Dave F's 2008 Movie Reviews

Click on the name of a film to be taken directly to the review of that film.

Dave uses stars (*) to rate films, up to 4 stars (****) Note that film titles beginning with "The" are alphabetized under the second word of the title.

This page contains Dave's reviews from January through mid-July 2008

“Wall-E”: is Pixar’s latest – and maybe greatest film. Director and co-writer Andrew Stanton’s story starts (somewhat) in the late 21st century. Due to years of neglect, Earth has been deemed uninhabitable and its remaining people flown off into space to a safer planet -- with instructions to return once there’s evidence Earth can once again sustain life. 700 years pass, and pretty much all that remains on Earth are the remnants of old buildings and tons upon tons of trash. Organizing the latter is the responsibility of Wall-E (which stands for Waste Allocation Load Lifter Earth-class), a cute little robot who bears more than a passing resemblance to Number Five from the 80s flick, “Short Circuit.” But Wall-E is more adorable and has a bigger heart, even if that area is really a small trash compactor and he’s just a robot. Wall-E has a very quiet existence, enjoying his spare moments with a lone cockroach, a lot of found toys (like a Rubik’s Cube) and a VHS copy of “Hello Dolly,” the latter teaching him about the simple pleasure of interaction with others. Periodically, a probe robot, known as Eve (Extra-terrestrial Vegetation Evaluator), is sent to Earth to search for plant-life. This is new to Wall-E, who had never encountered “her” before. During one of his scavenger adventures, Wall-E happens upon a live plant, and, in an expression of kindness, gives it to Eve, who, having now completed her mission on Earth and with plant in tow, boards the mother-ship (Wall-E stows away, of course) that came back for her and goes back to the planet that is now a glorified Club Med for exiled humans. The “resort” is run by an old Earth conglomerate, BnL (for Buy-N-Large), that once seemed to have taken over every business on that dying planet, another one of the film’s many statements. Its residents are a bunch of overweight, pampered people who spend their days watching propaganda on their virtual-reality gear and sucking down Big Gulp-sized liquid food served to them by robots. The humans don’t really physically interact, but there are quite a few babies (I think I missed that explanation). It’s all very dark and Isaac Asimov-ish, but is presented to the audience in a very light and airy manner so the kiddies (this film is rated G) won’t squirm too much. BnL was headed by Shelby Forthright (a computer-enhanced Fred Willard), but he apparently passed away sometime during the late 21st century, leaving a series of pre-taped several video messages designed to be played during important moments (like confirmation that Earth is once again inhabitable). A succession of captains, most of them holding the position for over 100 years, tended to the resort’s residents, who were originally thought to be staying for just five years, but it’s taken years for Earth to clean up its act. But once Eve returns with the plant, the current captain (voiced by Jeff Garlin) prepares for a return to the planet he never really knew. I managed to catch “Wall-E” twice over the weekend. I wasn’t prepared for the brilliant darkness of the first viewing, so a second was required to fully appreciate the film. This isn’t like any of the other Pixar efforts, though once again, the storied animation company tops itself with the film’s look. The characters' expressions are perfect and the backgrounds are breathtakingly gorgeous. Wall-E is voiced by Ben Burtt (a famed sound designer famous for his work on the Star Wars series and as the voice of E.T.), while Elissa Knight (“Cars”) handled the seemingly easy task of Eve, so noted because “Wall-E” is mostly dialogue-free even though it has a lot to say. Curiously, the film’s architect, Andrew Stanton (writer and/or director of several Pixar classics) says “Wall-E” is not a film about the long-term effects of human damage, but really about love and the need for simple human touch. The second viewing confirms his statement. “Wall-E” proves what most of us already know: that Pixar Animation Studios doesn’t just make ‘cute cartoons.’ For most of its 103 minutes, “Wall-E” skirts the very edge of being a masterpiece; heady stuff for a ‘kid’s film.’ **** (out of) ****

“I'm Not There”: Writer-director Todd Haynes gives celebrated folk singer Bob Dylan's life and various moods a trip through his psychedelic blender in the ultra-strange “I'm Not There,” his first film since 2002's great “Far from Heaven.” But this isn't trying to figure out what the various color schemes mean in a skewed Douglas Sirk melodrama; this is dropping the proverbial acid tab and trying to make sense of Hayne's idea of the many faces of Bob Dylan. We see his youthful Woody Guthrie period through the eyes of an 11 year-old black child (played by the precocious Marcus Carl Franklin), and his young man protests through the mouth of Ben Whishaw. His rising star/slowly self-destructing period is portrayed by Christian Bale (playing “Jack Rollins), whose depiction in turn radically influences Robbie Clark (Heath Ledger), a James Dean-wannabe actor playing Rollins after he “crashed and burned.” We also see Cate Blanchett as Dylan (as “Jude Quinn”) in the late sixties when he was dabbling a little too much into electronic music to suit the tastes of his dedicated legion, not to mention the critics he was constantly challenged. Lastly, there's his outlaw period in the 70s as seen through Billy the Kid (Richard Gere). Haynes attempts to make sense of this confusion in an artful and expressive way using Dylan's lyrics in his dialogue. This would be a treat to devout Dylan fans, but those of us who just admire his sentiments and like a handful of his songs (like me) will be put off by the pretentiousness. Having said that, I really liked the look of the film and many of the Dylan songs. I also admired the performances, especially Marcus Carl Franklin. Blanchett's was nice, but a bit overrated. I still saw a woman playing a man whenever I would look at her. But there's a lot to like here, especially its originality and ambition (two qualities missing from most of today's movies), but “I'm Not There” is a film that's definitely not for everyone. See it only if all of the above still appeals to you. ** 1/2 (out of) **** (On DVD)

“The Visitor”: stars Richard Jenkins (“Six Feet Under”) as Walter Vale, a college professor and author, who after 20 years on the job is suffering from severe burnout. He spends his free time remembering his wife, a famous pianist who died several years earlier. To help keep her memory alive, he plows through different piano teachers so her beautiful piano that rest in their Connecticut home won't go to waste. His job occasionally takes him to New York City, where he still keeps an apartment. One particular week, while preparing to deliver a lecture on a paper he co-authored, he stops by the apartment, only to discover it has a pair of unwanted guests. Tarek (Haaz Sleiman) and his girlfriend, Zainab (Danai Gurira) were rented the apartment by their friend who knew (but didn't tell them) that Professor Vale rarely stayed there. After determining it was all a terrible misunderstanding, the young couple agrees to immediately find their own place. Walter, feeling a little lonely and sorry for the couple, allows them to stay with him for a few more days while they search for a permanent option. During that time, Walter and Tarek bond through their mutual love for music. Walter loves classical music, while Tarek, who makes his living as a street musician by day and plays in a band at night, is content to pound on the djembe (a cousin of the hand drum) all day. Since Walter isn't grasping the piano, Tarek convinces the older man to let him teach him how to play. The whole experience is liberating and wakes up a side of Walter that died when his wife passed away. The story turns when Tarek, who is originally from Syria, is arrested and determined to be illegally in the United States. His mother (played by Hiam Abbas), who lives in Michigan and talks to her son daily, enters the picture. She's naturally concerned for her son, but can't visit him at the detention center (neither can his girlfriend) because she's also illegal. Abbas' performance, as well as those of Richard Jenkins, Haaz Sleiman and Danai Gurira, was outstanding. But it's the film's writer and director, Thomas McCarthy (“The Station Agent”), whom I'd like to applaud. McCarthy, whom I most remember for his memorable acting role during the last season of my all-time favorite T.V. series, “The Wire” (he played the Pulitzer-chasing newspaper reporter who was accused of fabricating stories) delivers what may be a perfect screenplay. At the center of his story is the young man, Tarek. He has profoundly affected at least three lives. He is a happy young man, who makes his living out in the open doing what he loves, but the detention center and the frustration of the unknown (he could be transferred or deported at any time) starts to break his spirit. It also changes the people around him. His always sunny disposition turns to anger. This is where McCarthy's screenplay shines. His characters are so complete, and his direction never wavers or leans towards the predictable. His story is warm and compassionate, but without being preachy or judgmental toward the broken system. And I believe that only two of the three obvious watchwords connected to this subject are mentioned, and it's just once each. And I loved the way he handled the last act. He could've taken a few different roads with the four principle characters, but where he ultimately went was perfect. At a time when our theaters are filled with documentaries as to why our world's various systems are corrupt or just broken, we have “The Visitor,” a simple film with a message you can choose to ignore or take to heart. Obviously, I'm in the latter category. I'll just come right out and say it: I loved this film and I'm rooting for it to succeed by every conceivable measure. “The Visitor” is one of the best films you will watch this year. **** (out of) ****

