The development metformin 500 mg for weight loss process leading up to Your Highness went something like this:

Two studio executives kick back in a corner office bouncing ideas off one another.
Exec. #1: “ Hey I metformin hydrochloride just finished reading this awful script my assistant plopped on my desk. I bet we can sell the shit out of it!”
Exec. #2: “Fantastic!… So who do you think we can get?”
They email the script to Natalie Portman and Exec. #1 later follows up with a phone call.
Exec #1: “Natalie!… So you got the e-mail? Good. Now I understand you probably have some   reservations about the, um… scene. I realize you probably don’t want to do this, but if I might add… Oh. So you do want to do this?… Well great! I’ll have the thong overnighted to your house for a test-fitting!”

Spoiler Warning!

Do you remember when MTV and VH1 only played marathons of music videos? Consider Sucker Punch your brief, nostalgic throwback then. The film plays like a dozen videos strung together but instead of commercial breaks we get five minute interludes of barebones character development as director Zack Snyder quickly rushes us to the next set piece. Snyder, no doubt inspired by the Swedish chef of Muppet fame, bangs every pot and pan in the kitchen together whilst covered in flour and muttering nonsense. Sucker Punch is a concoction of crazy, beauty, and ambition: part Kill Bill-choreography, part Moulin Rouge-flair, and part Inception-dreamscape with a titch of Shutter Island-insanity. Filled with feisty, red-hot females, Emily Browning’s Baby Doll leads a cast of would-be heroines against an onslaught of piggish men, except for the horribly underused and suave Jon Hamm who gives urgency to the three scenes that he’s in. Unfortunately, the end result is an unsatisfying visual feast. There’s no doubt that the movie is gorgeous; Snyder can out film most directors out there, but I think someone needs to tell him that his camera isn’t the most important character.

As a self-declared costume drama whore, it was my moral obligation to see this latest incarnation of Charlotte Brontë’s classic novel Jane Eyre. Since I have never seen a fully satisfactory feature-length version of this story, I had high hopes going into this movie, and my hopes were delightfully met.

Battle: Los Angeles is more of a war film than a typical science fiction alien invasion plot, but you don’t need me to tell you that. The trailers and TV spots make it perfectly clear that Battle: LA owes more to films like Black Hawk Down or The Hurt Locker than Independence Day and War of the Worlds. Director Jonathan Liebsman uses the same visceral, “down in the trenches” style of camerawork that has become synonymous with the modern war epic to great effect. Instead of watching the battle from afar on a world-scale, you feel like you are witnessing a real invasion on ground level. The stark realism never fades and it is this quality that distinguishes Battle: LA from its contemporaries in what has become an increasingly crowded genre.

Let’s get this out there now: The Adjustment Bureau may be the best movie of 2011 so far. That might sound like faint praise considering we’re not even one full week into March, but it stands head and shoulders above the usual crop of scheduled mediocrity we get saddled with this time of year. Owe it to the story’s Philip K. Dick roots, the focus groups responsible for picking out Matt Damon’s ties, or Terrence Stamp, but somehow everything in The Adjustment Bureau clicks. It just feels right.

I’m gonna say that the western is making a long-overdue comeback. With True Grit earning a Best Picture nomination at this year’s Oscars, and Cowboys & Aliens coming out this summer (SO stoked for that one), it seems that Hollywood, and movie-goers, are again embracing the tales of gun-slinging cowboys. And now we’ve got an animated western to feed the fire in Rango, the newest film from Nickelodeon Movies.