This page contains Dave's reviews of films seen from January through March 2009.

“I Love You, Man”: Paul Rudd plays Peter Klaven, a semi-successful real estate agent, who is a bit too reserved for the job. He does have the “Lou Ferrigno account” (he’s trying to sell the Hulk’s homestead) while his chief rival in the office markets himself at bus-stops and, um, urinal cakes. Peter is also engaged to Zooey (Rashida Jones), who has her fair share of close girlfriends, while Peter lacks even one close male friend, which is a bit problematic since he’s about to be married and doesn’t even have a best man. Enter Sydney Fife (Jason Segel, “Forgetting Sarah Marshall”), slacker-extraordinaire and crasher of real estate open houses, where the two met and where Jason left quite the positive impression. Finally, after a failed series of “man dates,” Peter has appears to have met the “right man.” “I Love You, Man” was written and directed by John Hamburg (writer of the “Meet the Parents” films), who injects a great deal of humor into his film and wisely adds some tenderness and plenty of “real” moments. “I Love You, Man” is a highly likeable film with a terrific cast, especially the always great Paul Rudd, who plays it a little straighter than usual. This isn’t his “Knocked Up” persona, but he still comes over well with that nice guy personality. Jason Segel is excellent as an ultra laid-back dude who is completely comfortable with who he is, which is admirable and rare in today’s world. He has our envy. Hamburg’s film is also filled with memorable supporting performances, including J.K. Simmons, Andy Samberg, Jon Favreau, Jaime Pressley, Thomas Lennon, and of course, Lou Ferrigno. And I can’t forget the insanely lovely Rashida Jones, who is very good as Peter’s fiancée, Zooey. Jones is a breath of fresh air. She, along with Rachel McAdams, gives us hope that this generation of romantic comedy leading ladies will lead to fewer roles for the last (especially Kate Hudson and Renee Zellweger), leading (hopefully) to higher quality films. And in that regard, there’s a lot to like about “I Love You, Man.” *** ½ (out of) **** (3/28/09)

“Moscow, Belgium”: Matty (Barbara Sarafian) is at a crossroads in her life. The working mother of three children may have just lost her husband (played by Johan Heldenbergh) to his midlife crisis, and was just involved in a fender-bender with an arrogant truck-driver named Johnny (Jurgen Delnaet). The much younger man finds himself attracted to Matty, especially for the fire in her eyes, borne mostly from her frustrating life. Working in a post office and losing her teacher husband to one of his students brings that out in her personality. Matty rebuffs Johnny’s interest, but he’s not one to give up. To complicate matters, it seems that Johnny has a very bad temper, which has given him a prison record. So…as filmgoers, we are now left to decide whether we want to root for this woman to get back together with her sorely-misguided husband, or end up with the nice guy with the dark past. To their credit, the film’s director, Christophe Van Rompaey and his screenwriters, Jean-Claude Van Rijckeghem and Pat van Biers, manage to romanticize the situation just enough to never lose their viewers. Their film is also aided by strong performances, especially from their female lead, Barbara Sarafian, who is remarkably expressive as the harried wife and mother, whose emotions are swinging all over the place. The film, which sounds gloomy, is actually pretty funny, with plenty of witty dialogue and well-played situations. The film’s title, by the way, is pretty terrible. It is set in Belgium, but the Moscow connection is only through Johnny’s trucking route, which isn’t particularly relevant to the story. Still, there’s plenty to like about “Moscow, Belgium.” *** (out of) **** (In Flemish and Dutch with English subtitles) (3/22/09)

“Duplicity”: While watching writer-director Tony Gilroy’s latest film, I was reminded of a great David Mamet movie called “The Spanish Prisoner.” I don’t know why – maybe it’s because Gilroy’s film deals with con men, well, characters who are less-than-honest with one another. In this case, it’s CIA agent, Claire (Julia Roberts) and MI6 spook, Ray (Clive Owen). Their paths crossed a few years earlier and bad blood flowed. Fast forward to now and the two are still working on opposite sides, only for competing household products conglomerates. One of the companies is working on a top-secret product that promises to revolutionize the industry and change the lives of the consuming public. Ray, who works in the security department for his company, will do anything to steal the idea, and Claire, at the other company, knowing the value of the product to, say, an overseas competitor, may or may not be willing to help him. But can she be trusted? And is everything as it seems? I was sucked into this film because I am a self-confessed Tony Gilroy fanboy. I love the Jason Bourne series (Gilroy adapted each of the stories) and enjoyed “Michael Clayton,” his directorial debut. He can write a mean, meaty script and “Duplicity” is no exception, though Gilroy really packs it on here – to the point where you almost get lost. The difference is, there’s a lot of humor in his story, unlike the dryness of his previous efforts. But the greatest strength of “Duplicity” film is the tremendous chemistry between its stars, Julia Roberts and Clive Owen. They’re on fire, and it blazes through their performances. Tom Wilkinson and Paul Giamatti add a little extra amusement as the CEOs of the two competing companies. As mentioned, “Duplicity” can be hard to follow, but it has a solid payoff. Recommended. *** (out of) **** (3/21/09)

