In order to have the good, you need the bad.  Check out the list below for my top ten worst films of 2009.

10. Harry Potter and the Half-Blood Prince
“An uninformed audience is left with a movie that feels like 90210 meets Mr. Wizard. I’d rather watch David Copperfield make the Statue of Liberty disappear for 153 minutes than endure this flick’s trite magic tricks.”

9. Paranormal Activity (2009)
“I respect filmmakers who can make a film for $11,000. However, ten minutes of this movie could’ve been on YouTube and it would’ve been an internet sensation. As a feature length film, many viewers will be horrified with boredom at this drip of a movie.”

8. He’s Just Not That Into You
” Works as an hour episode of Oprah or a thirty-minute episode of Sex and the City, but as a full length movie — I’m just not that into it.”

7. Knowing
“Knowing that ‘Knowing’ is not worth your money is probably your best bet in movies to not pay for this weekend.”

6. Friday the 13th
“Friday the 13th Part 12 will not sell at the box office, so they toss the word ‘remake’ out there to dupe its audience into another installment of this crappy horror flick.”

5. The Unborn
“The Unborn is a story that should have remained untold and will be forgotten by the end of the weekend.”

4. District 9
” Overall, with aliens that look like a crossbreed of roaches and lobsters, District 9 is a bad episode of Star Trek meets an insipid Apartheid mini-series. This was one disappointing sci-fi spectacle.”

3. Disgrace
“The person snoring next to me is a perfect example of how colossally insignificant this fatiguing and strenuous flick is with its implausibility, unrecognizable characters and tattered plot line.”

2. The Haunting in Connecticut
” If you can solve 0 plus 0, you can predict the ending.”

1. The Uninvited
“Just to set the taste level, the first line in The Uninvited is ‘I love you, I have a condom.’ Yep, the bar is already lowered.”

It’s been an amazing year in film with so many diverse movies — you’ve laughed, cried, learned and been entertained.  Whether it was Mo’Nique’s gut-wrenching performance in Precious, Michael Moore’s biting commentary in Capitalism: A Love Story, or the high-octane energy from Star Trek — films may have been the only thing that got you through a year of global economic distress.

I have seen countless movies this year; here are my selections for the 10 most impactful, entertaining and well done films of 2009.   Sound off in the comments!

10. Star Trek (Zoe Saldana, Chris Pine, Zachary Quinto)

“Normally, 11 versions equates disaster, but somehow, some way, director J.J. Abrams and the creators of Star Trek managed to pull off the best sci-fi movie since The Matrix.”

9. Tyson (Documentary)
“Some parts are hilarious, some are heartbreaking and whether or not you think Mike is a rapist or saint — you can’t help but feel his truth.”

8. Capitalism: A Love Story (Documentary)
“Michael Moore is the Obama of documentarians.”

7. More Than a Game (Documentary)
“Deeply inspiring. That said, for every young kid who sees More Than a Game and thinks they are the next LeBron James — it should be mandatory to watch 1994’s Hoop Dreams.”

6. Good Hair (Documentary)
“Quite brilliantly, Chris Rock skillfully peeled back archaic layers, opening up a dialogue that could’ve been volatile. His natural talent made the doc hilarious and thought-provoking, rising above race and gender.”

5. American Violet (Nicole Beharie, Alfre Woodard)
“It’s not enough for a movie to have a Black cast for it to be good, it must have good writing, engaging stories and impassioned actors. This film has all three.”

4. Valentino: the Last Emperor (Documentary)
“In a time where fashion is reduced to tawdry reality shows, Valentino: The Last Emperor reinjects the sophistication and elegance in what some say is a lost art form.”

3. Bruno (Sacha Baron Cohen)
“Yes, Bruno is in ‘gay face’ if you will, but when going beyond the surface, he is clearly turning the mirror on us and saying, ‘Do you see how stupid these stereotypes are?’”

2. Michael Jackson’s This Is It (Documentary)
“Fan or not, in This Is It, you don’t see death, just life. There is no sadness or tears; you walk out with a smile. Forget the controversies, this is truly who Michael Jackson was – his music. It’s a film that you don’t want to end.”

