Someone just tried to make Call of Duty: The Movie. In “Green Zone,” Matt Damon plays a soldier in a specialized unit trying to uncover the whereabouts of WMD’s in Iraq. However, all of his intel is coming up fruitless, much to his frustration. Before you can say Sarah Palin, Damon goes rogue. He then spends the rest of the film hunting down the whereabouts of WMD’s, being confronted by nosy reporters, encountering the locals, fighting soldiers, and dealing with opposing political forces within the American and Iraqi camps. Yawn.

On paper, “Green Zone” does have the ingredients to make something good. Paul Greengrass directed two Bourne films and made a legitimate masterpiece with “United 93.” Matt Damon can show his talent, and Amy Ryan was Oscar nominated for “Gone Baby Gone.” Brendan Gleeson was honest and balanced in the offensively fun “In Bruges.” Greg Kinnear has a certain reliability to him as well. Yet, everyone seems to be going through the motions, giving us a film without much passion or flavor.

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The Oscar’s held very little surprise, and what has already been written so far across “the internets” covers the highlights – MoNique and Sandra’s speeches, The Hurt Locker’s win, The Kanye moment, and the hosts.  It really was a predictable affair if you were to read up ever so little beforehand.

Oscar is continuing to mean very little to me other than a voting party with friends and family.  The revelation that people campaign for their nomination and win sucked a lot of air out of the festivities.  This isn’t your high school’s ASB, we can already judge your performance.  You don’t need to tell us what you will do for us this year, you already did it.  If your performance deserved it, then good for you – here’s a vote.  I understand the double edged sword.  Out of the loads of films to be considered, not everyone can actually see them all.  But if people aren’t taking the time to watch the films, doesn’t that diminish the value of the statue?

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Oscar is knocking at my door. Better get in my licks… 

The Blind Side. A rich white Memphis housewife takes in ahulking homeless black teenager and teaches him about God and football. Hereturns the favor by becoming a first-round NFL draft pick and an inseparablemember of the family. Surefire, straight-arrow inspirational sports filmsucceeds as family entertainment and even manages to bemildly—microscopically—critical of the privileged social elite. Sandra Bullockdoes the subtlest acting of her career while director John Lee Hancock (whoalso adapted the bestselling book) does some careful steering through choppyemotional waters.

Precious: Based on the Novel Push by Sapphire. Despite the accolades and celebrityendorsements, an enormous slog. The title character, an obese African Americansingle mother, illiterate and pregnant, battered and raped, finds sanctuaryfrom her miserable existence in a pilot program that equips her with thestrength to leave her wicked mother.

People are always asking me for film recommendations.   Unfortunately, my favorite movies are often tough to find.    I see so many amazing films at festivals that rarely (if ever) get the attention they deserve.   They may win the Audience Award at South by Southwest (like THAT EVENING SUN) or screen at Sundance before slipping into obscurity (like LOURDES).   The best of world cinema may play in theaters in Los Angeles and New York for a week, then quickly vanish (like SERAPHINE).   When (and if) they’re released on DVD, it won’t be at Best Buy (like GOODBYE SOLO).  So how can discerning filmgoers find these hidden gems?

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Last week, I took my wife away for an afternoon date. We watched the Book of Eli. After the movie, I spent the drive home trying to gather my thoughts about the whirlwind that is Denzel Washington, as Eli, on the big screen, a man of violence who longs for peace, a man who doesn’t “want any trouble,” but who brings trouble on all sorts of violent men, a man of simple faith in a world where nothing is simple, and faith isn’t even a memory. I spent some time processing why I was moved by this film.

Without seeking to be a spoiler, I want to mention two scenes that I think might be on my all-time favorite list:

1.    There is a scene where Eli prays over a meal. In normal circumstances, this sounds completely mundane, and unworthy of screen time. But in the ultra-barren landscape of a post-apocalyptic desert, both spiritually and verdantly, this scene almost brought me to tears. There was something so completely holy about a man, a man of violence and faith, teach a young girl, entirely post-christian, completely post-faith, how to pray to God. The prayer is one of astounding simplicity and gratitude. My own mealtime prayer carried greater weight that evening.

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As a film critic, I have to see a lot of movies that are not necessarily pleasant to sit through. Which is fine. A lot of my favorite films—and some of the most beautiful, important films of all time—would hardly be categorized as “pleasant” viewing experiences. Films like Breaking the Waves, or Requiem for a Dream, or a number of films by David Lynch, are in my view works of art, deeply disturbing though they may be.

But sometimes it’s a fine line between “just far enough to make an impact” and “that’s gone too far.” Whether we are talking about brutal violence, explicit sex, or just a general thematic fixation on nihilism and despair, I think there is definitely a line that can be crossed.

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A man with no name wanders across a barren desert. He forages for food and supplies. He doesn’t pick fights, but he certainly settles them. We’ve seen these vistas before, but not with as much punch or panache. The Book of Eli is stylish and smart, a post-apocalyptic western perfectly suited for our era of economic reassessment. It offers a heroic version of Christian faith in action, defending a rare and endangered Word of God. The Book of Eli rocks, rolls and delivers a whopping dose of soul.

Denzel Washington offers a laconic and athletic performance as Eli. He is a man of few words. He tries to avoid conflict. But when threatened, he responds with considerable force. Those who push him too far may suddenly find themselves missing a limb. Denzel joins a long line of iconic cinematic cowboys like Toshiro Mifune’s samurai in Yojimbo, Tom Laughlin as Billy Jack, and Clint Eastwood’s Outlaw Josey Wales.

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Struggling to keep up with a busy fall, lagging a little behind as usual, the reviewer soldiers on…

An Education. Smooth piece of ‘60s nostalgia about anEnglish schoolgirl who must choose between the steady, humdrum life her parentsenvision for her and the bohemian pleasures offered by an exciting butunscrupulous older man. What looks like a routine coming-of-age drama at firstglance comes vividly to life under the judicious direction of Lone Scherfig(one of the original members of the Dogme 95 group, if anyone still remembers),who demonstrates an intense appreciation for what it feels like to be young andintelligent and restless and trapped. As the schoolgirl, the incandescent CareyMulligan simulates a wide assortment of emotions with the ease of a seasonedprofessional.