“Gomorrah”: Startling, unconventional, remarkable. Yep, those are three good words to describe “Gomorrah,” hailed by some as the greatest gangster film ever. I wouldn’t go nearly that far, but this film does have plenty of merit. The Grand Prix winner at the 2008 Cannes Film Festival, “Gomorrah” is based on five stories (from many) from Roberto Saviano’s celebrated book. The film takes a very unflinching look at the effects of the notorious Cammora crime syndicate in the communities of Caserta and Naples in modern day Italy. This is the same ‘organization’ that is reportedly behind some of the financing for the new towers at the site of the World Trade Center in New York City, and who are said to gross over $250 billion a year. Their influence reaches far and wide and although there are some scattered fingerprints of past films here, “Gomorrah” is pretty original. Co-writer (with Saviano and several others) and director, Matteo Garrone, with his hand-held camera in tow, brings us along as we watch the five unconnected (surprise!) tales unfold. The film’s loudest story belongs to Marco (Marco Macor) and Ciro (Ciro Petrone) as two “Scarface” loving punks who are brazen enough to think they can take on the Cammora. They boldly rob drug dealers, an arcade, and steal a stash of weapons from some seasoned pros, all while flying in the face of an (literally) angry mob. We also meet a grocery delivery-boy (played by Salvatore Abruzzese) who is willingly used as a pawn to get at someone who betrayed the Cammora. He is just immoral enough to not know the difference. We also get a look into the far-reaching waste disposal business as well as what happens when a tailor (played by Salvatore Cantalupo) is wooed by foreign competition. Lastly, there’s the story of Don Ciro (Gianfelice Imparato), an older, unassuming man whose job is to pay restitution to the families of loyal imprisoned “soldiers.” Violence is everpresent throughout each of the stories, erupting almost matter-of-factly and often very unapologetically. As a film,“Gomorrah” lacks a conventional structure, but that’s one of its charms. Aside from the “Scarface” references in the gangster-wannabe portion, you get the sense that this is the original story and all the celebrated mob movies of the past were the copycats. Matteo Garrone doesn’t try to impress you with color-coded sequences (are you listening, Steven Soderbergh?) or happy endings. Instead, we get the blood and guts film we signed up for when we purchased the ticket. “Gomorrah” has appeal to a limited audience, but if you’re part of the crowd that has an almost voyeuristic fetish for all things underworld (guilty!) and don’t mind a long film with a pretty confusing structure, then “Gomorrah” is for you. *** ½ (out of) **** (In Italian with English subtitles) (3/13/09)

“Sunshine Cleaning”: Amy Adams and Emily Blunt star as sisters adrift for their own reasons. Rose Lorkowksi (Adams) has never quite topped her high school achievements, when she was head cheerleader and dating the star quarterback. A single mom to 7-year-old Oscar (Jason Spevack), Amy now cleans houses for a living and is still “seeing” the quarterback (played by Steve Zaun), except he’s now married with two children and another on the way. A waitress by trade, Emily (Blunt) can’t do anything right with her life. She’s scatterbrained, irresponsible and can’t hold a job. It’s landed her back at home to live with her widower father (played by Alan Arkin), who appears to be a hybrid of his two daughters. None of the clan has quite gotten over the suicide of their mother years earlier. Despite the horror of discovering the body when they were still quite young, the sisters decide to turn their personal situations into a potentially lucrative business: cleaning up crime scenes after they’ve been processed. It’s an odd concept, but director Christine Jeffs (also director of the uneven “Sylvia” and “Rain”) does an excellent job balancing her film with healthy dollops of serious, funny, sad and touching moments, all without becoming too predictable or cliché. It’s a formula that works well in this low-budget film, in large part because her cast is so appealing. Amy Adams and Emily Blunt have terrific chemistry together, and play well off their indie-vet co-stars, including Alan Arkin (channeling his role in “Little Miss Sunshine”) and the always terrific Steve Zahn, who shines this time as a cop with family responsibilities, but who still can’t let go of his high school sweetheart. Also notable is Mary Lynn Rajskub (best known as Chloe from “24”) as the forgotten daughter of a “client” and Clifton Collins Jr. (“Babel”) as Winston, who runs a cleaning supply store. “Sunshine Cleaning” is a small film with plenty of appeal. *** (out of) **** (3/10/09)