1. Precious: Based on the Novel PUSH by Sapphire (Mo’Nique, Gabourey Sidibe and Mariah Carey)

“Clearly, the best film of the year.  Mo’Nique’s performance?  Even if Bette Davis, Joan Crawford and Katherine Hepburn all came back from the dead — they could not pull that Oscar out of Mo’Nique’s hands.”

Honorable Mentions: Avatar, Skin, The Princess and the Frog and Life Is Hot In Cracktown.

Summary: Padded with trippy CGI sequences, The Imaginarium of Doctor Parnassus is about a traveling, broke theatre group that invites people into the mind of a doctor that reveals their imagination. A man named Tony is picked up along the way, but after deals with the devil, imagination gets the best of everyone.

Review: The Imaginarium of Doctor Parnassus is Heath Ledger’s final movie.  Production was halted after the Oscar winner’s death in January 2008. Only one-third of the movie was filmed; the director, Terry Gilliam, clearly tried his best to make the film work. Gilliam even admitted when Ledger passed that he thought the film could not be completed. For some final scenes Johnny Depp, Colin Farrell and Jude Law were used as fill-ins, which actually worked — but this is about all that worked in this fantasy blunder.

As a viewer, you truly want The Imaginarium of Doctor Parnassus to be a good movie; one can only imagine the challenges (and sadness) Gilliam and the crew dealt with after the passing of Ledger. Disappointingly, this flick misses the mark in nearly every capacity. The plot is empty-headed, the writing is bland and even though the movie is gaudy, there is a big chunk of substance missing. It’s hard to tell if the film would’ve been any better even if Ledger had lived to complete the project.

Movies that revolve around “going in the mind” can either result in catastrophe or success. If you are traveling in the imagination then what exactly is the storyline? Gilliam bounces from one sequence to another, almost like a video game. Nothing links together and the viewer can rarely follow a coherent storyline.  Thankfully, the acting is strong — Ledger and his co-stars aren’t amateurs.  In addition, the special effects are solid, even if it’s over-the-top, but all effects and an unengaging plot doesn’t make a good movie, unless it’s Avatar of course.

The Imaginarium of Doctor Parnassus is an acidic combo of a Super Mario Bros. game on a disastrous drug trip and a bad Lady Gaga video — however, both Mario and Gaga have better premises.

The Imaginarium of Doctor Parnassus is in select theaters Christmas Day.

Summary: Humans try to destroy the peaceful alien planet of Pandora, which appreciates all things mystical and environmental. A new solider infiltrates the inhabitants, known as the Na’vi creatures.  He is disabled in his human body but in his Avatar form he is a regular X-Men character.  After learning the humble of the Na’Vi creatures, he realizes he must save Pandora from the greed-obsessed humans, not destroy it.

Review: James Cameron’s first movie since Titanic has a trite storyline with an original look — hey, you can’t get it all. Avatar is Pocahontas with a 2009 James Cameron remix. Nonetheless, the remix is so breathtaking that the undeniable typicality is forgotten once you are set in the animation that is so authentic; you would think you are watching built sets. Finally, someone has figured out how to properly use 3-D and computer-generated imagery… now if they could only add a solid script.

In the way that you don’t expect great vocals from Janet Jackson or Madonna, you can’t expect a great script from Avatar — like pop stars, this is about a production, style and an unforgettable film experience. For many critics, since the plot is low on James Cameron’s list of importance, no matter how beautiful the film is, it will still be a dud. Is all beauty and no brains a good movie? Hey, it works for Harry Potter.

As a student of history, I am a sucker for movies about the evils of colonization and human greed, no matter how recycled. Yes, Avatar is vapidly political, but it has enough sentimental punch to keep the audience invested in the Na’vi creatures, the fight for their land and an ending that is predictable about halfway through.

Cameron’s shameless use of Native American history, Apartheid and the Iraq War (one Sergeant with a Texan-like twang shouts, “Fight terror with terror!”) will always push people’s buttons. Greed, money and the need to teach people how to be “civilized” has deracinated relevant and important culture, which is Avatar’s overall commentary, regardless of how elementarily it is told.

Cameron wanted the animated characters to be as emotional as humans. In reality, the aliens have more compassion than the humans. The animated cast includes the voices of Zoe Saldana, who is turning into a sci-fi queen, and Laz Alonso.

