Dave's Top 10 for 2003 and other awards

City of God; Kill Bill: Vol. 1; Master and Commander: The Far Side of the World; 21 Grams; The Last Samurai; Lost in Translation; In America; Shattered Glass; Raising Victor Vargas; Swimming Pool

Director: Fernando Meirelles and Katia Lund ("City of God"); Actor: Sean Penn ("21 Grams" and "Mystic River"); Actress: Naomi Watts ("21 Grams"); Supporting Actor (tie): Benicio Del Toro ("21 Grams") and Peter Sarsgaard ("Shattered Glass"); Supporting Actress: Holly Hunter ("Thirteen"); Foreign Film: "Swimming Pool;" Original Screenplay: Alejandro Gonzalez Inarritu and Guillermo Arriaga ("21 Grams"); Adapted Screenplay: Peter Weir and John Collee ("Master and Commander: The Far Side of the World"); Cinematography: Eduardo Serra ("The Girl With a Pearl Earring"); Original Score: Alexandre Desplat ("The Girl With a Pearl Earring"); Film Editing: Stephen Mirrione ("21 Grams")

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Dave F's 2004 Reviews

Click on the name of a film to be taken to Dave's review of that film

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"The Chorus": Stop me if you've heard this before. Burned-out professional accepts a tough assignment as a teacher at a school for wayward kids. Teacher manages to spark his students' dormant creative juices, wins national recognition for his work. Yeah, it's a tired format, but it seems every time it's revived, it's successful. I guess that inspired first-time filmmaker Christopher Barratier to remake the 1945 French film, "A Cage of Nightingales," the story of a failed writer who decides to take up a career as a teacher at a reform school for boys. Gerard Jugnat is Clement Mattieu, an out-of-work musician who can only find work as a teacher at a notorious reform school. The other teachers have been met with violence when they've attempted to reach out to their unruly charges, but Clement's approach is different. He tries to find their inner child through music. Naturally, this practice isn't condoned by the school's tough principal (played by Francois Berleand), but Clement isn't swayed: it's through music - and specifically, a carefully selected chorus - that he'll reach these children. The film is told in flashback by the adult version of one of its characters (the film is set in 1949 post-war France), who has grown to become a world famous conductor. The character is Pierre Morhange and is played as a child by Jean-Baptiste Maunier, who, like Pierre, has the voice of an angel. Interestingly, Maunier, and the film, is a huge hit in its native France. "The Chorus" has outgrossed the most recent "Lord of the Rings" and "Harry Potter" films, and Maunier, thanks to the film's soundtrack, is a heartthrob in France. Good story, good ending. Just like the film. The film's director, Christopher Barratier does a magnificent job of using music to tell his story. It's a tale that's shameless for the way it tugs at your heartstrings, and it wears its influences on its sleeve (think "The 400 Blows" meets "School of Rock"), but it demands you care, and care you do. "The Chorus" is a recent Golden Globe nominee for Best Foreign Film, a richly-deserved distinction. *** 1/2 (out of) **** (In French with English subtitles)