“Mongol”: In the first film of a proposed trilogy, “Mongol” is the story of the extraordinary rise of Genghis Kahn. It begins near the last quarter of 12th century Mongolia, where young Temujin (as he was born), under the watchful eye of his father, the Kahn, learned important survival skills that proved to be especially important after his father was murdered by Targutai (Amadu Mamadakov). By default, ten year-old Temujin became Kahn, but was always on the run by those who wanted his power. Eventually, boy became man (and is now played by Tadanobu Asano) and was powerful enough to ally with Mongol chieftain, Jamukka (Honglei Sun), who agrees to help his new “brother” fight Targutai, who has Temunjin's child bride, Borte (Khulan Chuluun). “Mongol” was directed and co-written (with Arif Aliyev) by Sergei Bodrov, who almost overwhelms his film with style, but usually stops just short as to not engulf his important story, which, considering its time period (from 1172-1206), flowed very well. Bodrov also does a great job directing the action sequences, as well as the beautiful love story between Temujin and Borte, showing that some men do value their women and truly would do whatever it takes to be together. His film should appeal to the blood-thirsty types who loved “Braveheart,” as well as the romantics who have a little “Titanic” running through their veins. It also showcases hot Asian actors Tadanobu Asano and Honglei Sun, who were both very effective in their roles. “Mongol” was filmed on location in Inner Mongolia and Kazakhstan, and resisted many of the usual CGI tricks, preferring to use actual extras for some of its complicated battle sequences. The film's look (thanks in part to cinematographers, Rogier Stoffers and Sergei Trofimov) is often stunningly beautiful. “Mongol” film also features an interesting score (by Tuomas Kantelinen), which seemed inappropriate at times, but really added an explanation point to “Mongol,” which, when it was all said and done, stands proud as very, very impressive epic of a film. It's easy to understand why it was nominated in the Best Foreign Language Film category at this year's Academy Awards. *** 1/2 (out of) **** (In Mongolian with English subtitles)

“Starting Out in the Evening”: Leonard Schiller (Frank Langella) is a once-famous author who is now mostly just old and forgotten, but not by Heather Wolfe (Lauren Ambrose), who, as an overly-ambitious graduate student, has chosen to do her thesis on Leonard's work. Aggressive and not at all shy, Ms. Wolfe manages to worm her way into the reclusive writer's home, where he is racing against his own time to finish what he figures will be his last novel. Reluctantly, he agrees to be studied, quizzed and critiqued, which opens up a different world for him. He still longs for his dead wife and sees the young and attractive student as a bit of an attention tonic. This doesn't escape Leonard's older daughter, Ariel (Lili Taylor), who can be a bit overprotective of her father. The much younger Heather can't relate to Ariel, who is desperately trying to get pregnant, even if the men in her life (played by Adrian Lester and Michael Cumpsty) aren't aware of it. Ariel's story, while interesting, only serves to explain her unhappiness and seems more like a subplot to the heart of this film. We also miss a little too much of what makes Heather tick. Those points aside, co-writer (with Fred Parnes) and director, Andrew Wagner's first major film is well-paced and keeps the viewer wanting more from his characters. Frank Langella is marvelous as Leonard Schiller, who finds that trying to explain his work can be a little therapeutic, and Lauren Ambrose channels some Claire Fisher (her role in “Six Feet Under”) in Heather, but is a lot more mature. I can envision a lot of eclectic parts in her future. Lili Taylor doesn't break any new ground as Ariel, but she's always fun to watch. “Starting Out in the Evening” is a nice little character-driven film with some good performances. Recommended. *** (out of) **** (On DVD)

"Elizabeth: The Golden Age": It takes a special actor to make you forget about the material around them. Cate Blanchett is such an example. She chewed up the scenery in the latest Indiana Jones film; she evoked Bob Dylan in “I'm Not There,” and in “Elizabeth: The Golden Age,” Blanchett once again takes the crown as Queen Elizabeth I, yet while we do have some nice acting and the occasional artsy cinematography, the rest of the film just doesn't captivate. Geoffrey Rush also reprises his role (from the 1998 film, “Elizabeth”) as the Virgin Queen's proverbial right-hand man, Sir Francis Walsingham. He is wary of his queen's attraction to Sir Walter Raleigh (Clive Owen) and is always suspicious of the very jealous Mary, Queen of Scots (Samantha Morton), who would love nothing more than to the true Queen in the hearts of England. More importantly to the story, the very Catholic Spain still regards Protestant England as evil and feels it must do “God's work” by bringing down the Queen. Led by a might armada, Spain's King Phillip II (Jordi Molla) aims to do just that. Facing insurmountable odds, the Queen and her man, Sir Walter, do their very best to…aw shucks, you'll have to watch the film to see how it all turns out. “Elizabeth: The Golden Age,” like the first film, was directed by Shekhar Kapur and co-written by Michael Hirst (“The Tudors”). As you can see, it has an all-star cast, but its direction and editing are all over the place, leading to a disjointed story. It also suffers in comparison to the vastly superior original, which I had the good fortune to watch right before this one. I'd say this is a film for history buffs, but not with this film's inaccuracies. It also doesn't succeed much in the romance department, as once again, the men are pretty much beasts and the Queen is still largely unsatisfied. That pretty much leaves fans of Clive Owen (like my wife) and Cate Blanchett (that would be me!). If you require more, skip it, or don't bother with this sequel until the Lifetime Channel picks up the rights. ** (out of) **** (On DVD)

“The Fall”: Describing a film as “like nothing you’ve seen before,” is a bit of an overused cliché, yet “The Fall,” from noted commercial and occasional film director Tarsem (“The Cell”), is truly unique. It was filmed in anywhere from 18 to 24 countries (depending upon your source), often in-between one of the director’s commercial shoots. It was also self-financed and operated without a script. The film, which is ambiguously located, yet set in 1920, is loosely based on the 1981 Bulgarian film, “Yo ho ho,” and like its inspiration, is the story of an injured stuntman (played by Lee Pace) who befriends a young girl (Catinca Untaru) at the hospital where they’re both recuperating. Roy, the stuntman, is pretty down and out, having just lost his girlfriend to the Rudolph Valentino-type he’s doubling for. While he’s charmed by the little girl, he finds himself using her to help score some pills that will “help him sleep.” To keep Alexandria captivated, the bed-ridden man weaves a fantastic tale of love and adventure, all conveniently interwoven around Roy’s heartbreaking saga, but very embellished and exciting enough to keep Alexandria coming back for more. Naturally, the story’s settings are all exotic and give the single-named director (his last name is Singh, but only to his family, apparently) excuses to show off his gifted eye for wow sequences, even if most of the scenes make little sense to the viewer. Basically, “The Fall” is a fleshed-out two-hour perfume commercial. The story, if you could call it that, occasionally captures the viewer, but it’s mostly an exercise in pretension. Tarsem has an interesting vision, but it’s barely coherent, which is fine if you have a 30 second attention span, but since we were asked to spend nearly two hours with this film, makes for a lot of seat-squirming. But the “cool commercial” fan in me gives it points for some truly breathtaking moments, plus the sweet performance from six year-old Catinca Untaru. “The Fall” has been bouncing around film festivals for nearly two years and is just now getting a limited U.S. release. You’re better off waiting for the DVD. ** (out of) ****

“Indiana Jones and the Kingdom of the Crystal Skull”: Harrison Ford dons the famous fedora once again in the fourth installment (and first in 19 years) of the Indiana Jones series. It’s 1957 and our favorite archaeologist is a college professor somewhere in the Northeast (Connecticut locations were used in the early scenes). But he’s drawn back into his previous world when he’s kidnapped by Soviet spies (led by Irina Spalko, who’s played by Cate Blanchett) who want to use Indy to acquire a rare crystal skull that is supposed to grant its possessor incredible power. The skull is reportedly located in the mountains of Peru, but first we’re taken to a remote locale in the desert of Nevada. If you can remember the two things that region was famous for in the Fifties, well, then you’ve figured out a big part of the plot of this movie. Indy, along with his “Raiders of the Lost Ark” sidekick, Marion (Karen Allen) and her grown son, Mutt (Shia LaBeouf), plus John Hurt and Ray Winstone, battle snakes, giant ants, and lots of Soviet baddies in a thriller that doesn’t quite have the wow factor of the other the three “Indy” films, but is still a very good time at the movies. “Indiana Jones” comes from the fervent imaginations of director Steven Spielberg and writer George Lucas, two film-lovers and children of the Fifties who certainly remember popcorn-and-Coke-drenched Saturday afternoon matinees. Their “Indiana Jones” series lovingly re-creates what it’s like to have a movie-star hero. Special kudos to both of them for their extremely impressive bodies of work. As filmgoers, we should be grateful that over the past 35+ years we’ve had these two men to add to our love of the movies. They would be pleased to know that the four ten-something boys who sat in the row behind us, not to mention my friend’s ten year-old son who accompanied us, ate up every single moment of this film. Harrison Ford may go the way of Sean Connery, but I suspect the kids will now look to Shia LaBeouf when he becomes their next idol of the silver screen. But for some of us, it will always be Harrison Ford. Hey, if Rocky and Rambo can come back, why not Indy? This isn’t the best film in the series, but does it really matter? For the purpose it serves, “Indiana Jones and the Kingdom of the Crystal Skull” is good entertainment. *** (out of) ****