“Everlasting Moments”: Maria Larrson (Maria Heiskanen) lives the typical life of a thirty-something homemaker in Sweden just after the turn of the 20th Century. She plays the dutiful wife to laborer husband, Sigfrid (Mikael Persbrandt), a large man with traditional values, but with a wandering eye and a thirsty appetite for drink. It’s Maria’s responsibility to make babies and tend to their home. When she wins a camera through the National Lottery, she thinks nothing of it and buries it in one of her cabinets. But when Sigfrid loses his job and they’re pressed for money, it’s off to the local camera store to pawn her prize. The shop’s owner, Mr. Pedersen (Jesper Christensen) not only has an eye for the right shot, but he knows how much keeping the camera would mean for the directionless Maria, so he lets her “borrow” against the camera by giving her some equipment needed to operate her new toy. What he does is unleash Maria’s inner self; giving her a purpose she didn’t know she needed. “Everlasting Moments” is the work of acclaimed Swedish director, Jan Troell. A veteran of about twenty films over the past 45 years (including the Academy Award Best Picture-nominated “The Emigrants”), Troell’s latest directorial effort is a magnificent throwback to an older era. Filmed in gorgeous sepia tones, “Everlasting Moments” may be the prettiest film since “The Girl with the Pearl Earrings.” It’s nearly perfectly-framed with nary a wasted shot. It’s clearly the work of a grandmaster still clearly at the top of his game, even at the ripe young age of 77. His film is lovingly narrated by Callin Ohrvall, voicing the couple’s oldest daughter, Maja, a person who reportedly really existed and years later told the story of her rough upbringing and the scarcely-realized talents of her beloved mother. For their part, Maria Heiskanen, Mikael Persbrandt, Callin Ohrvall and Jesper Christensen are wonderful in the leading roles. Jan Troell’s film is a treasure. **** (out of) **** (In Swedish and Finnish with English subtitles) (3/08/09)

“Man on Wire”: I’ll be honest. Watching a documentary about a man who tries to walk a wire between the Twin Towers of the former World Trade Center didn’t seem too appealing to me, but I was drawn to the incredible word of mouth the recent Oscar-winning film has received. “Man on Wire” is the story of Phillipe Petit, who, as a wire-walker, has a natural affinity for great challenges. So, in 1974 when he learned of the plans for the construction of two enormous structures in New York City, he plotted (yes, plotted) to fashion a heavy wire between the two buildings and then walk across some 1300 feet above the ground. Simple? Hardly. Crazy? Definitely. And that he did it not once, but *eight* times, is incredible. But one couldn’t help but wonder what role the sad story of the infamous towers played in the making of this documentary, though to the credit of the filmmakers, its demise is never mentioned. Instead, through recollections of the participants, archival footage and some very carefully reenacted scenes, we are treated to what it takes to complete such an elaborate and (as it turns out) highly illegal act. Director James Marsh keeps our attention while highlighting the very enigmatic subject, Phillipe Petit, who, along with his devoted team (including his ex-girlfriend, Annie, who deserved a better fate), has us rooting for a story with a already-known conclusion. Good stuff. *** ½ (out of) **** (On DVD) (3/06/09)

“Changeling”: Angelina Jolie stars as Christine Collins, a young mother to Walter, a precocious 9 year-old boy who just disappeared one day in Los Angeles circa 1928. The police department, fighting a poor reputation, tries to invent a ‘win’ when it suddenly finds the missing boy thousands of miles away in DeKalb, Illinois. But there’s a small problem: the found child isn’t Collins’ son. This kid is a few inches shorter. Despite the proof of dental records and her own knowledge as a mother, the police, led by Captain Jones (Jeffrey Donovan) refuse to admit their mistake and instead commit the distraught mother to a local mental institution. “Changeling” was directed by Clint Eastwood, who, as with the recent “Gran Torino,” has had better days, but he still manages to keep us entertained. “Changeling’ is a thought-provoking film with much more meat to it than should be wisely revealed here (to not give too much away), but this isn’t “Chinatown” or “L.A. Confidential,” two superior period films about Los Angeles crime. Still, thanks to a crisp story (from veteran TV writer, J. Michael Straczynski) and solid performances from Jolie and Donovan, plus John Malkovich as a preacher sympathetic to Collins’ cause, “Changeling” rises above the norm. *** (out of) **** (On DVD) (2/28/09)