"Closer": is a very problematic film, not only in theme, but for the way it asks its viewers to reconcile their feelings for the film with their overriding contempt for each of its characters. For me, it was hard. In its core, "Closer" is a fascinating look at how people often fritter away at the idea of good old fashioned love, all in favor of whatever their loins are telling them to do at the moment. The film has four characters who consume 95% of its dialogue. There's Alice (Natalie Portman), Dan (Jude Law), Anna (Julia Roberts) and Larry (Clive Owen). Alice is new to London (the film's setting). She's escaping something, we're never quite sure what. Dan is an obits writer for a London newspaper, and in his part-time, also harbors an unhealthy obsession for Anna, a brilliant photographer who once had a brief fling with Dan. Anna is married to Larry, a dermatologist, and, for lack of a better term, a sick twist. Larry suspects that Anna is allowing Dan (her ex-lover) to get back into her life. Meanwhile, Alice sorts of lands in Dan's life by accident when he rescues her after she is struck by a car (the New York native made the mistake of looking left, not right, when she stepped off a London curb). The two develop a long-term relationship, which soothes Alice, who, due to her past, has a clear need for healing. But their coupling doesn't exorcise Dan's demons nor quells his unhealthy desire for Anna. Larry and Anna are cooking along, in spite of the headstrong Anna's unwillingness to completely push off Dan, and Larry's utter distaste for the concept of fidelity within marriage. "Closer" is based on the Patrick Marber's play of the same name (he also wrote the film's very articulate script), and was directed by veteran director and play-adapter, Mike Nichols. Nichols direction is brilliant, as were the performances of his four actors. In a film where the star wattage is probably the highest around Julia Robert's trailer, ironically, Robert's performance was probably the weakness. She isn't given as much to chew on, while Natalie Portman does her very capable best at stealing the scenes in which both women appear. Jude Law is rock solid, showing once again, that behind the looks lies a deep talent. The film's best performance, in my opinion, came from Clive Owen, as the introspective dermatologist who has a way of justifying just about anything, especially his sordid behavior. But now we return to the core of this review's opening sentence: reconciliation. Ironically, that's one of the film's themes. Without trying to sound overly self-righteous, I have problems with this film. When people ask me if I liked "Closer," I tell them no, I didn't, but I admired it. I think that sums it up. ** 1/2 (out of) ****

"A Very Long Engagement": If imitation is the sincerest form of flattery, then Jean-Pierre Jeunet (director of the brilliant "Amelie") owes the late Stanley Kubrick at least a couple of credit lines of gratitude. If it wasn't for Kubrick's "Paths of Glory," we would not have been treated to some pretty sumptuous scenes in Jeunet's latest film, "A Very Long Engagement." To Jeunet's credit, he's borrowing from one of the best, and the scenes work very well within Jeunet's usual 'kitchen-sink' structure of filmmaking. "A Very Long Engagement" is based on Sebastien Japrisot's novel of a young woman's search for her lost fiancée, who, while fighting for the French in World War I, may or may not have been killed in a no man's land zone. Audrey Tautou plays the woman, Mathilde, who refuses to give up the search for her lover, Manech (Gaspard Ulliel), despite word that as punishment for a court-martial (attained under mysterious circumstances), the young soldier (along with four other comrades) was forced to act as bait to draw out the enemy soldiers during a particularly heavy bout of fighting between the French and the Germans. With the aid of family and friends, the distraught (and heavily in denial) Mathilde, begins her search for the truth. At its core, "A Very Long Engagement" is a love story. In its heart, it's a staunch anti-war movie. Jean-Pierre Jeunet, whose films are like no other, puts his definitive stamp on "Engagement," infusing it with appropriate splashes of earth tones, and a montage of cleverly manipulated effects to create a distinct period piece. Jeunet throws in everything (hence the "kitchen sink" reference) and then diligently puts it all together until it starts to make sense. The difference here, unlike in "Amelie," is that it doesn't quite make sense. Jeunet is undeniably brilliant in his vision, but his execution, while very, very ambitious, doesn't quite succeed here. The warmth and style of "Amelie" is retained, but this is an anti-war film, not a delightful comedy. Jeunet succeeds at showing us the folly of war, but needs to temper some of his creativity. It just wasn't appropriate in what could've been a great film. ** 1/2(out of) ****

