The subject of "Zombie Girl: The Movie" is a young, ambitious 12 year-old girl named Emily Hagin. Her love of horror films drives her to write and shoot her own full-length zombie feature titled "Pathogen." This documentary explores her process of creation from her original concept, through filming, editing and premeiring her finished product.

Age and talent play a very large role in the doc, showcasing this young filmmaker's flash of creativity, which takes her a long way. There is no concept of glamour here, exposing the viewer to the raw, deep and often difficult process of creating not only a film, but an independently funded film. Every peice of the process is detailingly shown to you, the viewer, in hopes of a good understanding of how an independent featue is made. Its aspect of individuality amongst any feature that details the creation of a film stands tall in its themes of age and familiar support, and the efforts we drive ourselves to commit to out of a geniune love for what we do.

Emily's family plays one of the most important parts throughout, never letting off in their support and beleif in what their daughter is doing. This brings out moments of heartfelt enjoyment, through the subjects' exposure of personal stories as well as times within the duration of the documentary where they are shown to just simply be having fun as a family. This brings momentum through the door, showing that you are not just watching a film about making a film, but also about how supporting creativity can bring us all together.

Adding a wonderous amount of humor makes this all the more fun to watch. The most important thing to know is you are supposed to have fun watching this. The filmmaker is having fun doing what they do, which is providing entertainment for an audience. At that attempt, there is no sign of failure.

Films about the Iraq war are becoming a dying breed. Most of what we seem to be shown about the subject these days lacks quality or a drive to make a statement or tell a story to the point of fully keeping its viewer's attention. Kathryn Bigelow's "The Hurt Locker" brings this subject back to form, taking the audience into the world of the Army's elite bomb squad.

We follow an elite EOD squad with six weeks remaining of their tour who has just been issued a replacement leader, one who lives on the wild side of life, grappling intense situations with an attitude that lacks a care between life and death. This particular figure, played masterfully by Jeremy Renner, brings forth a full drive of emotions to its audience. He is the most intriguing soldier of the bunch, even if for the most negative of reasons. His wonderful support is provided by Anthony Mackie, playing the squad's do-gooder with a patriotic balance of serving his country and helping its people.

Dramatically, equal efforts are placed in by the filmmaker and her actors. A solid combination of thrills and intesnity mark this up above what could be considered another wartime drama, giving it a level of attentive value that rightfully has the power to hold the viewer's attention precisely throughout the entire duration. You want to know what these characters are going to do and how their differing attitude's will affect the outcome.

Ms. Bigelow has come a long way as a filmmaker, given the fact that she never had a shaky start to begin with. She is a visionary that knew what she was looking for, and along the path of her impressive resume, she continually built her craft, playing with various styles and incorporating what she feels artisitically into every effort. The Hurt Locker drives her talents into something new and deep. This is her look into conflicting personalities working together in a time of war, confusion and personal issues. She gives life to Mark Boal's provocative script, providing a human figure to its characters, bringing them fully to the audience for a full understanding of who they are and what they feel.

When a viewer can find intrigue into the characters they are watching, following their every movement and analyzing what we believe to be their intentions, a connection is placed between entertainment and emotional stimulation. The Hurt Locker manages to culminate these two aspects into a dramatic experience about men at war, and how they approach their situation in regards to their duties and their emotions.

Director Rian Johnson's latest effort, The Brothers Bloom, is a journey away from his debut (the phenomenal "Brick"), not in a way of quality, but of style and genre. This time around, Johnson has delved into the entertaining world of the con man comedy.

The laughs are present, as is the colorful and vibrant stylish view of a Wes Anderson picture, showcasing a presence of old fashioned imagery living in a present day setting. The characters display quality, and each in their own way attracts your attention, settling an acquaintance to the plot and story as they relate to its progress. Our protagonists, Brothes Stephen and Bloom are flawed men who have mastered their craft, to con unsuspecting figures out of large sums of money. Stephen, excellently played with utter talent by Ruffalo, is the confident one. He knows what he wants and how he is going to get it. Bloom (Brody) on the other hand, lacks confidence, and seems to be searching for something to complete his existence. They are joined by Bang Bang, played memorably in an entertaining fashion by Rinko Kikuchi is the show stealer. She is mute, uttering no more than two lines through the entire film, but her presence is always felt, and she generates the best moments as a supporter, surpassing her three more well-known co-stars. Thei plan is in full effect, to charm a naive and odd heiress out of a large sum of her fortune. Cue, Rachel Weisz, whose charm and beauty provide the film's second most unique character, and another source of entertainment to drive an enjoyable film at an even faster speed of amusement.

Paced almost perfectly, boredom is long gone throughout most of the picture. Sadly, a sum of true cleverness also performs a slight disappearing act at times. If one were to sum up a vibe for the film, it could be described as Wes Anderson doing his own kind of Ocean's Eleven, making room for more thrills and laughs.

There is no real set genre for "Bloom," providing action, comedy and romance through the characteristics of its stars. Brody and Weisz handle the romantic card, with Ruffalo and Kikuchi behind the wheel of the action vehicle. Each of them equally contribute a set of laughs to tie the ropes of genre together. As far as any other players are concerned (which include a surprisngly underwhelming Robbie Coltrane and Maximillian Schell as an pirate-like vilain named Diamond Dog)they are mainly there as fillers to give the story a full circle cast of character types.

While "Bloom" may not stand as the most clever heist film ever made, it gives something truly necessary to allow a picture of its type to succeed, entertainment. This is one element among many that stands true to its test as a film, and at that it scores greatly as a pleaser.