“Standard Operating Procedure”: Most of us could Google the words ‘Abu Ghraib’ and in less than twenty minutes, learn all they need to know about what happened in 2003 at that infamous Iraqi prison. And if you dig a little further, you might be able to see some pretty horrific pictures. And after that short time of research, you could move on. Or you could spend nearly two hours watching “Standard Operating Procedure,” the latest documentary from note filmmaker, Errol Morris (“The Fog of War;” “The Thin Blue Line”); your choice. I was invited to a local screening of the documentary and despite knowing what I was getting myself into, I went anyway. Morris interviews a series of subjects directly or indirectly involved in the scandals, including participants Lynndie England, Megan Ambuhl and Sabrina Harman, as well as a guard (Javel Davis) and the person in charge (Brigadier General Janis Karpinski). But the film is really about the photographs, which are very omnipresent throughout, to the point of extreme overkill. If you’re on the fence about our country’s military participation in Iraq, this film may cause you to clarify your position. But if you’re like me and your mind was made up about five years ago, you’ll want those two hours back. “Standard Operating Procedure” has its heart in the right place, but after 118 solid minutes of lurid images, plus some borderline exploitive re-enactments (mostly through Morris’ annoyingly-artsy camera techniques) and interviews with less-than-desirable characters (for the most part), I was ready for a shower and a nice Jimmy Stewart film. Splash in an unhealthy dose of music from Danny Elfman (what’s he doing here?), and you won’t need this film to understand the meaning of torture. If you’re really that curious about the film’s subject, try Google or Wikipedia. ** (out of) ****

“Iron Man”: Tony Stark (Robert Downey Jr.) is the head of Stark Industries, a weapons manufacturer that does business in war zones, including Afghanistan. It’s there that Stark is captured by terrorists, led by Raza (Faran Tahir). Stark, who is an acclaimed scientist, devises a crude armored costume that allows him to escape his enemy handlers. Once back in America, Stark realizes the error of his company’s ways and vows to use his skills for good. He perfects his iron suit and emerges as “Iron Man,” the protector of good. The billionaire is assisted by Pepper Potts (Gwneth Paltrow), who has innocently stood by his side for years while the brash playboy does his thing. In the mix is Stark’s Army buddy, Col. Rhodes (Terrence Howard) and Obadiah Stane (Jeff Bridges), an old family friend of Stark’s legendary dad, who together, started Stark Industries. So it’s definitely in Stane’s best interests to make sure Stark understands the company needs to continue to make weapons. The latter is at the heart of “Iron Man,” which was directed by Jon Favreau (“Made”) and is based on the Marvel Comics character of the same name. Since I was a “Marvel Man” growing up, I read the “Iron Man” comic book and was very familiar with the character, and I will have to say that Favreau and company (including the outstanding CGI crew) did an excellent job of bringing Tony Stark to life. Of course, much of that credit should go to Robert Downey Jr., who seemed to be having a blast playing Stark. I’ve always been an admirer of his skills as an actor. It’s nice to see that he seems to have finally found his niche. His co-stars were all solid, as was the overall film. Make sure you stick around for the end credits for a nice tease of things to come for this franchise, which at its core may be made of iron, but is really gold. *** (out of) ****

“The Savages”: stars Laura Linney as Wendy Savage and Philip Seymour Hoffman as her older brother, Jon. The siblings, who very much have their own lives, are thrown together after their elderly father, Lenny (Philip Bosco) is effectively tossed out of his girlfriend's house after she passes away suddenly. Lenny is already suffering from the effects of dementia and is clearly unable to function on his own. Jon is busy with his career as a college professor, and Wendy is trying to get her play produced. In other words, Lenny is a great inconvenience to their lives. But bound by a sense of familial duty, the not-especially-close pair reluctantly band together to find their father a suitable rest home. Initially, “The Savages” presents itself as a witty slice-of-life film, but thanks to its dark subject, quickly becomes a serious family drama. I am speaking from experience when I say this film may hit very close to home for a lot of people, so if you would rather not watch this aspect of reality on your television screen, skip this movie. But, if like me, you have a deep, deep appreciation for great writing and fantastic acting, you will really enjoy “The Savages.” Writer-director, Tamara Jenkins also mined the dysfunctional family territory in her underrated debut film, “The Slums of Beverly Hills,” and does a terrific job of developing her characters in this film. Through the performances of the wonderful Laura Linney, Philip Seymour Hoffman and Philip Bosco, we get a very nice peek into their lives and personalities. Jenkins' film is also supported nicely by Peter Friedman as Wendy's married boyfriend, Larry, and Gbenga Akinnagbe (“The Wire”) as a kind nurse. A blurb for “The Savages” at imdb.com describes the film as a “little gem.” I couldn't agree more. *** 1/2 (out of) **** (On DVD).

“Tell No One”: Francois Cluzet stars as Alexandre Beck, a pediatrician who has been in love with his wife, Margot (Marie-Josee Croze), since childhood. The pair used to swim together at a private lake in the suburbs of Paris. It was their destiny to marry, and marry they did. Unfortunately, years later, during a revisit to that favorite swimming hole, tragedy took Margot from Alexandre’s life. Not long after a frenzied moment of separation, her murdered body was discovered nearby and the deed blamed on a serial killer who had the same m.o. The case is closed until two other bodies are unearthed in the area eight years later and determined to be part of Margot’s crime scene. This is long after the presumed killer (who always denied responsibility for that one particular murder) is locked up. The newly-found evidence points to Alexandre, who was originally suspected in his wife’s murder until the serial killer angle was accepted. Maybe not-so-coincidentally, Alexandre starts to receive haunting videos that show that Margot is actually alive and well. He could show the proof to the police and clear his name, but the videos warn him that “they’re” watching and to tell no one. I’m not giving too much away because this happens before the half-way point of the film and there are plenty of other twists and turns, most of them plausible. “Tell No One” was co-written, directed (and features an important cameo) by Guillame Canet. The French filmmaker based his film (in another neat twist) on a novel by American author, Harlan Coben. Canet does a fantastic job of balancing the story, adding plenty of well-timed touches (and an incredible police chase that I had never seen before); some nice metaphors, and some great camerawork. But what separates “Tell No One” from most thrillers is it’s also a classic romance. Alexandre will clearly do anything for the possibility of seeing his beloved Margot again. His motivation is very real and very well depicted by Francois Cluzet. Canet fills his film with a star-studded French cast, including Francois Berleand as a suspicious detective; Gilles Lellouche as a local thug who winds up as an unlikely ally; Natalie Baye as a lawyer; Jean Rochefort as, well, an important member of the cast, and Kristin Scott Thomas as Margot’s best friend, Helene. In a nutshell, “Tell No One” is an absolutely fantastic French thriller that gets it right. It has secrets, corruption, juicy twists and a lot of great acting. It grabs and holds you for much of its 125 minute running time. But sadly, like many recent French films, it’s yet to receive a proper American release. One can only hope that someday that trend will end. Films like “Tell No One” deserve to be shared with everyone. *** ½ (out of) **** (In French with English subtitles).

“The Jane Austen Book Club”: Lately, it seems that I’m either watching depressing art films or something testosterone-laden. A change-of-pace was definitely in order. So for the anti-“Knocked Up” crowd, I give you “The Jane Austen Book Club,” the story of six people who meet on a monthly basis to discuss a different Jane Austen novel. The group includes the newly-divorced Sylvia (Amy Brenneman), her daughter, Allegra (Maggie Grace) and Sylvia’s best friend, Jocelyn (Maria Bello). Jocelyn also recruits Grigg (Hugh Dancy), a young man she met at a bar, who happens to a software gazillionaire and a sci-fi nerd. And he wants to hang out with a bunch of older women with relationship issues to discuss some 19th century novels. Uh-huh. It turns out that Grigg is sweet on Jocelyn, but she’s thinking he’s just what Sylvia needs to get over her ex (played by Jimmy Smits). And then there’s the ultra-stuffy high school French teacher, Prudie (get it?), played by Emily Blunt, who fantasizes about one of her students as an escape from her boring husband (comparatively speaking, of course). Oh, and did I mention Kathy Baker is in this film? I guess Kathy Bates was already booked. And not-so-coincidentally, each Austen novel seems to mirror a situation that’s happening in their lives. “The Jane Austen Book Club” was directed and adapted (from the book by Karen Joy Fowler) by Robin Swicord. Her film is completely predictable (correctly guessing what was coming next was more entertaining than this film), especially the very convenient and highly improbable ending. When the film’s best performance comes out its most unlikable character (Emily Blunt, channeling her “The Devil Wears Prada” persona), you know you’re in trouble. I think I’ll stick with my depressing art films. At least they have some depth. * ½ (out of) **** (On DVD).

“Tuya’s Marriage”: Nan Yu (“Speed Racer”) is the only professional actor in “Tuya’s Marriage,” a very interesting story of an Inner Mongolian woman trying to maintain the family sheep farm after her husband, Bater, loses both his legs while exploring for water. Yu plays Tuya, whose own health is threatened after she attempts to take over her husband’s back-breaking job. Knowing their two children are too small to assist, Bater realizes they will all suffer unless another man is brought in keep up the farm. He devises an idea for the couple to divorce, and Nan reluctantly agrees, but with the condition that the new husband must also agree to care for Bater. This unusual arrangement scares off all the good suitors, well, except for Tuya’s neighbor, Sen’ge, who is trying to correct the mistake of his own marriage. His wife (whom we never see) disgraces him with her drinking and carrying-on with other men, while Tuya, who is a strong woman in her own right, appeals to Sen’ge. His wife’s situation isn’t unusual, as practically everyone in the village drinks, which is partially understandable given the very fragile nature of their surroundings. Their lives literally depend on finding new sources for water. “Tuya’s Marriage” was co-written (with Wei Lu) and directed by Quan’an Wang, a Sixth Generation filmmaker from China. Wang makes outstanding use of space, often using off-screen dialogue to advance his very deliberately-paced story, while cinematographer, Lutz Reitemeier, taking full advantage of Mongolia’s sparse beauty, gives “Tuya’s Marriage” a very nice look. Nan Yu, who starred in Wang’s previous two films (“The Story of Ermei” and “Lunar Eclipse”), gives a searing performance as the very hard-headed, yet tremendously-devoted Tuya, while the amateur actors are effective in their roles, which shouldn’t be a surprise considering each performer was reprising their actual job in real-life! It helped a little to know that Bater is actually a sheep-herder in Mongolia. “Tuya’s Marriage,” which won the top prize (the Golden Bear) at the 2007 Berlin Film Festival, is a fascinating look at a unique culture. Its quiet pace can be a little unnerving at times, but ultimately, it’s a rewarding film. *** (out of) **** (In Mandarin with English subtitles).