“The Great Buck Howard”: could probably be retitled “The Great John Malkovich,” but he’s already had a film named after him. Malkovich stars as Buck Howard, an Amazing Kreskin-type mentalist whose claim to fame was that he appeared on the Johnny Carson’s Tonight Show 61 times. He’s lived off that factoid for many years, but his star is now relegated to sparsely-filled community centers and nightspots in retirement towns. But if you looked at the man’s ego you would never know it. He’s a difficult man who has problems holding onto personal assistants. His latest assistant is a recent law school dropout named Troy Gable (Colin Hanks). Troy’s father (played by Colin’s real life father, Tom in an extended cameo role) desperately wants his son to become a lawyer and is very disappointed by Troy’s sudden career change. But the young man is looking to make some sort of difference, and perhaps the chance to turn around the career of an aging entertainer is the way to go. “The Great Buck Howard” was written and directed by Sean McGinly, who knows the territory since in a former life he was an assistant to the Amazing Kreskin. Unfortunately, it didn’t make for an interesting film. McGinly wastes his talented cast, especially John Malkovich, but also Emily Blunt and Ricky Jay, who are otherwise good despite the very average material. “The Great Buck Howard” -- isn’t. ** (out of) **** (2/22/09)

“The International”: Tom Tykwer is one of my favorite directors. His style is, in my opinion, probably the closest to the great Krzysztof Kieslowski (“Three Colors”). Yet after a promising start to his career, he’s making bizarre choices. While I was one of the few who liked “Perfume: The Story of a Murderer,” I freely admit the film didn’t build upon the immense promise of Tykwer’s previous efforts, “Heaven,” “The Princess and the Warrior,” “Run, Lola, Run” and “Winter Sleepers.” And now he’s made another strange move with “The International,” a very modern political thriller that might’ve work if it had a coherent script. The film stars Clive Owen as Interpol agent, Louis Salinger. Salinger is working with a New York assistant DA named Eleanor Whitman (Naomi Watts) to bring down a corrupt international bank that’s investing billions on all sorts of naughty things (as if we need a new reason to not like banks). The institution, dubbed the IBBC, will stop anyone at anytime who tries to stop their efforts. Salinger and Whitman peel back the vast layers to reveal more than they could possibly handle. As an avid filmgoer, the plot of “The International” was more than I could handle. I love a juicy thriller as much as the next person, but this film lacked both the juice and the thrills, preferring to switch gears to action (reportedly in reaction to some negative test screenings) about two-thirds the way in. Not a good move when you’re still trying to make sense of the story. And that’s a shame because a combination of Tykwer, Owen and Watts should be enough to produce at least a pretty good film. Instead, the latter two are wasted thanks to Tykwer’s latest crazy career move. In fact, I wonder why Watts is even in this film. Seriously. About the only reason to watch “The International” is to see the great Armin Mueller-Stahl in action. As for Tykwer, he’s only as good as his material, apparently, and Eric Singer’s script just didn’t cut it. Here’s hoping he has a good “comeback” film up his talented sleeves. * ½ (out of) **** (2/14/09)

“The Duchess”: stars Keira Knightly as Georgiana, the Duchess of Devonshire and the precursor to Princess Diana (to whom she is related). And like the late modern Lady Di, all of England had an obsession with the colorful Duchess. Georgiana was married to the Duke (played by Ralph Fiennes), who (naturally, apparently) carried on with several women, including Georgiana’s best friend, Bess (Hayley Atwell); yet it was not permissible for her to do the same, as she wanted to do with England’s future prime minister, Charles Grey (Dominic Cooper). Ah, what a sordid tale during a time (late-18th century) when men were their usual bastardly selves (again, apparently) and it was the woman’s place to give them an heir. As period pieces go, “The Duchess” was half-decent, even if the lead character was both strong and spineless at the same time. Keira Knightly, who only seems to do this type of story about every other film, is fine here, but the rest of the cast (with the exception of Simon Burney as a charismatic politician) is just acting by numbers. “The Duchess” was directed and co-written by Saul Dibb, making only his second film (and first major). There’s nothing much here that doesn’t have to wait for the inevitable Lifetime screening. ** ½ (out of) **** (On DVD) (2/13/09)

“Coraline”: I am an admitted lover of animated films, but I could never quite get into the whole stop-motion animated thing popularized in the films “The Nightmare Before Christmas” and “James and the Giant Peach.” For me, the finished process was too unnerving and distracting. Fortunately, the man behind both films, Henry Selick, has ironed out most of the kinks (and added a third dimension) with his latest, “Coraline.” His film is the story of an 11 year-old girl named Coraline (voiced by Dakota Fanning). An only child, Coraline and her parents (voiced by Teri Hatcher and John Hodgman) have recently relocated from Michigan to Oregon, where they’ve taken up residence at a large Victorian home dubbed the “Pink Palace.” Naturally curious, Coraline explores the vast expanses of the property, and even make a new friend of sorts: Wybie (short for Wyborn), also an only child who lives nearby with his grandmother. But the real adventure begins when Coraline discovers a “rabbit hole” that exists in a room in her home. A hole beyond which lies an alternative universe where her “Other Mother” and “Other Father” reside. They are differentiated by their button eyes and wholly different attitudes toward Coraline. The unmeaning cold and distance from her real mom and dad are replaced by shakily scary and way too laid-back, respectively. Her new world is also augmented by the presence of an elaborate mouse circus and their trainer (Ian McShane); a pair of older retired actresses (voiced by the “Ab-Fab” duo of Jennifer Saunders and Dawn French), and a sometimes-talking cat (Keith David). It’s a fantastic place that supplies the lonely and neglected (and sadly, more than a little surly) Coraline with an escape from her dull reality. But when a choice of living with her “other” parents is presented to her, should she consider it? Selick adapted the story of Coraline from graphic novelist Neil Gaiman’s written novel of the same name. The grand scope of Gaiman and Selick’s story is incredibly impressive. Its fervent imagination (as seen through the eyes of a child) is infectious and thoroughly effective. While “Coraline” is a scary film for young children (and aided by some of the ‘mean’ characters), it offers a wonderful viewing experience for all others. “Coraline” is a “wow” film of a high magnitude that must be seen to be truly appreciated. **** (out of) **** (2/12/09)