Supposedly, Avatar is the most expensive film of all time and it shows. But with many films that have hundreds of millions of dollars slapped to it, the heart of the film loses itself in the excess. Funny thing, Avatar is about human greed and unnecessary needs, but considering the film is one of the most expensive of all time, it nearly makes Cameron’s “message” laughable. Alfre Woodard once said, “If you spend more than $40 million on a movie, it ain’t going to be about nothing.”

All of that said, Avatar is one of the best films of the year. Cameron managed to make the exorbitance work and took admirable risks in movie making. It gives a little hope that the laziness associated with CGI might come to an end because Cameron raised the bar. The good heavily outweighs the hokey.

Avatar is in theaters nationwide Friday, December 18th.

Summary: Based on the true story of Nelson Mandela’s first year in office.  One of the keys to racial unity in South Africa is the hugely popular, but historically color struck, rugby team. After joining forces with the team captain, Mandela encourages them to win the World Cup, hoping for a shift in the country’s consciousness.

Review: Expect this argument shortly after Invictus is released — after all these years, why is there finally a major film released about Nelson Mandela, but it revolves around soccer? Not Mandela’s amazing life, which is full of pain, resilience and bravery. Imagine a biopic on Ray Charles that was just about one performance. How about a film on Malcolm X that focused on his trip to Mecca and nothing else? This would clearly be a disappointment, especially if you were anticipating learning more about Nelson Mandela. The viewer, no matter how little they know about the leader who unjustly served 27 years in prison, will not learn anything new about this civil rights activist after watching Invictus.

Now that I got that out of the way, directed by 80-year-old Hollywood icon, Clint Eastwood, Invictus is a solid film with award potential.  The story is told extremely traditionally but packed with undeniable inspiration. Invictus could’ve easily moved along as another sports film, but with the backdrop of Apartheid and the constant humility from Mandela’s character, one cannot help but be moved, considering the politically divisive times we are living in today here in the U.S.

The crazy glue that holds Invictus together is the beyond flawless performance from Morgan Freeman as Mandela. His performance is better than the entire movie. However, what do you expect from Morgan Freeman? The two-time Oscar winner is the Tina Turner of film — he never disappoints.

Matt Damon, who plays the team captain of the rugby team, gives a wooden portrayal as Francois Pienaar that never gels in such an emotional flick.  Pienaar is supposed to be stoic and emotional, which are traits stereotypically given to White Africans, Damon seemed a bit lost — maybe he was in awe of Morgan Freeman.

No big shockers in Invictus. No amazing plot twists. No dose of the unexpected. You know the ending by the beginning credits. On the other hand, one can’t help but walk away feeling inspired, hopeful and confident that not only can our government change for the better, our people can change with it.

Invictus is in theaters today.

Click here to check out Morgan Freeman’s history in film!

Summary: Set in the 1960s, a gay man is suicidal after the death of his partner of 16 years. Based on the novel by Christopher Isherwood, the movie follows the day of a mourning man who is preparing to end his life.

Review: A Single Man is from first-time director Tom Ford, who is the legendary fashion designer and once creative force behind Gucci, which has been worn by folks like Beyonce, Jennifer Lopez and Rihanna. There is a little hesitation when thinking of a fashion designer turned filmmaker, and while the movie has incredible style, I wouldn’t have known A Single Man was by a first-time director. The flick glows with detail, structure, beauty and most importantly, a heart.

For those who are concerned about a politically charged movie, A Single Man has no political agenda; it tells a subtle story about life after massive loss. Placed in the ’60s, there are no cries for gay marriage or marches on Washington for equal rights. With a commanding performance from the lead, Colin Firth, who plays the grieving partner, anyone who has lost a loved one can relate. Firth’s haunting delivery reads deeps in his eyes and the lines on his face. He is the life-force in a film that could’ve easily wallowed in melodrama.

There is a campy and humorous performance from Julianne Moore, a woman who is dealing with the struggles of an aging but once beautiful woman. Moore eases up the sadness with her dark eyeliner, big hair and a drink in her hand.

