EASTERN PROMISES

As I generally try to, I held off on reading reviews of David Cronenberg's Eastern Promises until I'd actually viewed the movie. (Admittedly, I occasionally fail at this task.) I was well aware of its hype - the film received the top prize at the recent Toronto International Film Festival - but also leery of it, as Cronenberg is a critics' darling whom I admire but whose works I usually don't. (Despite titles such as A History of Violence, eXistenZ, and Naked Lunch, the last movie of his I genuinely adored was 1988's Dead Ringers.)

3:10 TO YUMA

James Mangold's dramatic Western 3:10 to Yuma, the remake of a Glenn Ford oater from a half-century ago, is a tough, effective, frequently powerful piece of work. Yet despite its authentic period design and supremely intelligent performances, it feels a little lightweight; a few hours after seeing it, you may not remember much about the experience except having had a good time. Especially considering Hollywood output of late, 3:10 to Yuma is hardly a disappointment, but for all of its thematic richness, the movie is rather generic - it's a modern-day action blockbuster in Old West attire. The film is everything except moving, and I have a sneaking suspicion that Mangold desperately wants it to be.

HALLOWEEN

On the list of 1970s horror films that absolutely, positively did not demand a remake, John Carpenter's spare, suggestive, and deeply frightening Halloween would have to place right near the top. If, however, a 21st Century revamp was inevitable (and, Hollywood being Hollywood, it was), I would have thought Rob Zombie the ideal choice for the task, as the director's House of 1000 Corpses and The Devil's Rejects were relentless, darkly funny, and unapologetically nasty entertainments with a low-rent style that captured the spirit of '70s exploitation terror to perfection. Who better suited to bring Michael Myers back to life?

Having seen Zombie's offering, I'm thinking the answer might be: just about anyone else.

SUPERBAD

Superbad, the wildly hilarious, subtly moving, and only-a-little-disappointing comedy about two youths hell-bent on securing booze for (and getting laid at) a high school party, is directed by Greg Mottola, but it's impossible to miss the imprint of its producer, Judd Apatow.