relationship to one another (Olivia Wilde plays Timberlake’s mother. How creepy is that?). But you get used to it. The movie has some flaws. But overall, it’s a nice mix of drama, humor, action and eye candy, and it manages to tackle some heavy issues without being too heavy-handed. So for a PG-13 sci-fi twist on our own twisted reality, consider “Occupying Theaters” for In Time. For 110 minutes. Or 10 bucks.

The less you try and learn about the movie going in, the more you’ll enjoy the ride. So I’ll keep the strokes broad enough not to ruin the plot. Cowboys & Aliens starts out like a fairly classic western, with Craig’s character waking up in Arizona Territory in 1873, unsure of who he is or how he got there. He’s got a bloody wound on his abdomen and a mysterious shackle on his wrist, indicating perhaps he is an escaped convict. He’s also a mighty fine gunslinger.

The guy stumbles into the town of Absolution, which is basically “owned” by a hard-ass named Colonel Dolarhyde (Ford). The two butt heads, but ultimately must come together – along with other townsfolk, a token boy, a token dog, a token woman (Olivia Wilde), and even some Indians – to fight a common enemy that threatens to wipe them out. That enemy would be the aliens – monster-like creatures that come out of nowhere to snatch people up with their fleet of spaceships.

Cowboys & Aliens is a PG-13 action thriller with just enough humor, heart and self-deprecation peppered throughout to tame the intensity of the fight scenes. The script was written by Alex Kurtzman and Roberto Orci (Star Trek) and Damon Lindelof (Lost), based on a graphic novel by Scott Mitchell Rosenberg. So there’s a definite Trek/Lost vibe goin’ on. The characters are just quirky enough to keep you guessing, and the story is just bizarre enough to hold your interest, even as you think, ‘where is this going?’

So, how do you get someone (like me) who balks at the idea of seeing an alien movie set in the old west to join you for this one? Here’s the pitch: for chicks, there’s the appeal of the naturally-suave Craig, who fills out his cowboy duds quite nicely, thank you very much (though regrettably only goes shirtless once or twice); Ford is fun for the nostalgia factor (there’s a bit of the ol’ Indiana Jones buried in there somewhere); and Wilde (a.k.a. “13” on House) delivers some (cow)girl power along with the eye candy.

What can I say? I was pleasantly surprised.

Captain America: The First Avenger is the latest in a string of superhero movies flooding the box office this summer. And that is its biggest obstacle: comic-book hero overkill. As much as I, um, admire actor Chris Evans’ body of work as Captain America, I wasn’t as enamored with the overall story as I was with X-Men: First Class. The two movies have quite a bit in common, including roots in the World War II/Nazi era as the set-up for a whole new wave of crime-fighting superheroes.

Captain America: The First Avenger takes place in 1941, as war is raging overseas. A scrappy, 98-pound New Yorker named Steve Rogers (Evans) is eager to enlist in the U.S. Army to help fight the bad guys, but he keeps getting rejected because of his scrawny frame and a myriad of health issues. That is, until a government scientist (Stanley Tucci) sees in Rogers the essence of a hero who, with the help of an experimental super-secret muscle-building serum, could become the Allies’ greatest weapon. Rogers readily agrees to be the serum’s human test pilot, and next thing ya know, the noble misfit is a noble hottie with super-speed, super-strength and a big round protective shield developed by none other than Howard Stark (Dominic Cooper) a.k.a. the father of future superhero/Avenger “Iron Man.”

The movie is a bit campy, reminiscent of the 1970s Wonder Woman television series (where is that movie, by the way!?), as “Captain America” and his fellow soldiers are tasked with bringing down the evil HYDRA organization, the Nazi’s deep science division led by Red Skull (Hugo Weaving), who’s basically out to destroy the world.