“Frozen River”: Melissa Leo stars as Ray Eddy, a newly-single mother of two boys, 15 year-old T.J. (Charlie McDermott) and 5 year-old Ricky (James Reilly). The boys’ father, a gambling addict, took off a few days earlier with the family’s life savings – money Ray intended to use to move them to a better trailer home. Without her husband’s support, she struggles mightily with her meager job at the local dollar store. Desperate for money to help fend off her creditors and keep her home dream alive, Ray unwittingly partners up with Lila Littlewolf (Misty Upham), the local human smuggler, who has family issues of her own and is quickly getting on the outs from her Mohawk tribe. The relationship between Ray and Lila is a forced one initially, but the money is decent, even if the risk is heavy. Not only do they have to worry about the law (though they’re somewhat protected by local tribal laws), but the trips include driving over a frozen river between the U.S.-Canadian border, and the ice is not above cracking. It’s this part of the film that disappointed me a little. That was a great device for tension that, despite the film’s title, wasn’t sufficiently exploited by the film’s director. But what the film does have going for it is a lot. But it is a bleak tale about a facet of life that most of us don’t care to acknowledge, but does exist. Melissa Leo (“21 Grams”) is remarkable as Ray, who will do anything for her family, but just can’t seem to catch a break in life. Misty Upham’s character is quiet and reserved, but there’s a power to her performance that’s hard to describe. And then there’s the assured Charlie McDermott as Ray’s oldest son, T.J., who does his best to be a father to his little brother. Famed French director Henri-Georges Clouzot’s classic 1953 film, “Wages of Fear” would seem to be the inspiration for writer-director Courtney Hunt’s impressive film debut, but I’m going to guess she never watched it. It’s a pity because adding that little extra tension to her already very good film might’ve elevated “Frozen River” to greatness. Still, there is so much here to really, really like. *** ½ (out of) **** (On DVD) (2/10/09)

“Two Lovers”: Leonard (Joaquin Phoenix) is a former mental patient now living in New York City with his adopted parents (played by Isabella Rossellini and Moni Moshonov), who run a successful dry-cleaning business. Mom and dad try to set him up with a lovely young woman named Sandra (Vinessa Shaw), who is the daughter of a couple that’s trying to buy the family business. Naturally, it would be in everyone’s best interests if Leonard and Sandra would end up together, but Leonard is too drawn to his neighbor, Michelle (Gwyneth Paltrow), who is a bit of a bad girl (compared to stable Sandra) and is already involved with a married man (played by Elias Koteas). “Two Lovers” was directed and co-written by James Gray, who also used Joaquin Phoenix in his two previous films (“We Own the Night” and “The Yards”). Unfortunately, his latest film is over-stuffed with clichés and personal homages to his favorite filmmakers, the latter which are mostly completely out of place in the context of the film’s story. “Two Lovers” also suffers from bland characters that don’t deserve our sympathies. It’s a shame because James Gray is a storyteller with the talent to make good films. It just hasn’t happened yet. Wait for basic cable. ** (out of) **** (2/08/09)