"The Incredibles": Pixar Animation Studios, the creator of the "Toy Story" series, including "Finding Nemo," "Monsters, Inc.," among others, is back with another shining example of its unique brand of animated film. Bob Parr (the voice of Craig T. Nelson) used to be a superhero named Mr. Incredible. That is until the pesky lawsuits forced the government to shut down their superhero unit forever, grounding Mr. Incredible, his wife Elastigirl (Holly Hunter), their friend Frozone (Samuel L. Jackson) and others and putting them into a Superhero Relocation Program. Mr. Incredible became Bob the insurance adjuster, while his wife Helen, the ex-superhero who could bend and stretch to impossible lengths, stayed at home to raise the couple's three children: Violet, Dashiell, and baby Jack-Jack. Helen is content with her life, but Bob is miserable. He misses the action. So does his buddy Lucius (aka Frozone). The two steal away on "bowling night" just to listen to the police scanner with the hope of finding some "action." It isn't long before Mr. Incredible is recruited to help save the world from a tentacled fighting-machine. This proves to be just a test for the real fight against a disgruntled ex-superhero groupie (voiced by Jason Lee) who goes by the moniker "Syndrome." Long story short, Bob (now Mr. Incredible) is joined by the unretired Elastigirl and their son Dash (blinding speed) and daughter Violet (ability to effect a force-field as well as become invisible) in his quest to save the world. "The Incredibles" is Pixar's first 'PG' rated film and it shows. My five year-old nephew admitted he was scared when little Dash was running from the bad guys, yet he was still very impressed with the film and it was all he could talk about the next day. The film's animation is, well, incredible, as is its story. Writer-director Brad Bird follows up his wonderful first film, "The Iron Giant" with a beautifully-paced tale that blends a good ol' fashioned James Bond-inspired story with every comic book you read as a child. "The Incredibles" is a very aptly-named, very entertaining film. ***1/2 (out of) ****

"Finding Neverland": J.M. Barrie's classic "Peter Pan" is the basis for "Finding Neverland," the story of how the famed playwright was inspired to create the treasured tale. Johnny Depp is Barrie, a bit of an eccentric who had a hit play some years earlier but is now struggling to create his next winner. He finds inspiration at the park, where the widow Sylvia Davies (Kate Winslet) is entertaining her four boys. Barrie, ever the child at heart, finds himself drawn to the family, and soon becomes a bit of a father to the boys. None of this is sitting well with the community, much less Barrie's wife, Mary (Rahda Mitchell). But to Barrie's impresario Charles Frohman (Dustin Hoffman), it's a potential hit play. "Finding Neverland" is a beautifully-made, well-acted film. Johnny Depp is simply magnificent as the Scottish playwright (you never doubt his accent) while Kate Winslet is wonderful as the widow who isn't quite sure what to make of Barrie but knows her boys love him. The film also benefits from strong supporting performances, especially from ten year-old Freddie Highmore as Peter Davies, the chief inspiration for the character of Peter Pan. Also of note is Julie Christie playing Sylvia's worried mother who doesn't know quite what to make of Barrie. "Finding Neverland" is about many things, including the human spirit. A story about a grown man playing with young boys would seem troublesome on the surface, but director Marc Forster ("Monster's Ball"), working from David Magee's adaptation of Allan Knee's play, correctly captures Mr. Barrie's intentions. This is a film that runs the gamut of emotions, from sadness to exhilarating joy. Forster has a keen way of finding that "thing" inside his viewer that allows us to step inside the character we're watching. This is a gift that cannot be taught, and is a strength that binds together the message of Peter Pan, to unlock your imagination. "Finding Neverland" is one of the best films you'll see this year. **** (out of) ****

"Sideways": Buddy films are a dime-a-dozen. Chick Flicks are everywhere. But how often are we treated to a male chick flick that isn't quite a buddy film and doesn't involve shootouts or overturned cars? Not too often. Alexander Payne ("About Schmidt") scores again with the impossibly exhilarating film, "Sideways." The film stars Paul Giamatti ("American Splendor") as Miles, a loveable sad-sack with a penchant for wine and an insensitivity towards most of the human race. He's the pompous intellectual type who does the New York Times crossword puzzle in PEN while driving. His best friend Jack (Thomas Haden Church-best known for his work on TV's "Wings") is getting married in a week. As a sort of last get-it-all-out, the pair decides to visit California's wine country for a few days of wine-tasting and general debauchery. Jack is definitely the opposite of the more reserved Miles. Frankly, Jack is just looking for a really good time, while Miles, well, he's content to soak his liver while fretting over the mistakes in his life. The trip also serves as a journey towards self-discovery. Miles rediscovers an old casual acquaintance (played by the radiant Virginia Madsen), while her friend, Stephanie (Sandra Oh), causes Jack to have second thoughts about his impending marriage. Thanks to an incredible script by Payne and his writing partner Jim Taylor (adapting Rex Pickett's novel), we manage to feel more than a degree of empathy for Miles and Jack, in spite of their loathsome behavior. Payne and Taylor are not the least bit shy about exposing their fraudulent characters, yet we don't care. These are people battling middle life, who are trying to find their personal better place. Payne and Taylor examine their plight using warmth and great humor, mixing in wine as a metaphor, throwing in some Seventies flourishes, resulting in a beautiful, alive film. "Sideways" is literally bubbling with great moments and wonderful characterizations. Paul Giamatti is outstanding as Miles, that maybe not-so-lovable lout who is also a failed novelist and a greater failure as a son. And Thomas Haden Church, who is unknown to some (I used to watch his sitcom back in the early 90's), but won't be for much longer. Of special note is Virginia Madsen. She is probably the most wholesome of the film's characters. She is a revelation as Mia, the waitress (er, restaurant server) with a heart-of-gold, who sees the good in Miles, even if he can't see it for himself. Their scenes together (one in particular) are almost movie magic. For Alexander Payne: Bravo, Bravo! You touched us with your previous films (especially "Citizen Ruth") but you really outdid yourself with this effort. "Sideways" is a fantastic film. **** (out of) ****