That said, A Single Man is overstocked with downtime. Yes, everything does tie together but there are moments that are stuffed with filler. The 99 minutes could’ve easily been an hour.  Furthermore, Ford should’ve considered developing the supporting characters a bit more, giving as much polish to the script as was given to the look of A Single Man.

Nonetheless, humanizing performances and the careful sentimental craftsmanship from Tom Ford helps A Single Man transcend sexuality. It’s unclear if this was Ford’s intention, but in the way that Lee Daniels has transcended race with Precious or Chris Rock made Good Hair funny beyond gender, Mr. Gucci has told a story where you can leave your politics at the concession stand. This is the year of films going outside of the social box.

A Single Man opens in select cities Friday, December 11th.

Summary: The Princess and the Frog is the story of Tiana (Anika Noni Rose) from New Orleans, Louisiana, a childhood dreamer-turned-waitress who has aspirations of owning a swanky restaurant.  Her life is turned into Disney chaos when she is kissed by Prince Naveen (Bruno Campos), who was turned into a frog by voodoo and accidentally turns Tiana into a frog.  Naveen and Tiana travel through a colorful swamp to break the curse and eventually find themselves.

Review: The Princess and the Frog has received the critical eye since the moment the public heard Disney (finally) decided to do an animated film about an African-American princess — a first for the over 80-year-old corporation that is known for lily White images like Snow White, Cinderella and Sleeping Beauty, and fictional worlds where African Americans do not exist.  Disney has betrayed African Americans for decades (I am going to avoid ranting about the disgustingly offensive Song of the South and the producer of the 1946 film quoted as saying, “”The Negro situation is a dangerous one.”), so it shouldn’t be a shocker that some are unsure about this Disney concoction.

As the cliché goes, you can’t make everyone happy and The Princess and the Frog will surely feel the fire of that line.  There will be questions about the Southern accents, the toothless firefly, Tiana’s best friend (a diaphanous, privileged White girl named Lottie), the frog having more screen time than Tiana, Prince Naveen not being “brown enough” and other intricacies that I didn’t care to analyze.

More than anything, The Princess and the Frog avoids race as much as possible.  How could Disney properly tackle it? While some might find it cowardly, I am not sure how lessons of race could be entertainingly delivered to a movie that is geared toward children, who hopefully aren’t as tainted with discrimination as adults. The film is set during the Louisiana Jazz Age, which is the 1920s, but you won’t see Jim Crow, the horror of lynchings, or the reemergence of the Klu Klux Klan  — all things that were huge in the 1920s and especially Louisiana.  That said, the script definitely relies on the cultural bearings of African Americans; this animated flick has some soul and not just characters who “happen to be Black.”

Being realistic, Disney’s socially shaky structural underpinnings are not going to vanish with one movie that stars brown characters. In order to enjoy The Princess and the Frog, viewers need to let go of some of Disney’s history, which represents all things white as angelic and all things black as wicked. The Princess and the Frog is not offensive. This is a harmless, animated musical and as close to getting it socially right as Disney will ever get.

Setting aside the social issues, The Princess and the Frog is told in classic Disney style.  Even the smallest of children will be able to predict the moral lessons and the happy ending. But, the movie does its job in beautifully repackaging a redundant plot.  In addition, the hand-drawn 2D animation is refreshing in comparison to the overly polished animation of today’s movies.

The Princess and the Frog is packed with voices from well-respected actors like Jenifer Lewis, Anika Noni Rose, Terrence Howard and Oprah Winfrey.  Decorated with excellent musical numbers, The Princess and the Frog radiates on the screen, especially with some power vocals from Rose and Lewis.  Plus, there is Keith David, who is probably the most impressive as the voodoo villain, Doctor Facilier — adding a little grime to a sugary sweet film.

Will The Princess and the Frog have the same impact as Snow White or Aladdin? No. However, this is still a good animated film — too bad it’s about 40 years late.

The Princess and the Frog is in theaters Friday, December 11th.

Summary: Based on the true story of football player, Michael Oher, who plays for the Baltimore Ravens (the book is written by Michael Lewis). A White, conservative, Tennessee family lets a homeless Black teen sleep on their couch. He is welcomed as part of the family, his grades improve and with some unusual coaching from Leigh Anne Tuohy (Sandra Bullock), the mother of the family, it’s discovered Michael has a talent for football.