“Towelhead”: is based on the novel by Alicia Erian of a young 13 year-old Lebanese-American girl named Jasira Maroun (Summer Bishil) who lives in Houston with her father, Rifat (Peter Macdissi). The mother (played by Maria Bello) has different priorities, and leaves her daughter with him. Rifat is a study in contrasts. On the one hand, he embraces American culture, preferring to date American women, even displaying a prominent American flag (complete with a tall pole) in his front yard, but he cannot let go of the culture of his birth. And he still treats women as second-class citizens, including his impressionable daughter, who is only looking for a little love and attention, which isn’t something she’ll receive from her strict father. Unfortunately, she thinks she finds it from her next-door neighbor (she baby-sits his bratty son) played by Aaron Eckhart. Their relationship quickly goes from eyebrow-raiser to downright creepy as the naïve Jasira clearly mistakes his true intentions. As the nice, but vulnerable Jasira, Summer Bishil is a revelation. It should also be noted she was 18 when she filmed the role of the young girl. Aaron Eckhart as usual, is excellent in a role that could not have been easy for him to play. And Peter Macdissi is outstanding as Jasira’s overly protective father. “Towelhead” was directed and adapted by Alan Ball, who has proven through his script for “American Beauty” and his HBO work on “Six Feet Under” and “True Blood” that he is a terrific writer. His work in this film is no exception. It’s his feature film directorial debut, but he navigates the often-treacherous territory like a pro. “Towelhead” covers overt racism, stereotypes, and of course, that “other thing.” It can be very, very uncomfortable (there were moments when I was squirming and staring at the ceiling), but it’s worth the full two hours of your time. It’s certainly not a film for everybody, but if you enjoy an excellent character study, “Towelhead” is a good rental. *** ½ (out of) **** (On DVD) (2/06/09)

“Waltz with Bashir”: is an animated documentary about the events of the 1982 Lebanon War between Israel and Lebanon. Filmmaker Ari Folman, depicting himself, is sitting in a bar some 25 years later, listening to an old friend (and fellow soldier in the conflict) recount how he’s having nightmares about their time spent fighting the enemy. Ari goes home that night and for the first time in years also dreams about that experience. He decides to track down some old friends who were there, to see if they could shed some light on their memories. It’s a unique exercise, resulting in an unusual film, albeit with mixed results. “Waltz with Bashir” pulls few punches, often using graphic images that would’ve netted it an NC-17 (or unrated) rating if not for its animated format. The animation process is reminiscent of Richard Linklater’s work in “A Scanner Darkly” and “Waking Life,” except it doesn’t ‘paint’ over live images (a style I feel is obnoxious and distracting). To Forman’s credit, his complicated process is cleaner, though he isn’t able to capture accurate movement in his characters, which (ironically), I also found to be distracting. A better film (and process) of the genre is “Persepolis,” but that aside, its high ambitions and fascinating concept helped me (somewhat) overlook that it was often tedious and boring. Still, “Waltz with Bashir” is a pretty good film, though just not worthy of all the praise it’s been getting. *** (out of) **** (In Hebrew with English subtitles) (1/31/09)

“Appaloosa”: There are only a handful of great actors and I consider Ed Harris to be one of them. But after watching his second directorial effort (“Pollock” being the first), I recommend he stick to acting. “Appaloosa” stars Harris as Virgil Cole, a have-badge-will-travel type, who, along with his “deputy” Everett Hitch (Viggo Mortensen), is hired to restore law and order to the town of Appaloosa after their leaders lose control. A wealthy rancher named Randall Bragg (Jeremy Irons) and his loyal bunch of thugs are suspected of murdering some local lawmen and it’s Virgil’s and Everett’s job to find the proof. What begins as a series of back-and-forths between the two factions is suddenly interrupted by Renee Zellweger as the requisite new girl in town, Allison French. It’s at that point when “Appaloosa” goes from oh-kay to uh-oh. Little Miss French turns out to be a manipulative little twit and, well, effectively ruined the film for me. Not being a fan (at all) of Zellweger, I actually found myself rooting for her character to get shot. Ed Harris and his writing partner (and fellow actor in some of his past films) Robert Knott, momentarily brought me back to my youth when I would often spend chunks of my Saturday afternoons watching insipid old westerns. But as an adult with refined tastes, that stuff doesn’t work for me anymore. Harris, to his credit, tried hard to give us that mid-50s John Wayne western (even the music is the same), but he fell far too short. Performance-wise, Harris and his co-stars (with the exception of the obnoxious Zellweger) were fine, but I just couldn’t get past the clichéd-filled story. Wait for a day when there’s absolutely nothing else on television. ** (out of) **** (On DVD) (1/23/09)

“The Wrestler”: There always seems to be at least one feel-good story at the Oscars. This year’s there’s two. Well, rooting for Heath Ledger and Mickey Rourke to collect Best Acting Oscars may not be because of their special story. Both men have paid for the demons in their lives. In Rourke’s case, he’s still with us, but he’s paid the price. He stars in “The Wrestler” as Robin Ramzinski, aka Randy “The Ram” Robinson in a role that appears to be torn from the story of his life. Robinson is a professional wrestler by trade, but the 90s, the 21st century and age got involved and he’s now just a shell of his former self. He still manages to carve out a very meager living doing the occasional match and making trade show appearances, but he’s finding it harder and harder to answer the proverbial bell that keeps calling him. He wants to keep wrestling but a heart attack ensues and he’s under orders to stay out of the ring. He supplements his income by working in a grocery store, but to him it’s demeaning work. He finds his heart is in two places: inside the ring, and with his estranged daughter, Stephanie (Evan Rachel Wood). He really tries to reach out to her, but the pain of all the missed birthday parties is too great on her, and she keeps pushing him away. As we’re watching Rourke’s stunning performance, our hearts are breaking, too. We want him to succeed. It’s a great story, especially if you’re a wrestling fan (I’m not, but I have a few childhood memories of watching Pat Patterson and Andre the Giant). “The Wrestler” was directed by Darren Aronofsky (“Requiem for a Dream”), written by Robert D. Siegel and also co-stars Marisa Tomei as Cassidy, a kind stripper who fakes an interest in Robinson, but slowly begins to let him into her guarded world. It’s a nice role for an actress who deserves to be seen more often. Ultimately, it’s Mickey Rourke’s film. To borrow a term from the wrestling world, he really brings it and makes you want to come back for more. “The Wrestler” is a terrific film. *** ½ (out of) **** (1/17/09)

