PAN’S LABYRINTH.  Like others, I was expecting more of the fantasy element, but this film, while about kids, is certainly not for them. The creatures and effects are great, and once again Del Toro sets the scenes against a historical backdrop with some despicable characters. Highly recommended for a darkened room.
PARK.  Several peoples' lives intersect while spending lunch hour in a park, with various intentions from suicide to nudism to infidelity. There's not enough of through-line to warrant a movie (would've made a better short), though each individual story is entertaining in its way with some funky casting. The movie's attempt to reconcile its cynicism with idealism feels forced.
PERSEPOLIS. It can be challenging to awe at the killer multiplane hand-drawn animation while reading the subtitles at the same time. Fortunately the script is simple enough that I was able to understand much of the French without reading. Apparently the English dub features an all-star cast, but I always prefer performances in their native tongue. This is an epic tale, spanning decades of Persian hardship through the eyes of a girl and her extended family. The PG-13 rating surprised me, as it traverses some very adult themes, but never loses the dry wit at its edges. Black and white was also a brilliant choice, as the lack of skin hues (they're white) helps make the events more relatable and not just problems faced by "those people."
POULTRYGEIST: NIGHT OF THE CHICKEN DEAD.  This was to be Troma's masterpiece, the 35mm film that Lloyd Kaufman drained his retirement savings for. And while it may in fact be their finest cinematic moment (certainly their best script), it cannot be recommended for anyone but existing fanboys. The usual cast of lesbians, food fetishees, and man-made monsters make poopie humor, swap bodily fluids, and break into spontaneous song at a newly-christened fried-chicken joint constructed on sacred burial ground. "Revenge is a dish best served fried."
A PRAIRIE HOME COMPANION.  Folksy, to be sure, but nobody does ensembles like Altman. The way the conversations overlap and intertwine and then transition into other scenes, and everything's all going on at once. A sound recordist's nightmare/dream. I didn't care much about the story itself (and I used to work in public radio), but the acting was really good and it was put together well. Even Lohan was pretty decent, but Kevin Kline steals the show with his noir security guard.
THE PRESTIGE. Beyond clever as usual from the Nolan brothers. The whole movie in itself is kind of like one big magic trick, and I can't count how many times I got fooled throughout. We'll see if the Academy remembers Bale (or Jackman) when it's time. Go see this one, especially all you who enjoy crafting twisty tales, for a master class on how it's done. They went nonlinear again, because, like Memento, the way the information is revealed to the viewer causes more suspense and drama this way. If they just went chronologically, with each act being one phase of the trick (pledge, turn, prestige) as originally written, it would be fairly predictable. They set up the expectation at the very beginning that flashbacks would be used, and that gave them permission to jump backwards whenever they wanted to pick and choose what details we knew at any moment.
PRETTY IN PINK. Hard to believe I was once in an '80s band called Molly's Crush, yet never managed to see this all the way through until now. My image of Duckie had been the sentimental underdog, but now he's just an effeminate pandering jackass. I also never understood Andrew McCarthy's appeal in general. I'm sure he's a fine actor, but a leading man he's not. Spader owns his assholic character here as always. And then you've got genius casting of Gina Gershon and Dweezil in supporting roles. It made me chuckle how even all the "uncool kids" of Shermer, Illinois rocked the extremes of '80s fashion here as in no other film: liberty-spiked hair, permullets, checkered patterns, lapel buttons, etc. Put this one in the time capsule of Reaganomica.
PUNCH-DRUNK LOVE. In a battle between my worship of P.T. Anderson and my distaste for Adam Sandler, Sandler wins. The best elements here are Phillip Seymour Hoffman, the harmonium, and Jon Brion's music. But it's well made, and has a unique visual style.
THE PURSUIT OF HAPPYNESS. High drama from the Fresh Prince. It’s cool that he got to act with his kid and all, but this was just too contrived for me.
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