Review: For many African-Americas, a story like The Blind Side is all too familiar in the history of cinema. First, there is the element of the “Great White Hope” — a white character who saves the life of the poor, uneducated Negro, showing him how to be “civilized” and “sophisticated.” Without the “Great White Hope” the Black characters can’t accomplish success on their own. Second, there is the “Magical Negro,” the Black character teaches Whites compassion, folklore-like lessons and other doses of emotionality (think Hattie McDaniel in Gone With The Wind, Sidney Poitier in The Defiant Ones, or, a recent example, Morgan Freeman in Bruce Almighty). With all of that said… this is a true story. You can’t hate a story for being true, even if it channels legendary Hollywood stereotypes.

There is so much thought-provoking material to explore in The Blind Side but it’s as if the director, John Lee Hancock, was afraid to tackle the edgy (and obvious) subject matters like race, poverty and drug addiction. Therefore, every potentially good moment is washed over with some Southern twang and a toss of Sandra Bullock’s hair. For example, Leigh Anne Tuohy, who picks Michael off the street in the rain, was allegedly raised in an extremely racist environment and her father pulled her out of the Tennessee public school system when it was integrated.

Was Leigh Anne never affected by racism?

Was she ever racist or did her feelings of race vanish when she looked into Michael’s brown eyes?

There are plenty of downtrodden Black boys in Memphis, Tennessee roaming the streets — why did she reach out to Michael Oher?

Did the Touhy family confront their own prejudices when this African-American boy moved into their home?

Unlike Sissy Spacek in The Long Home or Michelle Pfeiffer in Lovefield ( while fictional, these two films contain no elements of “The Great White Hope” or “The Magical Negro”), the Tuohys own background is never explored, which might have made this good movie into an excellent flick.

There are some uncomfortable scenes, like Tim McGraw’s character, who plays the father, says about Michael, “He thinks he is a redneck!” Or, Sandra Bullock sashaying through the Memphis projects, fearless of the “gangsters” and saying, “I am a member of the NRA!” as she pats her purse that supposedly holds a gun. On the other hand, as a viewer, you can’t help but be amazed at the compassion from the Tuohy family. Black or White, the Touhys helped changed a young man’s life.

Sandra Bullock’s performance is being praised and it is her best in years, but not Oscar worthy like 2004’s Crash. Yes, Bullock’s performance glues the film together but she didn’t have one climactic monologue to see her acting chops and her character basically remains the same. Thankfully, The Blind Side proves Bullock has more range than those bland romantic comedies.

In his first film, Bronx native Quinton Aaron plays Michael. Aaron definitely has potential but in The Blind Side he gives a one-note performance and you can nearly see his nerves rattling on camera. Maybe it was the writing, but the character was underdeveloped with little depth; you couldn’t tell if Michael was portrayed as socially awkward or developmentally disabled. This movie is based on Michael Lewis’ book, The Blind Side: Evolution of a Game, but this film is not Michael’s story. In the end, it’s more about Leigh Anne Touchy and Sandra Bullock being the star.

Regardless of the racial implications, The Blind Side is a true story that is told fairly well. It’s a story that seems almost too good, therefore, you have to let go of Hollywood’s betrayal of African-American story lines to thoroughly enjoy it.

The Blind Side is in theaters now.

Summary: The pale folks of Forks, Washington are back. This time around, Bella’s teenage romance with Edward (the vegetarian vampire) ends because his life is too dangerous for the melancholy teen. Bella falls into a deep music video-like depression and her heart eventually connects with a werewolf. However, Bella must save the day when Edward’s life is at risk on the other side of the globe — thankfully Virgin Airlines is available in Twilight land!

Review: Let’s be clear, New Moon is for a very specific audience. If you are out of high school, a person of color, don’t have teen daughters, a feminist, or a heterosexual male, New Moon will probably disappoint. But, does the film perfectly appeal to its audience? Yes! Is it a good movie? No!

Twilight is a media phenomenon.  No amount of bad reviews will taint the tons of success this movie will achieve at the box office.  On the other hand, I am sure when most of the Twilight fans grow out of adolescence, they will say, “Oh my God — this movie was terrible!”