“Forgetting Sarah Marshall”: There is no hotter person in Hollywood than Judd Apatow. The super producer-writer-director has contributed to a slew of popular comedies over the past few years, many of them quite good. But one of the knocks is his films tend to appeal to guys and less to women. So, inspired by the “chick flick” genre, Apatow and company take a whack at romantic disaster comedies with their latest film, “Forgetting Sarah Marshall.” “Forgetting” was written by, and stars Jason Segel (“Knocked Up”) as Peter Bretter, a composer for a cult television show featuring his now ex-girlfriend, Sarah Marshall (Kristen Bell), who had the audacity to break up with Peter at a pretty unfortunate time for both him and the audience, the latter likely a little more dressed for the occasion. Peter didn’t handle the news well, especially after he learned Sarah left him for a self-absorbed British rock star named Aldous Snow (Russell Brand). Peter’s step-brother, Brian (Bill Hader) suggests an exotic vacation and Peter remembers that Sarah always talked about going to a particular resort in Hawaii. Great idea, right? Yeah, except Sarah and her new man also liked the idea. In a bit of old slapstick, the ex’s end up on the same island (Oahu) and at the same hotel. But rather than leave, Peter decides to face the situation head on. He wants Sarah back, but knows he can’t compete with a rock star, so he settles for having a good time on the island. The trailer for “Forgetting” was hysterical, but surprisingly (and wisely) Segel’s very well-written screenplay spreads out the jokes and the raunch, using some well-timed one-liners and some clever scenarios to keep the filmgoers happy. He also avoids the pitfalls that plagued other romantic disaster films -- like practically everything Matthew McConaughey and Kate Hudson have made over the past five years. “Forgetting” was directed by “Undeclared” alumnus, Nicholas Stoller, who did an excellent job of managing his talented cast, which also featured extended cameos by Paul Rudd as a surfing instructor, Jonah Hill (“Superbad”) as an ambitious restaurant host, and the hilarious Jack McBrayer (“30 Rock”) as a very naïve newlywed. The film’s primary leads, Jason Segel, Kristen Bell and Russell Brand, were all excellent, but the find here is Mila Kunis, who plays a hotel desk clerk. Kunis shows she’s more than just the actress who played that ditz on “That ‘70s Show.” If you buy into the hype of “Forgetting Sarah Marshall” from the trailer and some of its reviews, you might come away a little disappointed, but this is still a good film with more than its share of well-placed comic moments. *** (out of) ****

“The Counterfeiters”: Salomon Sorowitsch (Karl Markovics) has a gift. He has the ability to “manufacture” (most would say counterfeit) currency that to the discerning eye is real. He uses his gift to fund a lavish lifestyle, one he would long to have again after the Russian Jew is captured by the Nazis and thrown into a concentration camp. The leader of the camp, Friedrich Herzog (Devid Striesow), is also the man who caught “Sally,” so he is well aware of his prisoner’s talents. Herzog and his superiors hatch a plot, known as “Operation Bernhard,” to use Sally and a few key prisoners to counterfeit British pounds and U.S. dollars, a scheme that if successful, could not only fund the German war effort, but potentially topple their enemies’ currencies. The quiet, but clever Sally is aware of the plan’s ramifications, but is bent on his own survival, with the allure of his previous life as incentive. That survival is compromised when a fellow prisoner, Adolf Burger (August Diehl), tries to sabotage the effort, which only antagonizes their Nazi handlers. Instead, the prisoners try a stall technique, using several fake obstacles in the hope the war will end before their usefulness runs out. “The Counterfeiters” was directed by Stefan Ruzowitzky, who based his screenplay on Burger’s book of his experiences in the camp. But despite the interesting story, Ruzowitzky manages to dull it out by removing the punches that seem to be lying around just waiting to be inserted into the film. His protagonist isn’t the idealized Burger, but the cunning counterfeiter, which is logical, except he isn’t particularly likeable, and as an audience, we’re already too bored to care. Inexplicably, “The Counterfeiters” won the Oscar for Best Foreign Film after voters apparently “forgot” about several better films, especially the masterful “4 Months, 3 Weeks and 2 Days.” “The Counterfeiters” seldom rises above the ordinary. Given its rich subject matter, that’s a crying shame. ** ½ (out of) **** (In German, Russian and Hebrew with English subtitles)

“American Teen”: is a very well put-together documentary set in the working-class town of Warsaw, Indiana. The subject is a year-in-the-life of a group of high school seniors. Documentary filmmaker Nanette Burstein’s cameras follow the overachieving Megan as she struggles with the pressures of following the family tradition of attending Notre Dame. This reveals a very self-absorbed individual who isn’t always kind to her peers. Warsaw’s star athlete, Colin has to deal with the reality that winning a basketball scholarship is the only way he’ll be able to attend college. And then there’s the sweet Hannah, who’s a little different and has serious problems coping with her failed relationships. She’s the one you’ll root for the hardest. In some ways, pock-faced Jake is her male counterpart, but he’s able to accept that the opposite sex isn’t always drawn to him. Burstein also intersperses important moments of family life and interactions with friends that often extend well beyond her four primary subjects. It’s this last touch that really keeps the viewer into her film. Warts (or acne) and all, we really grow to care about what happens to these kids. But despite its many virtues, this documentary is certainly worthy of criticisms, such as the convenient clichés of Burstein’s four main subjects (jock, princess, rebel and outsider; think a live action “Breakfast Club,” which one of its movie posters even mocks), and its lack of racial diversity, though the latter could be looked at as a reality of the town and a statement of many high schools in the United States. And somewhat conveniently, Burstein’s cameras have unusual access to some crucial moments in the teens’ lives, such as when Hannah gets a text notice of a breakup; Megan opens up her letter from Notre Dame, and when Colin breaks down after a particular tough loss. The cameras are even there when one of the teens commits an angry act of vandalism and in the principal’s office when that person is reprimanded. At times “American Teen” seems staged, but we’re reminded that filming took place over ten months and nearly 1000 hours of footage was accumulated to make this 99 minute documentary. That would give Burstein plenty of key moments from which to draw. But no matter what the filmmaker’s motivations, Burstein succeeds where it counts: she makes us care about her subjects – and that is the hallmark of a good documentary. While “American Teen” doesn’t exactly re-invent the youth wheel, it is a very good film. *** ½ (out of) ****

"My Brother Is an Only Child": is the story of two brothers growing up during the late-60s, early 70s, in the very-divided political climate of Italy.  The older brother, Manrico (Riccardo Scamarcio) aligned himself with the communists, while the younger Accio (a nickname that loosely translates to 'bully') decides the seminary he was sent to straighten out his life wasn't as attractive as fascism, a sudden move that didn't endear himself to his brother, not to mention his family. The rift is complicated by Manrico's girlfriend, Francesca (Diane Fleri), who seems to have a greater affect on Accio (played by Elio Germano) than the chance to become the next Mussolini. "My Brother Is an Only Child" was directed by Daniele Luchetti and co-written by Sandro Petraglia and Stefano Rulli, the writing team responsible for the wonderfully complete six-hour epic film, "The Best of Youth."  I mention this in part because this film's biggest weakness seems to be its "short" 100 minute running time, a length not sufficient enough to properly tell the story of Accio and Manrico, or to justify the former's sudden personality changes.  The film also suffers from being drenched in politics, which literally takes the potential fun out of a story that boasts interesting characters and situations.  I enjoyed that last part, as well as the acting (especially Elio Germano as the rambunctious Accio), but was ultimately frustrated by the limitations of the condensed screenplay. "My Brother Is an Only Child" is one of those rare films that would've benefited from an extra hour or so of running time. Still, it has enough going for it to give it a mild recommendation. ** 1/2 (out of) **** (In Italian with English subtitles)