“Gran Torino”: There is an aura about Clint Eastwood that’s difficult to explain. He’s been acting in and/or directing films for over fifty years, so he’s transcended a few generations. Our fathers watched him as Dirty Harry. Their fathers saw his Westerns, and we’re still watching him on the big screen. He’s truly a piece of the American fabric. Yet there’s more than a touch of sadness that his latest film, “Gran Torino,” may be his last. But there’s a certain degree of comfort knowing he would be going out on top and on his own terms. Eastwood stars as Walt Kowalski, a recent widower who can’t seem to connect with anyone, especially his two sons and their spoiled and disrespectful children. And much to his old school chagrin, his own neighborhood has opened its proverbial doors to the Asian community (specifically, the Hmong). Walt, a proud veteran of the Korean War (where he earned a Silver Star medal) can’t shake his racist upbringing. Also a retired Detroit autoworker, Walt has many, many years of treating “foreigners” with utter contempt. His “training” rears its ugly head when, as part of a gang initiation, the next door neighbor’s teenage boy, Thao (Bee Vang), tries to steal Walt’s beloved 1972 Gran Torino. The boy isn’t really interested in joining a gang, but is completely intimidated by its leader – his cousin Spider (Doua Moua), who thinks he’s protecting his little relative from a rival Hispanic gang, but is really putting him on a dead-end path. Thao and his protective older sister, Sue (Ahney Her), recognizes this inevitability, and so does Walt, who slowly grows to accept his neighbors, especially when they see how they can be a benefit to each other. “Gran Torino” is far from Eastwood’s best film and it often feels and looks like a “Dirty Harry Retires to Michigan and Battles Gang Violence” movie, but thankfully it makes some wise choices, especially the ending. The film, which was also directed by Eastwood (from a script by Nick Schenk), has an appealing cast, especially Ahney Her as Thao’s street-smart sister, but admittedly suffered a bit from Bee Vang’s performance. It was his first acting job and it shows. Some of his scenes were downright laughable (especially during the final act), casting a minor pall on this rushed film, which went into production just six months ago – right after Eastwood finished directing “Changeling.” But it’s Clint Eastwood’s performance as Walt Kowalski that elevates “Gran Torino” into more than a pretty good TV-movie. And if it does turn out to be his final bow as an actor, well, thanks for the fond memories, Clint. There will never be another one like you. *** (out of) **** (1/10/09)

“Revolutionary Road”: 2008 may go down as the year of the great performance. The four acting categories should be deep with deserving candidates, including Kate Winslet, who, as good as she was in “The Reader” (in a far more understated performance), is riveting as April Wheeler in “Revolutionary Road.” April and her husband Frank (Leonardo DiCaprio) live a typical suburban life in mid-fifties Connecticut. Each morning, Frank commutes by train to his boring sales job in New York City while April plays the role of housewife and loving mother to their two children. They live in a well-manicured neighborhood on Revolutionary Road, in a lovely home found for them by their friend and real estate person, Helen (Kathy Bates), who views the two as the perfect couple. The problem is -- they’re not. Frank’s eyes (and other body parts) tend to wander, and the slowly-unhinging April wants to give it all up to live in Paris. She even manages to talk Frank into her little dream. He even tells the big boss (who offers him a big promotion) that he intends to quit his drone job. It’s at this point when the film turns a corner. All the excellent character development from screenwriter Justin Hayte (it’s only his second completed script) has manifested itself into a very impressive film, one led by memorable performances from its stellar cast. As mentioned, Kate Winslet is terrific, and Leo DiCaprio, whose film resume continues to grow, does a fantastic job in what may be his most mature role. Kathy Bates, who I’ve criticized as too one-dimensional, tones it down a few notches for her best performance since 1990’s “Misery.” But in the end it’s Sam Mendes’ movie. The Oscar-winning director of “American Beauty” is note-perfect in “Revolutionary Road,” a film almost flawless in every facet, from its very nuanced acting; polished script; beautiful cinematography (from Roger Deakins), to its sumptuous score (by Thomas Newman). Mendes clearly loved his film down to the minutest detail. It begins as a simple tale of the American Dream and unfolds into a story of a volatile marriage set in the times of Douglas Sirk melodramas. And like the place of Frank Wheeler’s early mornings, it’s a train-wreck in slow-motion that you can’t stop watching. It pulls you in and doesn’t let go. “Revolutionary Road” is that great. **** (out of) **** (1/6/09)