"Friday Night Lights": Speaking as a resident of the state of Georgia, high school football is HUGE in the South. My town was buzzing when the local high school's team went to the state semi-finals last year. On Friday nights, it's almost a way of life around here. That same mood is faithfully depicted in "Friday Night Lights," actor-director Peter Berg's film about the life of a small Texas town during the 1988 high school football season. The town is Odessa and the school is Permian. A lot of pressure is put upon its coach, Gary Gaines (Billy Bob Thornton), to win state. In fact, that's all the town seems to talk about. For Coach Gaines, it's win or time to move the family again. For star running back Boobie Miles (Derek Luke) it's a chance to live out his uncle's dream, and it's the only way Boobie will sniff college. And for wide receiver Don Billingsley, it's a chance to get out from under the thumb of his abusive father (Tim McGraw) who years earlier led Permian to the state championship. All this seems pretty cliche, but for the most part, it really happened. "Friday Night Lights" is based on the book by Buzz Bissinger, who saw first-hand just how important the child's game is in the life of adults. Berg, with a documentary approach to shooting his film, does a terrific job of letting us in on the action. We're on the sidelines, we're in the huddle, and we're in the locker room. The performances are first-rate, especially from Billy Bob Thornton, who low-keys it in the same style as in "Monster's Ball." "Friday Night Lights" is a first-rate film. *** 1/2(out of) ****

"Being Julia": Annette Bening is Julia Lambert, a once-famed actress now in her late forties, who is trying to etch out a living on the London stage. Julia has all the trappings of her trade: a jaded attitude, a bored husband (played by Jeremy Irons), a lover (Bruce Greenwood), and a young American theatrical groupie named Tom Fennel (Shaun Evans), who may or may not have her best interests at heart. Enter a young actress (Lucy Punch) and you have the recipe for a lot of hair-pulling. The problem? I didn't care for any of the characters, which makes it a little hard to like the film. The players of "Being Julia" are all despicable in their own little way. The film, based on a novella by W. Somerset Maugham (Theater) was directed by Istvan Szabo ("Sunshine") and adapted by Ronald Harwood ("The Pianist"). The performances were good, especially Annette Bening, but there's nothing else of redeeming value. Skip this one. * 1/2(out of) ****

"Shaun of the Dead": Are you a fan of British humor? Do you especially love the work of "Monty Python's Flying Circus"? Do you like zombie films? Do you poop out at parties? Okay, scratch that last question. "Shaun of the Dead" is a delightful film about the effect of the undead upon an otherwise peaceful, if not a little weird part of a London hamlet called Winchester (okay, it's actually a pub!) Simon Pegg (Shaun) and Nick Frost (Ed) play drinking buddies whose lives are as normal as can be if you're a typical British comedy with a lot of zombies walking around. Much to the dismay of their girlfriends, they're quite content to just hang out and drink all day. And they're a little too self-absorbed to notice there's a lot of strange things going on. "Shaun of the Dead" isn't for everyone. In fact, if you loathe British humor, or just don't understand the fascination, don't bother with this film. However, if campy humor is your thing, then "Shaun of the Dead" is a good time at the movies. I fall a little in between. I love Python, but a lot of the other stuff is too much shite and not enough Bob's your uncle. Or something like that. *** (out of) ****