“Avenue Montaigne”: Cecile De France is Jessica, a waitress at a Paris café that services art aficionados and theater patrons, as well as some of its stars like Catherine Versen (Valerie Lemercier), a spoiled soap opera star who would rather make big films like those directed by Brian Sobinski (Sydney Pollack), who is a successful auteur in town to cast his next movie. Jessica is an affable young woman with an easy-going charm and an eye for expensive things, but is always conscious of what she can and cannot afford. Instead she lives a little vicariously through Catherine and other customers like accomplished concert pianist, Jean-Francois Lefort, who would rather play for hospital patients; elderly art-collector, Jacques Grumberg (Claude Brasseur) and his playboy son, Frederic (Christopher Thompson). Not-so-coincidentally, each of this film’s characters, no matter how personally successful or unsuccessful, isn’t happy with their present lot in life. And they all cross paths with the very disarming Jessica, who helps them reconcile their self-doubts. Director Daniele Thompson, who also co-wrote the script with her actor son Christopher, does an excellent job of not only developing her eclectic array of characters, but also balancing a serious drama and romantic comedy, two very different genres that could easily describe her film. In the end, it’s Cecile De France who not only wins the hearts of the people she casually touches in this film, but also its audience. Score a few points for strong performances from Catherine Versen, Claude Brasseur, and Dani, the latter playing a retiring theater manager who ponders life’s what ifs. “Avenue Montaigne” is a sweet little film that should be in everyone’s Netflix queue. *** ½ (out of) **** (In French with English subtitles)

“Snow Angels”: It’s a little hard to write a review about one of writer-director David Gordon Green’s films without mentioning Terrence Malick. The enigmatic director’s influence was all over Green’s first three films, yet with number four, “Snow Angels,” a great filmmaker has finally emerged from that enormous shadow, as Green, for the most part, ditches the “Badlands” and “Days of Heaven” stuff that adorned “George Washington,” “All the Real Girls” and “Undertow,” to make his most complete film to date. Annie (Kate Beckinsale) and Glenn Marchand (Sam Rockwell) are an estranged couple with a four year-old daughter, Tara. They were high school sweethearts who separated because Annie could no longer stand the unstable alcoholic Glenn had become. In a desperate grab for affection, she turns to her best friend’s husband (played by the Nicky Katt), which proves to be a move with a very destructive effect on everyone around her. Meanwhile, the little boy Annie once babysat, Arthur (Michael Angarano), is now a teenager and dealing with his own broken family. His father (who happens to be a teacher at his son’s high school) has reached that dreaded mid-point in his life when family priorities give way to more “important” things. Arthur is a fragile kid, but he finds solace in the arms of a new classmate, a quiet shutterbug named Lily (Olivia Thirlby). Together they form the sweetest, most positive thing about this film. Whenever “Snow Angels” turns down a dark road, Green’s story (adapted from Stewart O’Nan’s acclaimed novel) always seems to go back to Lily and her camera, which, together, turn the saddest moments into something beautiful. Her camera, in fact, appears to serve as a metaphor for the destruction going on around her, yet Lily is probably the only underdeveloped character in the film, and maybe not-so coincidentally, we only see a few of the wonderful pictures that helped Arthur realize this quirky little girl was really throwing him a lifeline. David Gordon Green’s screenplay and direction are remarkable. He takes his characters and creates multiple personas for their individual interactions, a logical device, yet one rarely used in film. For example, Annie is passive toward her new lover -- a tough, tattooed guy compared to her wimpy, unstable husband, who she treats like a sad child. Yet, to her own child, she is aggressive and condescending, the opposite of how her own mother (who lives with her and can only watch in near numbed silence) raised her. It’s a fascinating character and a terrific performance from Ms. Beckinsale. “Snow Angels” is filled with wonderful characterizations, led by Sam Rockwell, who is becoming one of our better actors, and Nicky Katt and Michael Angarano. As a whole, “Snow Angels” is awash in sadness, but there’s always Lily. Olivia Thirlby, who played Ellen Page’s best friend in “Juno,” is the film’s revelation. Maybe it’s not such a pity we never really learn much about her character, because in the wintry Canadian town of the film’s setting, she’s the true snow angel. *** ½ (out of) ****

“Disturbia”: Kale Brecht (Shia LaBeouf) has nothing but time on his hands. After an incident in which he struck one of his high school teachers, the teenager is punished by house arrest, forcing him to stay within the property lines of his mom’s home. Kale is basically a good kid, but the horrific loss of a close family member (which he witnessed) leads to his acting out more than usual. He’s otherwise a normal teenage boy, so not being able to fully enjoy his summer vacation is truly torturous. He kills time through visits from his best friend, Ronnie (Aaron Yoo) and by keeping tabs on his neighbors, especially Ashley (Sarah Roemer), the pretty girl who just moved in down the street. She plays hard to get at first, but quickly warms to the charming kid with just the slightest rebel streak. And they really bond when they’re convinced their mutual neighbor (David Morse) may be a serial killer. “Disturbia” doesn’t have an original plot (it’s an obvious homage to Alfred Hitchcock’s “Rear Window”), but in this era of teenage-slasher flicks, this film is still refreshing. It was solidly written (by Christopher Landon and Carl Ellsworth) and directed (by D.J. Caruso) and has some solid performances from its likeable cast, especially LaBeouf and Morse. It gets a tad predictable at the end, but the suspense level remained high. All in all, “Disturbia” is an entertaining time at the movies. *** (out of) **** (On DVD)

“Across the Universe”: A movie musical about the Beatles? With a bunch of young actors singing the Fab Four’s songs? Blasphemy, you say? When it was first released in theaters, I confess I resisted this film because 1) I consider myself a fairly big Beatles fan and the thought of a bunch of actors butchering their songs just didn’t sound appealing, and 2) well, I really don’t have a second reason. The first one should be enough. But I’d forgotten that Broadway visionary Julie Taymor (“The Lion King”), who is also a pretty good film director (“Titus” and “Frida”) was the visual brains behind “Across the Universe.” I loved what she did with “Titus,” infusing that important piece with her own modern touches. And after watching “Across the Universe,” I’m disappointed I missed it during its original full theatrical glory. The film stars Jim Sturgess (“21,” “The Other Boleyn Girl”) as Jude, a young working man from Liverpool who decides to travel to America in search of the father he never knew. He finds him on the campus of Princeton University, but only after we’ve heard versions of the classic Beatles tunes, “Girl,” “Hold Me Tight,” “All My Loving” and “I Want to Hold Your Hand.” But for Jude’s sake, he also finds several people who will become his friends and help shape his future. There’s Max (Joe Anderson), an underachieving rich kid who would rather party than study (we all know the type). And Max’s lovely sister, Lucy (Evan Rachel Wood), who will soon make Jude forget his girlfriend back home. And along the way, he also meets assorted characters like Sadie (Dana Fuchs), who’s a Janis Joplin-type to Martin Luther’s JoJo, who is an unmistakable allusion to Jimi Hendrix (minus the left-handed playing), and people who also serve as Beatles song references like Rita, Prudence and Mr. Kite. As corny as all this might seem, under the guidance of Ms. Taymor, the actors/performers pull it off nicely. Many of the film’s 34 musical numbers (!) border on spectacular, especially “Come Together;” the title song (one of my all-time favorites) and “I Want You (She’s So Heavy),” a clever play on Uncle Sam and the Vietnam War, which serve as an important backdrop in this film. In fact, with all the recent films about the injustice of the war in Iraq, “Across the Universe” may have made the biggest case. Veteran screenwriters Dick Clement and Ian La Frenais (who also wrote the recent “The Bank Job”) flesh out Taymor’s elaborate idea of how a Beatles rock opera might have played. Fittingly, Taymor takes a Broadway approach to the material, harnessing her talented crew (hard to single one out – they’re all good) to turn “Across the Universe” into a rousing success and loving tribute to arguably the greatest musical group to have ever played. *** ½ (out of) **** (On DVD)

“The Year My Parents Went on Vacation”: The cute kid in the middle of a political crisis is nothing new in film. Heck, we just covered that recently with “Under the Same Moon.” There are several other similarities to that film, but this time it’s communism versus a military dictatorship in Brazil during the early 70s. Actually, it’s 1970 and soccer star, Pele is larger than life. Twelve year-old Mauro (Michel Joelsas) is excited for the impending World Cup but more importantly he needs to get used to living with his grandfather in San Paulo after his militant parents suddenly have to take an indefinite “vacation.” His loving mother (played by Simone Spoladore) promises they’ll be back in time for the Cup, so little Mauro schedules his life around that promise, watching for their familiar blue Volkswagen, but always coming away disappointed. Mauro quickly encounters a large problem: his grandfather suddenly passes away, leaving the child without any immediate available family. His care rests in the hands of Shlomo, a somewhat sympathetic neighbor (played by Germano Haiut) who tries to influence the local authorities to release Mauro’s mother, who, along with her husband, is being held as a political prisoner (though this is never made crystal clear). As a Jewish man, Shlomo has a real problem with why he must care for this kid who seems like too much trouble. But that’s just the heavy stuff. Director and co-writer, Cao Hamburger splashes his film with the neighbor kids who play with Mauro, as well as plenty of scenes about the excitement of the World Cup, especially with the Brazil’s team expected to do well. As a sports fan, I ate it up. And as a fan of the film “Cinema Paradiso,” I also ate it up, but as a moviegoer I was a little too confused with the film’s direction to buy it hook, line and sinker. “The 400 Blows,” this was not, but that’s certainly not a fair comparison. “The Year…” has won a passel of awards, and it has some things going for it like good, light-hearted performances, especially from its charming lead, Michel Joelsas, but its indecisiveness over its exact direction didn’t quite win me over. Ultimately, I give it a mild recommendation, especially to those who generally appreciate the subject matters covered in this film. ** ½ (out of) **** (In Portuguese and Yiddish with English subtitles)