Captain America: The First Avenger is an entertaining enough ride if you’re into all the superhero flicks. But don’t feel compelled to rush out and see this one (showing in 3D and IMAX of course), unless you already have your calendars marked for May 4, 2012. That’s when The Avengers movie is slated for release – featuring the best of the best from the Marvel superhero universe, including Captain America, Thor, Iron Man, and others. One thing’s for sure – that one should be worth the price of admission, for the eye candy alone.

If you’ve read the books, you know how the plot unfolds – and how it ends. I’ve only seen the movies (shame on me, I know), so I can’t tell you how faithful (or not) the cinematic sequences are to author J.K. Rowling’s written word. But I can tell you that everyone I saw it with – including many who’d read the books – were extremely satisfied with how it all played out.

Unless you’ve been living under a rock for the past decade, you know that the movie’s lead actors have grown up with- and in- their roles: Daniel Radcliffe as Harry, Rupert Grint as Ron Weasley, and Emma Watson as Hermione Granger. It’s hard to watch Part Two and not wonder what was going through their heads as they filmed their final scenes together. It definitely adds to the emotional impact of the movie.

While Part One was almost ‘chick flicky’ in its relationship-centric themes and sweeping landscapes, Part Two is all about action – and answers.

As the epic adventure draws to a close, the battle between the forces of good and evil in the wizard world escalates into all-out war and everyone is in jeopardy, especially Harry, who is faced with making the ultimate sacrifice in his final showdown with Lord Voldemort (Ralph Fiennes).

Fringe fans of Harry Potter (i.e. the less obsessed) will likely benefit from a cursory read of one of the gazillions of online primers – for an overview or refresher course in the colorful cast of characters, the backstory, and a glossary of terms like  “elder wand” and “horcruxes”.

If you haven’t seen any of the previous seven movies over the past 10 years, then don’t expect this one to “stand alone” and still make sense. It’s the final chapter of a very long book filled with twists and turns and a language all its own. That’s not to say there isn’t room for a spin-off or two (or seven). After all, what movie exec would dare shut the door entirely on the most successful movie franchise of all time?

But for now, Harry Potter and the Deathly Hallows – Part Two provides a fitting end to a fantastical journey for millions of muggles young and old.

It’s PG-13 (for the typical darkness that Deathly Hallows might bring), runs a very respectable 130 minutes, and is the first Potter movie to be released in both 3D and 2D. Personally, I think 2D is the better way to go – unless you need the glasses to hide those misty eyes. Bye, Harry.

Super 8

The movie takes place in a small Ohio town in the summer of 1979. A group of friends are out making a zombie movie with a Super 8 camera when they witness an explosive train crash. Once the zombie film’s young “director” gets over how awesome the fiery backdrop is for his film’s “production values”, things take a scary turn. The kids are warned to forget what they saw, the military swoops in to cover up the mystery of the train’s cargo, and strange things start happening in the town.

The movie has a definite Lost meets E.T. vibe –  not too surprising, considering it was written and directed by Lost co-creator J.J. Abrams and produced by Steven Spielberg. Both know the drill when it comes to mixing family drama, action adventure and science fiction into a suspenseful, yet entertaining package.

The movie works in part because of a genuinely likeable cast that includes Kyle Chandler (Friday Night Lights) as a deputy sheriff determined to uncover the cover-up, Joel Courtney as his son Joe, Elle Fanning as the only “actor” in the zombie film who can actually act, and Riley Griffiths as the director wannabe who takes his craft very seriously. The Griffiths character – who must have more than just a little of a young J.J. Abrams in him – definitely provides the bulk of the movie’s comic relief.

Super 8 isn’t my favorite movie of the year. Some things didn’t quite track (gee, just like Lost!), and the ending was a bit corny for my taste. But overall, it does make for a nice, harmless diversion on a hot summer day. And the soundtrack includes Blondie’s “Heart of Glass.” I mean, really, what more could you ask for nostalgia-wise?

And finally, take note: Don’t – under any circumstances- skip the end credits! They’re classic.

Super 8 is rated PG-13 for some intense sequences of sci-fi action and violence, language and a pot-smoking dude.