"Sky Captain and the World of Tomorrow": The world of tomorrow isn't quite as I had imagined it as a child. We're not zipping around in little Jetson-style space machines, or moving inches above the ground in a Luke Skywalker-inspired hovercraft. But our cinematic world has been taken over by computer-generated effects. Take for example, "Sky Captain and the World of Tomorrow." Did you know the entire movie was filmed against a blue screen, with all the effects generated by a computer? This process gave writer-director, Kerry Conran free reign with how his film would look. And wow, did he go to town. Imagine if you will that you are sitting in a loud movie theater on a Saturday afternoon. It's 1943 and the theater is about to show the latest newsreel, following by a cartoon, followed by two action films. If you can picture that, then you're likely to lap up "Sky Captain," a fantastic montage of pulp-style action, mixed with plenty of wholesome intrigue and likeable characters. However, do not expect a lot of plot to go with all that wondrous spectacle. "Sky Captain" essentially involves the heroic Sky Captain, aka Joe Sullivan (Jude Law), his female companion, Polly Perkins (Gwyneth Paltrow), and their friendly sidekick, Dex Dearborn (Giovanni Ribisi). Together they try to save the world from the evil Dr. Totenkopf (played by Sir Laurence Olivier--hey, I warned you the film was load with special effects), his mysterious assistant played by Bai Ling and their legion of deadly robots. What sets "Sky Captain" apart from 'ordinary' films is its look. Conran fuses his film with a bit of a washed-out colorized look. My friends were a little irritated by the effect, but I, already entranced by the film's nostalgic mood, felt it was perfect. I will caution however, that to be appreciated, this film should be viewed on the Big Screen. A box of popcorn would probably help as well. And an ice-cold Coca-Cola. *** 1/2 (out of) ****

"Hero": Thanks to the success of "Crouching Tiger, Hidden Dragon," and in part to Quentin Tarantino's enthusiasm for the genre, Chinese martial art films are enjoying a resurgence. It was Tarantino who lent his name to the poster for "Hero," a film that was originally released in China in 2002 (and was nominated for a Best Foreign Film Oscar in 2003) and has since gained cult status throughout the world. Interestingly, or sadly, because of its popularity, rather than being shown in scattered art houses, most of the screens showing "Hero" were in multiplex theaters. As a result, 'warnings' were posted on box office windows advising moviegoers that "Hero" was entirely in the Mandarin language with English subtitles and that no refunds would be given after the first ten minutes. And from conversations with theater employees, there were a lot of people who were upset that they had to READ their movie. Sad, indeed. "Hero" takes place in third century B.C. in a region later to be known as China. The film is set during a time where there were seven warring regions in search of a single solution. The king of one of the regions, Qin (Daoming Chen) is trying to unify the factions, but faces a lot of opposition from those with different ideas. Several attempts have been made on his life, resulting in many sleepless nights. One day, out of the blue, a nameless warrior (played by Jet Li) comes along. The warrior manages to gain the king's ear and trust with his modest boast that he has killed three of the toughest assassins. Much of the film is told in flashbacks as the nameless warrior reveals in detail how he was able to dispose of the three assassins, Sky (Donnie Yen), Broken Sword (Tony Leung) and Snow (Maggie Cheung). The king then has to decide if the warrior has good intentions or, like the others, is trying to assassinate him. "Hero," the most expensive film ever made in China, was directed by Yimou Zhang ("To Live," "Raise the Red Lantern," on and on) and features the biggest names in Chinese cinema (including the lovely Zhang Ziyi as Moon, Broken Sword's loyal servant), but what stands out about "Hero" is its look and mood. Simply put, it is one of the most breath-taking films you'll ever see. It is literally steeped in memorable visual moments. The story is told like a fable and acted out with beautiful eloquence. "Hero" is well-paced and well-performed and one of the best films of the year. *** 1/2 (out of) **** (In Mandarin with English subtitles).