“21”: Once upon a time there were two young actors (Matt Damon and Ben Affleck) who made a movie (“Good Will Hunting”) about a math genius janitor at MIT. Fast forward about ten years and you have Robert Luketic’s “21,” a loosely-based-on-a-true-tale about a genius student at MIT with an affinity for math. Like Will Hunting in the aforementioned film, Ben Campbell (Jim Sturgess) is a Rainman-type who can tell you what your bill will be (complete with discounts and tax) before you reach the cash register. Ben is currently studying at MIT, but he’s working toward getting accepted at Harvard’s medical school. He’s applied for a special full-ride scholarship, which he’ll need because the education will set him back $300K, money neither he nor his single mom can afford. Ben’s gift for math is spotted by one of his professors, Mickey Rosa (Kevin Spacey), who has assembled a group of smart students for a little card-counting venture he started to try to combat the long odds in Las Vegas. It seems that Rosa was nailed as a cheat years earlier and would like to get back a little of what he lost (just like a typical gambler). Rosa uses the MIT students as a team, giving each member a specific role, such as card counter and lookout, ensuring a smooth operation. Ben and the students, including pretty Jill Taylor (Kate Bosworth) and a hotheaded jealous type who was once just like Ben (played by Jacob Pitts), make secret weekend trips to Vegas, eventually making so much money that the local security goons (headed by former card-counter, Cole Williams, played by Laurence Fishburne) can’t help but take notice. And that’s when everything turns. Predictably, personalities start to change, friendships are damaged, and plot implausibilities begin to surface left and right. On the surface, “21” is a likeable film with a good cast and okay performances (especially Jim Sturgess, who’s been popping up all over lately), but the script by Peter Steinfeld and Allan Loeb loses its way while trying to paint in all the numbers. Throw in some slick cinematography and a hip soundtrack and it adds up to a headache at the movies. You’re better off renting “Good Will Hunting” and “Rounders,” two superior films that cover roughly the same topics. ** (out of) ****

“The Bank Job”: When it comes to film genres, I’m a big sucker for the 70s, whether it’s the actual films of the decade, or the ones that attempt to recreate the era. “The Bank Job” (never to be confused with any of W.C. Fields’ work) runs wild with every single 1971 British cliché, to the point of annoying. Jason Statham (from every bad British action film of the last ten years) plays Terry Leather, a failed used-car dealer who is approached to lead a team of villains (the writers’ terminology) to empty out the safety deposit boxes at a Lloyds of London bank that is scheduled to have their security system upgraded. It’s all a setup, of course. Terry’s old friend, Martine Love (Saffron Burrows), with secrets of her own, recruits him after she’s blackmailed by some baddies who want some naughty pictures that are reportedly locked away in one of the safety deposit boxes. The pictures depict a wayward princess and are owned by a political enemy. In other words, they would be of interest to a lot of people. Terry, desperate for cash, agrees to look for the box, as long as he gets to keep everything else they take. So, in the great tradition of other heist films, the gang that couldn’t talk straight, tunnel their way into the bank and make off with money, jewels, and yes, naughty pictures. But they also land some other hot property that would expose some other villains. Soon thereafter, it’s every man for himself when word of their daring robbery gets out, and it doesn’t take long before the police, MI5, and the London underground all come-a-running. “The Bank Job” was cooked up by veteran director, Roger Donaldson, who’s done everything from “Cocktail” to “Thirteen Days” to “The World’s Fastest Indian.” He worked from a script by longtime writing partners, Dick Clement and Ian La Frenais, who reportedly talked to a “deep throat” source who told quite a story about the real-life 1971 robbery (which this movie is based upon) that was never solved, primarily because the British government slapped a ‘D’ notice on the case, gagging the investigation. Apparently, there really were a lot of secrets uncovered in those boxes. My problem with “The Bank Job” is in its execution. It had a terrific concept, but the filmmakers couldn’t figure out how to tell the story in a coherent way. There are way too many storylines to track, leaving the viewer more than a little confused. The performances were okay and the characters were generally likeable, but the film was just a little too exhausting. It all adds up to a mild recommendation. ** ½ (out of) ****

“Under the Same Moon”: It’s been four years since Carlitos (Adrian Alonso) has seen his mother. The now nine year-old boy lives with his grandmother in a small town in Mexico while his mother, Rosario (Kate del Castillo), works as a housekeeper in two different households in the States. Rosario, like many mothers and fathers in Mexico, crossed the border illegally with the hopes of making a better life for her family. The extra cash the single mother sends means her only child can wear new clothes and eat a little better. Rosario, for her part, works hard and tries to keep a low profile in Los Angeles, but the guilt of all the false promises she makes to her son during their weekly phone conversations (she calls him from the same phone booth at the same time every Sunday) is putting a strain on her. She wants to go back to him and he wants to come to her. The wheels are set in motion shortly after Rosario learns that her mother, who was caring for Carlitos in Mexico, has passed away. She knows he needs her, but little does she know he’s already planned his exit strategy to L.A. “Under the Same Moon” was directed by Patricia Riggen and written by Ligiah Villalobos, with the latter making a huge leap from writing for a children’s television show. Together, they do an excellent job of humanizing the very polarizing issue of immigration. Riggen also coaxed a very credible performance from young Adrian Alfonso, who was quite effective as little Carlitos. Kate del Castillo as his mother, and Eugenio Derbez as a sympathetic drifter, are also terrific. “Under the Same Moon” is a nice little film that does a good job of delivering its message. Its likely detractors (those who stand on the proverbial “other side of the fence”) only need to look at the film’s title to remind themselves we truly live under the same moon. *** (out of) **** (In Spanish with English subtitles)

“The Other Boleyn Girl”: When it comes to deciding which movie to watch, who directed it is more important to me than who's in it, but when the film features Natalie Portman AND Scarlett Johansson, well, I’m making an exception. “The Other Boleyn Girl” is about the real-life escapades of the Boleyn sisters, Anne (Portman) and Mary (Johansson), who turned King Henry VIII’s life upside some 500 years ago. It seems Henry (Eric Bana) is disenchanted with his queen (played by Ana Torrent), who will not bear him a male heir to the throne. It is time for him to take a lady-in-waiting. Thomas Boleyn (Mark Rylance) and his brother (played by David Morrissey) are social-climbers who will do anything to land a position in the King’s court, even if it means using Anne and Mary to lure the king. Anne seems the obvious choice, but her headstrong personality offends Henry. It’s the sweeter Mary who becomes his Lady, and who will eventually give him the son he desires. All this doesn’t set well with Anne, who loves her sister, but loves the idea of being the next queen of England even more. It’s at this point (about halfway in) where “The Other Boleyn Girl” dissolves into an incredibly sappy soap opera and becomes nearly unwatchable. “The Other Boleyn Girl” is based on the celebrated novel by Philippa Gregory, and was adapted by award-winning screenwriter Peter Morgan (“The Queen” and “The Last King of Scotland”) and directed by Justin Chadwick, who’s basically making his feature film debut; heady stuff when you’re asked to direct a stuffy period piece with some pretty major actors. Unfortunately, Chadwick wasn’t up to the task. Despite respectable performances from Portman and Johansson, “The Other Boleyn Girl” is a bore-fest. *1/2 (out of) ****

“La Vie En Rose”: Much has been made of Marion Cotillard’s performance as famed French songstress, Edith Piaf. She won all the major acting awards, including an Oscar for best actress, yet the underlying film, “La Vie En Rose,” hasn’t fared as well. Why? Perhaps, it’s because it wasn’t very good. Olivier Dahan directed Cotillard in a film that darts back and forth between Piaf’s very, very modest beginnings in France, to her last days that ended with her death from liver cancer in 1963 at the age of 47. Dahan’s structure and bizarre script make “La Vie En Rose” a difficult film to watch. It might work for a fictional piece, but not a biography. But thank goodness for Cotillard, who was every bit as good as advertised. She takes the musical highlights, from Piaf’s start in 1935 to her tragic end nearly thirty years later, and makes it her own. It’s a stunning performance, richly deserving of her Oscar. One of my research tools before reviewing a biopic or a film based on fact is to read its Wikipedia page. That site’s pages are usually comprehensive enough to give me an excellent overview of my subject. I was surprised by what I read about Edith Piaf. She had a very interesting life, filled with stories and characters that were either missing in this film or barely touched upon. Why? I would’ve liked more on her relationship with Louis Leplee (barely played by Gerard Depardieu in a blink-and-you’d-miss-it appearance), who was murdered, with Piaf being accused as an accessory! Or with her young daughter (who died at the age of two), or perhaps some of her famous relationships, such as Yves Montand. All this added to the disappointment felt after watching “La Vie En Rose.” Fantastic performance and wonderful singing (bravo Marion Cotillard!), for a film that should’ve been so much more. Cotillard as Piaf isn’t nearly enough to recommend this film. ** (out of) **** (In French with English subtitles. On DVD).