X-Men: First Class looks and feels quite different from the typical superhero fare (of which there is much more to come this summer season). It takes place primarily in the 1960s at the height of the Cold War. The world is on the brink of nuclear Armageddon, much to the delight and machinations of age-defying mutant Sebastian Shaw (Kevin Bacon). He is evil personified – and must be stopped. But how?

Enter mutant expert Charles Xavier (James McAvoy). At the behest of the CIA, the telepathic Xavier embarks on a mission to identify and recruit a sort of mutant Justice League. His first recruit is a tortured soul named Erik (Michael Fassbender), a “magnetic” young man who has a personal score to settle with Shaw.

The relationship between Xavier (a.k.a. Professor X) and Erik (the future “Magneto”) is an interesting and complicated one – and it serves as the true catalyst for how the heroes and villains of the X-Men Universe come to be defined.

X-Men: First Class is an action-packed drama that’s part throwback to the old Bond films and part Smallville – i.e. a look at superheroes and super villains in their formative years, coming in to their own powers and forming the alliances that will ultimately land them on the side of good or evil – or somewhere in between. As prequels go, what more can you ask for?

The movie opens with a long, loooooong jazzy montage of modern-day Paris as the city of lights transitions from morning to night, sunshine to rain. It could almost be the opening to a travel show that’s about to highlight all the city has to offer – the architecture! the food! the wine! the outdoor cafes! the romance! Oui, oui. C’est Magnifique.

When the music montage finally draws to a close, we are introduced to an American in Paris- several of them actually. Owen Wilson and Rachel McAdams play Gil and Inez, an engaged couple who’ve tagged along with her parents on a business trip to the French capital. Gil, a writer (or aspiring writer, depending on how you look at it), is immediately smitten with the city and the role it played in inspiring some of the greatest artists, writers and musicians of the 20th century. Ah, wouldn’t it be great to be transported back in time…

And that’s exactly what happens. Every night as the clock strikes midnight, Gil hitches a ride into the 1920s, where he mingles with the likes of Ernest Hemingway, Salvador Dali, Cole Porter, F. Scott Fitzgerald, Gertrude Stein, and Pablo Picasso. The more you know about them going in, the more you’re going to get out of the film.

Woody Allen knows how to attract good actors, so the performances are all pretty solid and witty. Even Owen Wilson, who tends to be hit or miss for me, is sufficiently endearing as a guy who romanticizes the past but comes to appreciate what the present and future may offer as well.

Midnight in Paris is a decent film with limited appeal for the masses. Ironically, it will likely find its niche with the intellectual and pseudo-intellectual types that the movie often pokes fun at. C’mon, you know who you are.

Jake Gyllenhaal stars as Colter Stevens, an Army Captain who wakes up (in another man’s body) on the ill-fated train, just minutes before a bomb goes off. His mission is to find the passenger who planted the bomb and prevent a second, deadlier terrorist attack on the city of Chicago. Stevens has eight minutes to accomplish his mission. But as they say – if at first you don’t succeed…

Turns out, those eight minutes represent a window into a parallel universe of sorts that can be revisited over and over and over again – but not without consequences. Each “re-entry” takes a physical and emotional toll on Stevens, who isn’t quite sure how and why he ended up on this mission to begin with. The mission is directed from afar by a mysterious duo (Vera Farmiga, Jeffrey Wright) holed up in some super-secret government lab.  They only give Stevens the basic information they think he needs to know to get the job done. The movie is a sci-fi and psychological thriller – as well as a romance – as sparks fly between Stevens and his attractive seat-mate on the train (Michelle Monaghan). Hey, a lot can happen in eight minutes.

The less you know about this movie going in, the better. I’m sure computer geeks will examine it on a whole other level, but for me, it’s about suspending all logic and appreciating it for its grounding in humanity and subtle humor. It’s an action movie with heart.

I’m still processing the ending. The more I think about it, the more intriguing/acceptable it becomes. Let me know if you agree – or not.