"The Manchurian Candidate": You can tell it's an election year. Politically-charged films are coming out of the woodwork, each trying to subtly foist their point-of-view upon the "unsuspecting" viewer. Most of the films have been independent, while liberal Hollywood has been mostly on the sidelines, probably content to allow their undereducated, overpaid "stars" to further the town's hoof-in-mouth image. One of the film exceptions is "The Manchurian Candidate," a remake (another thing that never changes), or as I'm sure the film's producers prefer, an "updating" of the 1962 John Frankenheimer classic. Denzel Washington plays Captain Ben Marco, a "damaged" veteran of the Gulf War. Marco has a recurring nightmare, one that also features one of his former charges, Raymond Shaw (Liev Schreiber) who also happens to be running for Vice President of the United States, largely on the strength of his heroism in the war. Like our President, Shaw is a political neophyte who hails from a prominent political family; his mother (played by Meryl Streep) is the ruthless senator, Eleanor Prentiss Shaw (a portrayal reportedly based upon Hillary Clinton). Prentiss Shaw, whose politician husband's career was tainted by alcoholism, would love nothing more than to see her son, the anointed golden boy (does this sound familiar?) rise to the highest office in the land. In fact, she'll almost stop at nothing to ensure this happens. It's almost a shame this is a remake, because half the fun of this film (not that it's particularly 'fun') is to guess the real-life person connected to the film's character. Unlike the original, where communism was the focus, the villain in this remake is an evil corporation, Manchurian Global (gee, can't figure the model for that one). There are also allusions to Big Brother, no-bid contracts, nepotism, questionable service to one's country, and other hot button issues that are apart of today's real life news. The best thing, sadly, about this film were the performances from the cast. Meryl Streep, looking very Karen Hughes-ish, but acting like Ms. Clinton, is terrific as always. Denzel Washington is good, but doesn't break any new professional ground. The nicest surprise came from Liev Schreiber, who does a mean George W. Bush. "The Manchurian Candidate," which was directed by Jonathan Demme, working with an updated script by Daniel Pyne and Dean Georgaris, is certainly timely, but it feels incomplete and unsatisfying. I expected more and got less. ** 1/2 (out of) ****

"Collateral": Michael Mann is one of the few GOOD directors who can make a film that's a terrific character study AND an excellent action flick. He also does a mean chase sequence. The creator of "Miami Vice" and such films as "Last of the Mohicans, "Heat" and "The Insider" bounces back from the disappointing (for me) "Ali," with "Collateral." The film stars Tom Cruise as "Vince," a contract killer with a very specific agenda. He has a list of five names, all of whom need to "go" before sunrise. He lands at LAX, exchanges briefcases with a mysterious man, and then hails a taxi. Max (Jamie Foxx) is the driver who stops his cab for Vince. The hitman flashes a wad of big bills to Max, signaling the beginning of a tension that will last for the next two hours. Vince is a likeable, affable passenger, while Max, a career-cabbie with island dreams, is a little apprehensive at first, a hesitance that's confirmed when the first body lands on his taxi. Why doesn't Max try to escape? Uh, that's covered. Once again, I'd reveal more, but why ruin it. "Collateral" succeeds because its handlers know how to make a good film. Michael Mann does a commendable job of managing his characters, building the suspense, and coaxing terrific performances from his talented cast, especially Foxx, who is no longer just an ex-sitcom actor. He is now a star, a title that should be confirmed when "Ray," his biopic of Ray Charles, is released this fall. Tom Cruise, once again, is Tom Cruise, and I mean that in a good way. Give him a role and he'll make it his own, even if it's seems to be against type. The film also boasts a nice supporting cast, including Jada Pinkett Smith, Bruce McGill, Mark Ruffalo and Irma P. Hall. I'd be remiss if I didn't mention Stuart Beattie's ("Pirates of the Caribbean") excellent screenplay. The man knows how to flesh out a two-hour movie. "Collateral" is quite the ride. *** (out of) ****