“4 Months, 3 Weeks and 2 Days”: Someone once said: a friend will help you move. A real friend will help you move a body. Otilia (Anamaria Marinca) takes it a step further when it comes to her friendship with her college roommate, Gabita (Laura Vasiliu). They attended school in Romania in 1987, during the Nicolae Ceausescu rule when it was not only illegal to have an abortion, but to use contraception. Cheerfully innocent and scarily irresponsible, Gabita turns to Otilia when she finds herself pregnant with an unwanted child. Otilia, who is tough on the outside, but has a heart of gold on the inside, doesn’t hesitate to find the money and the underground contacts to “take care of” the problem. She’s led to a shady “doctor;” a Mr. Bebe (Vlad Ivanov), who, in large part due to the tremendous risk he’s taking, is beyond paranoid, but also desperate and willing to perform the illegal operation. But he has a steep price, more than the women expected. Forget the talk about how “4, 3, 2” won the 2007 Palme d’Or at the Cannes Film Festival, or how it failed to gain a Best Foreign Film nomination at this year’s Oscars. Forget about its controversial subject. Let’s talk about the greatness of Cristian Mungiu’s script and direction. They’re big reasons why “4, 3, 2” rises above almost everything I’ve watched in recent years in terms of storytelling and sheer filmmaking. It is a film of enormous technique, with scenes that vary from frenzied moments of rapid dialogue to equally out-of-control sequences where the camera is creating the fast pace in scenes that are otherwise silent. Despite some very difficult moments, you won’t be able to look away from the screen. Mungiu is that good at creating tension. And his camera (operated by Oleg Mutu) is masterful. The film also succeeds through its actors. Anamaria Marinca is thoroughly riveting as Otilia, a gentle soul who proves she’s willing to do anything…ANYTHING…for a friend. It is a performance for the ages. And you can add Vlad Ivanov’s take as Mr. Bebe to Daniel Day-Lewis and Javier Bardem among recent great villains. Laura Vasiliu as the naïve Gabita and Alex Potocean as Otilia’s self-absorbed boyfriend, Adi, are excellent. Ultimately, “4, 3, 2” is not a film about politics or abortions, or even the politics of abortions, though Mungiu makes his audience feel the pressure of the latter, but without taking sides. It’s really about human beings and friendship, and the great lengths that people will go to achieve their aim. It’s also a film you won’t be able to shake anytime soon. **** (out of) **** (In Romanian with English subtitles)

“Bonneville”: stars Jessica Lange as Arvilla Holden, grieving widow-extraordinaire. Arvilla, along with her closest friends Margene (Kathy Bates) and Carol (Joan Allen) set off on a road-trip from Pocatello, Idado to Santa Barbara, California where Arvilla’s husband’s ashes will be laid to rest. Arvilla had been married to Joe for twenty years, but is still at odds with her husband’s family, especially his daughter, Francine (Christine Baranski), who believes her father’s ashes belong in Santa Barbara, where she grew up, and not in Idaho, where he appeared to have spent the happiest years of his life, finally doing the things he’d always wanted. Arvilla reluctantly agrees, but only after realizing a trip to California via car (in Joe’s old Bonneville) with her friends is exactly what everyone needs, including her urn-interred husband. “Bonneville” doesn’t attempt to re-invent the wheel. It was filmed nearly three years ago and has spent most of that time getting fine-tuned and bounced around the small film festival circuit. It plays like a well-cast Lifetime movie, but in the end, it’s just good harmless fun. It has some nice laughs and some good scenery (I loved the Bonneville Salt Flats sequence). The acting is fine and the supporting cast is good (especially Tom Skerritt and Christine Baranski), but this hardly requires your immediate attention. I saw it with my film club. You would be better off waiting for the DVD. ** ½ (out of) ****

“The Assassination of Jesse James by the Coward Robert Ford”: What do you do with a slow-paced Western film that’s well over three hours long? If you’re a Hollywood studio, you let it stew on the shelf for a while, then hack about an hour off it and sparsely release it over a year later. That’s what happened to writer-director Andrew Dominik (“Chopper”) and his American debut film, “The Assassination of Jesse James by the Coward Robert Ford,” which deserved more than the you-blinked-and-missed-it run it received when it was finally released this past fall. And thanks to the film’s one marketable star’s (Brad Pitt) contractual insistence that they not shorten the film’s title, trying to fit nearly sixty characters (not counting the hyphens) onto a theater marquee probably didn’t help. “Assassination” stars Casey Affleck as Robert Ford, a young man obsessed with joining his hero, Jesse James and his gang, a legendary band of outlaws who robbed and murdered for about a fifteen year period after the Civil War. 19 year-old Robert and his older brother, Charley (Sam Rockwell) managed to charm Jesse James (Pitt), but couldn’t quite break through to Jesse’s older brother, Frank (Sam Shepard), who viewed the Ford brothers with a wary eye. Robert grew up reading of the Jesse James legend through a collection of dime novels that he kept under his bed. But he never dreamed he would one day ride with Jesse and be invited to join his gang. To Robert, Jesse James could do no wrong, but things changed once he got to know him a little. Andrew Dominick, who directed and wrote (adapting Ron Hansen’s novel) “Assassination,” thoroughly fills his film with the deep, contemplative feel that fills Terrence Malick’s work. It’s slow and deliberate with shots (by cinematographer Roger Deakins) that will have you reaching for the reverse button on your remote. But it’s also tough waiting for the promise of the title. Jesse James isn’t a bad guy character-wise, especially how Pitt plays him, and that’s one of the film’s flaws. Sure, you don’t want to ride in front of him, but he’s a little too disarming. Even though 62 year-old Sam Shepard is 20 years older than Pitt, while Frank James was just four years older than Jesse, this film is well-cast and filled with “Western” faces and strong performances (also look for James Carville in an amusing cameo), but they don’t make you want to break out the lynching rope. It’s “Unforgiven” without the teeth. Not surprisingly, it’s Casey Affleck who comes across as the most real character, showing a range not too far from Patrick Kenzie in the superb “Gone Baby Gone,” but still very effective. “Assassination” scores major points for setting the proper mood and for its stunning look, but could’ve pulled another page out of its “Days of Heaven” book by economizing its shots better, and cutting another hour out of its 160 minute running time. That’s the film I want to see. *** (out of) **** (On DVD)

“The Band’s Visit”: is an interesting little film from Israel. It’s indirectly about politics (the relationship between Israel and Egypt), but doesn’t really discuss them. Instead, it fosters a sense of peace through its nice story of the Alexandria Ceremonial Police Orchestra who are misdirected to a small town in Israel for the opening of their Arab Cultural Center. One problem: the place doesn’t exist in that town. This is bad news for the orchestra’s conductor, Tewfiq (Sasson Gabai) who is counting on this gig to help keep his band going, whose existence is threatened by budget cuts. To make matters worse, the next bus to the correct town doesn’t leave until the next day, meaning they’re stuck. The members of the orchestra with their professional demeanor and their regal baby blue uniforms, impress the citizens of the town, especially the regulars at the local diner, led by its proprietor, Dina (Ronit Elkabetz), an attractive older woman who positions herself between the widowed Tewfiq and his much younger bandmate, Haled (Saleh Bakri), a self-proclaimed ladies’ man and Chet Baker fan. That dynamic is the highlight of this otherwise slow film, which has plenty of charm to offer, but spends a little too much time showing it. “The Band’s Visit” was written and directed by Eran Kolirin, who won several awards for his film including the Jury prize at last year’s Cannes film festival. But since “The Band’s Visit” inexplicably uses a lot of English in its dialogue (but with English subtitles -- because of the thick accents), it didn’t qualify for the Best Foreign Film category at this year’s Oscar, not that I think it deserved it. Still, it’s too nice of a film to not recommend, so see it as a little upbeat hour and a half to your quiet evening. (In English, Arabic and Hebrew with English subtitles) *** (out of) ****

“Persepolis”: was France’s official submission for Best Foreign Film for the 2007 Oscars, but for some inexplicable reason it was not chosen by the Academy. The producers settled instead for a nomination for Best Animated Feature, which, despite my great love for “Ratatouille,” they richly deserve to win. But enough about that; let’s talk about the film. “Persepolis” is based on two graphic novels on the life of Marjane Satrapi, who spent her childhood years in Iran. Animated in (mostly) black and white, her story begins in 1978 at the age of eight. The shah is about to be deposed, along with most of her country’s innocence. Marjane, ever the impressionable young girl with a great thirst for knowledge, is especially close to her uncle Anouche, whose political views land him in prison. His influence ultimately shapes the person Marjane will become, but in Iran’s new regime where women barely count, it is difficult for the now-young woman to have a voice. Eventually, she leaves Iran for Vienna, but Austria proves to be a misstep. The film’s story ends just after this point with Marjane now in her early-twenties. But in that 98 minute time, you’re a witness to a richly textured life set on a glorious platform of seemingly-simple 2-D black and white animation (with splashes of gray and color), yet underneath those plain colors is scene after scene of stunning beauty. That description still doesn’t do justice to the wonder that is “Persepolis,” which is not only the story of Marjane Satrapi’s life, but was also co-written and co-directed by Satrapi (along with Vincent Paronnaud). Satrapi was also (appropriately) the creator and artist for the graphic novels. “Persepolis” is a film that is about both sweet innocence and harsh reality, yet while you’re dismayed by its sad moments, the memories of the good times are still fresh, which could be (though it is very unfair of me to speculate) how Marjane and other Iranian women likely coped with their surroundings. When it’s over, you’ll come away from “Persepolis” feeling like you’ve watched one heck of a great film. (In French and Persian with English subtitles) **** (out of) ****