The first Twilight was directed by Catherine Hardwicke but this time around we have Chris Weitz, who is known for movies like The Golden Compass. While the original is no work of genius, Hardwicke did manage to inject some John Hughes-like realism in a teenage vampire flick. Weitz, who I am sure had the best intentions, seemed more concerned with Hollywood polish and shirtless boys than a solid film that might even appeal to those who weren’t Twilight fanatics.

Filled with plot holes and bad script patch-up jobs, the plot of New Moon isn’t the most troublesome. What gives the flick a stake through the heart is the tacky melodrama with lines like, “You give me everything just by breathing.” Or this gem: “You’re just warm. You’re like your own sun.” Even the teen girls next to me giggled at that one. Consistently cheap dialogue dumb the movie down to something that would be brilliant for a 14-year-old’s diary entry, but not a full script.

Even worse are the one-note performances form the leads, Kristen Stewart and Robert Pattinson. Their version of acting consists of squinted eyes, long stares and monotone monologues. According to the tabloids, these two are a couple, but they must have saved the chemistry for offscreen.  The Moviefone guy has more personality than these yawners.

There are some comical and needed performances from their teen friends, who lighten a film that takes itself too seriously. Then there is Taylor Lautner, who is half-naked most of the time and might be a good actor, but the focus is more on his abs than his character. Oh, there is a cameo from the always sensational Dakota Fanning, but she is gone right when you start to enjoy her.

At an unnecessary two hours and ten minutes, there is too much to find wrong with New Moon. Some necessary trimming and a little less sap might have resulted in a fun movie. But, what do I know – this is the same audience who appeals to Miley Cyrus.

New Moon is in theaters today.

Summary: A film within a film, a writer and director, Harry Caine / Mateo Blanco, is caught up in obsession, jealousy and sabotage. After falling for a woman with a rich husband who is financing his film, his life is changed after an accident. It takes him 14 years to discover the truth.

Review: For those who are not familiar with Pedro Almodovar, the director of Broken Embraces, he is as important as Quentin Tarantino and Spike Lee (Almodovar’s films dates back further than Tarantino and Lee). Movies like All About My Mother and Bad Education are legendary for their quirky styles, immaculate acting and decadent story lines. Almodovar’s films are like unwrapping a gift within a gift, the audience never knows what to expect, and the actual gift rarely disappoints.

Unfortunately, Almodovar’s most mainstream film to date, Broken Embraces, loses its way with a heap of disposable characters and knot-filled plots: a sickly father, a gay son, a drugged-out teen, an aspiring actress, an obsessed lover, disability, “who’s the baby’s daddy?” and more.  Sure, Almodovar’s movies have always required a certain amount of work to follow, but Broken Embraces has too many broken holes to thoroughly enjoy the core premise, which is quite typical — a jealous husband gets revenge on his youthful wife after she finds a younger and sexier man. You could get that storyline any afternoon on Lifetime Television.

Luckily, Broken Embraces is filled with compensatory qualities. Almodovar’s wit, sarcasm and morbid sense of humor are irresistible. The off-the-wall dialogue is redeeming when you are not exactly sure where the movie is headed. Furthermore, the actors jump right into the campy but classy roles, delivering performances that are award-worthy. Oscar winner Penelope Cruz, who is on her fourth Almodovar flick, has no remains of her other characters in All About My Mother or Volver. Cruz is radiant on the screen, perfectly playing up Almodovar’s ode to films of the 1940s and 1950s.

Stylistically, Broken Embraces is beautiful, which is no shocker considering the movie is his biggest budget to date and Almodovar’s taste level is impeccable. Nonetheless, what is most disappointing about Broken Embraces is the ho-hum ending. Almodovar is known for edgy and unexpected twists, right when you think he will pull it together, you are left with the common and ordinary.

Like Tarantino and Lee, when filmmakers who were once-upon-a-time risqué achieve too much success, the art takes a blow. Can a filmmaker, musician, or actor continue to be raw and edgy when they are critically acclaimed and earning millions? In no ways is Broken Embraces a bad film, but it certainly ranks low on his list of brilliant pieces of art. That said, Almodovar at his worst is still genius.

Broken Embraces is in theaters Friday, November 20.