“Wendy and Lucy”: Michelle Williams is Wendy Carroll, a twenty-something loner whose only companion is her beloved dog, Lucy. Wendy and Lucy are on a trek from Indiana to Alaska, where it’s Wendy’s hope to find work at a cannery. The film’s story starts just outside Portland, Oregon, where Wendy’s ’88 Honda has just died. Strapped for cash and on a very tight budget, Wendy can’t afford to fix the car, but it’s really her only way to Alaska. We want to believe this nice person and her dog will find a nice ending, but will they? “Wendy and Lucy” is based upon the short story, “Train Choir” by Jon Raymond, who also co-wrote the script with the film’s director, Kelly Reichardt. Reichardt, who has enjoyed critical success on the festival circuit with this and her previous film, “Old Joy,” is clearly a very, very gifted filmmaker. She uses long cuts and patient edited to show her subject’s desperate situation. “Wendy and Lucy” is a very quiet film with sparse dialogue with just an occasional hum that serves as most of the music. But this isn’t just the product of the film’s low budget (reportedly $300K), but what Reichardt was trying to do with her film. Without giving much away, Reichardt deliberately leaves a lot out of Wendy and Lucy’s story, leaving it up to the viewers to draw their own conclusions. Yet, despite the mystery, we are never less than sympathetic towards the characters. This isn’t a simple film about a girl and her dog. It’s more about the limits (if any) of the human spirit. Michelle Williams is remarkable as Wendy. The underrated actress (hopefully no longer) disappears into her part, becoming Wendy, the quiet and unassuming young woman with an enormous amount of dignity. It’s a very self-contained, but powerful performance. Will Patton as an auto mechanic, and Walter Dalton as a parking lot security guard are nice in supporting roles. “Wendy and Lucy” is a tough film to watch, but if you possess the patience, you will be rewarded. *** ½ (out of) **** (1/04/09)

“The Reader”: I’m a big believer in managing expectations when it comes to watching a film. I wasn’t expecting much from “The Reader,” so when I watched it and really liked it, it made my experience that much more satisfying. It’s the late 50s in Germany, and Michael Berg (David Kross) is a fairly normal 15 year-old boy until he is stricken with a sudden illness that results in an embarrassing public vomiting situation while on the way home from school. He’s rescued by an “angel” in the form of an older woman (played by Kate Winslet). She was only acting out of instinct and she quickly disappears from his life, but a few months later after Michael is well again, the boy decides to pay the woman a visit. They begin an affair that lasts only the summer, but is never forgotten by the boy. And this is where it’s probably best to end this synopsis. Suffice to say, there is a lot more to do this woman than meets the eye. We don’t catch on at first, but when all is revealed, the film takes a sudden departure from illicit love affair to deep intrigue. I knew about a little of it going in, but if you’re reading this review cold, not knowing anything about “The Reader,” don’t look into it any further and do not hesitate to see this movie. “The Reader” is a film of rich pedigree. It was directed by Stephen Daldry (“The Hours” and “Billy Elliot”) and written by acclaimed playwright David Hare. The cinematography duties were split by award-winners Chris Menges (“The Mission” and “The Killing Fields”) and Roger Deakins (“No Country for Old Men”). And of course, Kate Winslet and Ralph Fiennes (as the older Michael Berg) were part of the main cast. It all adds up to an immensely thought-provoking film, one that’s controversial on one level, but undeniably interesting on so many others. *** ½ (out of) **** (1/01/09)

“The Edge of Heaven”: is an intriguing little connect-the-dots film from Turkey (by way of Germany). Tuncel Kurtiz stars as Ali, a nice man who accidentally kills a prostitute (played by Nursel Kose) who was also his live-in companion. After his father is imprisoned for the crime, Ali’s son, Nejat (Baki Davrak), searches for the prostitute’s daughter, who is now a political activist in Germany. Additional characters are introduced, and lives, despite some divergent political and philosophical views, intersect. This isn’t Krzysztof Kieslowski (“Three Colors”), but his influence is there. The film, written and directed by talented young filmmaker, Fatih Akin (“Head-On”), does a very nice job of keeping the viewers interested as the characters begin to interweave. This very well-made film is available on DVD. *** (out of) **** (In Turkish and German with English subtitles) (12/23/08)