“Sweeney Todd: The Demon Barber of Fleet Street”: It’s fitting that I follow up a review of 2007’s greatest acting performance (Daniel Day-Lewis in “There Will Be Blood”) with its second greatest: Johnny Depp in the title role in “Sweeney Todd: The Demon Barber of Fleet Street.” Like its title, it’s a difficult film to swallow, but is saved by Depp’s searing turn, some choice casting, and the perfect director to pull it all together: Tim Burton. Depp plays Todd, who, at a younger age, and then known as Benjamin Barker, had a seemingly perfect life snatched away from a corrupt judge (played by Alan Rickman), who, after spotting Barker’s beautiful wife and young daughter, has the young Londoner sentenced on false charges and banished to Australia. It isn’t until years later that the angry and reinvented Barker (now known as Sweeney Todd) can exact his revenge. While searching for his wife and daughter, he reunites with an old friend, Mrs. Lovett (Helena Bonham Carter), who owns the old building where he used to cut hair. She now uses the space as a pie shop. Mrs. Lovett agrees to let him use her vacant upstairs as a barber shop, while she bakes her pies downstairs. During Todd’s thirst for vengeance upon the judge, the two hit upon a special new ingredient that catapults “London’s worst-tasting pie” into its best. “Sweeney Todd” is based upon Stephen Sondheim’s popular musical and features some wonderfully creative songs (performed admirably by the film’s cast), some terrific performances (especially the note-perfect Johnny Depp, who has never been better), and a nice adaptation by screenwriter John Logan (“The Last Samurai”). But it’s eccentric director Tim Burton, who pulls it all together. He attracted Depp, with whom he’d previously worked in five films, and Burton’s long-time girlfriend and work-partner, Helena Bonham Carter, as well as the wonderful Alan Rickman, who is perfectly wicked as the possessive Judge Turpin. Also of note is the wonderful Timothy Spall as Turpin’s right-hand man, Beadle Bamford, and Sacha Baron Cohen (“Borat”) as a rival barber. But what makes “Sweeney Todd” tough to watch is its methodical violence and ultra-dry sense of humor. I also had problems buying into the Barker/Todd transformation, but was mostly able to overlook that because, well, Depp was so good in his role. Suffice it to say, it’s the production’s rich pedigree, not the meat-pies, that will have you wanting more. *** (out of) ****

“There Will Be Blood”: Writer-director Paul Thomas Anderson is a polarizing filmmaker. His previous efforts, “Hard Eight,” “Boogie Nights,” “Magnolia” and “Punch-Drunk Love,” are love ‘em or not propositions. Personally, I love his films, but his latest, “There Will Be Blood” is his toughest to sit through (yes, even tougher than “Magnolia”), but is no less impressive than anything he’s ever done, which, if you know how I feel about “Boogie Nights” and “Magnolia,” is saying a lot. Daniel Day-Lewis (“Gangs of New York”) is Daniel Plainview, an enormously driven man who will stop at nothing to achieve success. He starts with silver in New Mexico at the end of the 19th century until he realizes oil is his future. That future also includes a young boy (played by Dillon Freasier), who meets Plainview’s need for family, an important trait that will benefit Plainview as he builds his oil empire. That empire stops through a small California town, where the Sunday family runs a church. The family is dominated by one of its sons, Eli (Paul Dano), who is well aware they’re sitting on a lot of oil, but has his own ulterior motives for exploiting the land. Thus begins the battle between Plainview and Sunday, both fiercely stubborn men not entirely unalike but with two very different goals. “There Will Be Blood” is dedicated to the memory of the late Robert Altman; fitting because Paul Thomas Anderson’s previous films, especially “Boogie Nights,” were heavily influenced by Altman’s work. But with “Blood,” Anderson removes the ensemble tag in favor of not-so-subtle Kubrickian strides. With the near-silent opening 15 minutes to the abrupt shifts in the last act, Anderson picks and chooses from Upton Sinclair’s 80-year-old novel, “Oil,” using it as the basis for his story of “greed, vengeance and blood,” which is also roughly the film's first tagline. The other is “when ambition meets faith.” Daniel Plainview’s drive meets Eli Sunday’s man of God and, well, the title of the film says it all. To say that Daniel Day-Lewis’ performance as Plainview is good is a huge understatement. It’s epic; one of the best I’ve ever watched, and it clearly cements his stature as one of our greatest actors. Yet Day-Lewis doesn’t chew up enough scenery to keep Paul Dano, in the dual role of Paul and Eli Sunday, from not capably standing next to him. Dano’s brilliant turn would’ve stolen this film from just about any other performer. Through the actors creating the roles, Plainview and Sunday are teemed with ambition and rife with confidence, characteristics not easily conveyed. Anderson’s film also benefits from a strong supporting cast, especially Kevin J. O’Conner as Plainview’s long-lost brother, and Ciaran Hinds (“Rome”), but it’s clearly the Day-Lewis and Dano show. Robert Elswit’s cinematography is very memorable, giving “Blood” its gritty look. But in the flaw column, this Radiohead fan didn’t quite appreciate Jonny Greenwood’s over-the-top score. He was trying to make a point, true, but it engulfed the film a lot more than a good score should. “There Will Be Blood” isn’t 2007’s best film, but it’s close. I have to knock it down a small peg because of little annoyances that distracted me from the story, but its ambitions cannot be denied. With this effort, Paul Thomas Anderson continues to add to his reputation as one of cinema’s great directors. ***1/2 (out of) ****

“Atonement”: Every Oscar season seems to bring one film that I feel is unworthy of a Best Picture nomination. But it’s usually an “okay” movie, just not Oscar-worthy. I can’t think of an example as bad as “Atonement,” a film I fear will dupe the voters when the noms are announced on January 22. “Atonement,” set in England in 1935, is the story of a forbidden romance between young socialite Cecilia (Keira Knightley) and Robbie (James McAvoy), the son of the family housekeeper (played all too briefly by Brenda Blethyn). Their relationship becomes scandalous when Robbie is accused and convicted of a horrible crime he may or may not have committed. Cecilia, not believing he could’ve done it, breaks away from her close-knit family when she sides with Robbie. The accusation was leveled by Cecilia’s little sister, Briony (played first by Saoirse Ronan, then Romola Garai), who, at the age of 13, may have been a little blinded by a school-girl crush upon the impressionable Robbie, not to mention jealousy of his romance with Cecilia. That sums up the first hour of the film, which seemed to take forever to unfold, yet could’ve been told in about ten minutes. The rest of “Atonement” proves to be mostly a sham, but more on that later. As for the first hour, it might’ve helped if the director (Joe Wright from “Pride and Prejudice”) didn’t feel the need to replay certain scenes from different angles or keep messing with the timeline, all for no real reason. But that would’ve taken away from the preposterousness of the story and the pretentiousness of not only the characters, but Wright, who, while he does show off some pretty impressive scenery, drowns his film with his sorely misguided intentions. The talent is there; he (or a good producer) just needs to get a hold of himself. And to add insult to bad film injury, his leads never seem to smile, have zero personality (Keira Knightley acted AND looked like a wet noodle), and the two “lovers” spent too little time on screen together, which doesn’t make for a convincing romance. And frankly, I didn’t care about stuck-up Cecilia; unlikable Robbie, or Briony, the little witch. All that made it very hard to buy what the filmmakers were selling. Christopher Hampton adapted the screenplay from Ian McEwan’s 2002 novel, which I didn’t read, but it couldn’t have been this awful, especially the conclusion, which threw cold water on any notion that the two previous hours were time well-spent. It had probably the worst rip-off last act of a film since “The Sixth Sense.” I wasn’t fooled by this overstuffed Masterpiece Theater-type garbage. Here’s hoping the Academy voters aren’t either. * ½ (out of) ****

“Juno”: is a normal 16 year-old girl, but with a twist: she’s pregnant. In this day and age, that’s not so unusual, but for Juno (Ellen Page), who treats life like a lark, it’s a shock. Her casual boyfriend is Paulie Bleeker (Michael Cera), who is the somewhat unwilling participant in Juno’s experiment with sex. He’s a sweet kid with a lot of heart, but isn’t ready for parenthood. Neither is Juno, whose few options also include putting their baby up for adoption, which works for Vanessa and Mark Loring (played by Jennifer Garner and Jason Bateman), a upwardly-mobile couple who are unable to conceive a child of their own. Juno bonds with Mark, who is a wannabe rock-star still clinging to the dream, while his wife would rather do the family thing. Juno, who’s just a junior in high school, is generally supported by her father (J.K. Simmons), stepmother (Allison Janney) and best friend (Olivia Thirlby), but it’s still her world that’s been rocked. “Juno” was directed by Jason Reitman (“Thank you for Smoking”) and written with amazing confidence by first-timer, Diablo Cody, who fills her story with thoughtful resolutions and plenty of witty dialogue, much of it delivered by the thoroughly wonderful, Ellen Page, whose performance as Juno was just…wow. The whole cast, in fact, is great. Long-time character actor, J.K. Simmons is terrific as Juno’s dad, as is the Allison Janney, Jason Bateman, and, somewhat surprisingly, Jennifer Garner, who really captured the simultaneous heartbreak and joy of a woman who cannot experience childbirth, but still may enjoy motherhood. And adding the final touches are Kimya Dawson’s memorable songs, which, well, just watch this movie! In summary, “Juno” is a film filled with charm that will reel you in from its opening moments and keep you smiling all the way through its nice ending. *** ½ (out of) ****