"Wimbledon": is what happens when you have two hours to kill before you have to pick someone up and there's nothing else starting anytime soon. It's also what happens when two of your friends are tennis fans. Alas, eating 18 candy bars would've been more satisfying to my stomach than spending $9.25 (eek!) on this film. Has-been tennis player (played by a Boris Becker-inspired Paul Bettany) is about to play the last tennis match of his long and successful career. It happens to be Wimbledon, where hot-shot tennis star Lizzie Bradbury (played by an Anna Kournikova/Mary Pierce-inspired Kirsten Dunst) is favored to win the women's singles at the famed event. Guess who meet and fall in love? Guess whose father wants his daughter to stay away from the older tennis player? Guess who wins the tennis matches? Oh, am I giving too much away? Sorry. Kirsten Dunst looks fetching in a tennis outfit. There, I said it. That's also the only reason (if you're so inclined) to see this film. * 1/2 (out of) ****

"Runaway Jury": I've been waiting for this film for years; ever since I read John Grisham's about Big Tobacco and jury tampering. Well, after several script treatments and one fantastic film about Big Tobacco ("The Insider"), the setting has been switched to the Gun Manufacturers. No worries. I have no use for guns, so it works for me. Add in a clever actor like John Cusack, plus two of the better performers of our lives (Dustin Hoffman and Gene Hackman) and one of my favorite character actors (Bruce McGill, playing a judge) and you have the formula for a fantastic film. The problem? They forgot to polish the script. Too many cooks (four credited screenwriters, plus who knows how many dabbled in it over the years) spoiled a heavy, heavy broth. The setting is New Orleans in the present day. Two years earlier, a stockbroker (Dylan McDermott) is one of the victims of a mad office gunman. His wife (Joanna Going) is seeking restitution from the company that manufactured the weapon used to kill her husband. Hoffman is Wendell Rohr, the lawyer hired to represent her. He doesn't want to screw up this potentially landmark case, nor do his opponents, who hire Rankin Fitch (Hackman), widely considered to the best jury expert in the land. Fitch knows how to pick the perfect jury. His tactics include getting to know every potential juror; their families - their past, whatever it takes. One such juror is Nicholas Easter (Cusack). Easter proves to be quite a load for both sides. And this is where I get off. To say anymore would ruin the film for you. While I have many reservations about "Runaway Jury," I do recommend the film because, well, I love these delicious themes, even if they're shakily executed. The performances were rock-solid and the ending was satisfying, but perhaps Grisham (or a better screenwriter) should've been called in to punch up the script. It needed a little more courtroom and jury-room drama. Several fine actors (especially Luis Guzman) are reduced to the background. And the scenarios were, well, to put it mildly, far-fetched. See it without a lot of expectations. ** 1/2 (out of) **** (DVD)

"Pirates of the Caribbean": It's October, 2004. "Pirates of the Caribbean" was released a full fifteen months ago to critical acclaim. Yes, critical acclaim. I never thought a feature-length film could be spawned from amusement park ride. I've long boycotted films based on TV shows, plus most remakes and sequels. Yep, this mind is closed to such drivel. I waited over a year to see this film, and, well, thanks to a quiet afternoon with a friend's DVD collection, I finally caved in. Silly, isn't it? That's also what I expected from "Pirates of the Caribbean." Surprise. I was dead wrong. Not only did director Gore Verbinski sustain a five-minute ride (if that) for 143 minutes (yikes!) but he made a wildly-entertaining, never dull film. Bravo! As it turns out, Johnny Depp didn't sink to a new low when he took this role. He didn't do it for the paycheck (unlike someone like Robert De Niro in "Rocky and Bullwinkle"). Enough about my silly reservations. Depp plays Captain Jack Sparrow, legend of the seas, and former owner of the "Black Pearl," a pirate ship pirated by Captain Barbossa (Geoffrey Rush). The ship was Captain Jack's life. A curse and long-lost treasure is also attached to its return. As flimsy as this may sound, there is literally never a dull moment in this film. Mix in an attractive cast (including Keira Knightly and Orlando Bloom), fantastic performances from Depp and Rush (no surprise) and "Pirates of the Caribbean" is one wild ride. Hmm, I wonder if "Mr. Toad's Wild Ride" is far behind? *** 1/2 (out of) **** (DVD)

"Garden State": I'm going to jump out on a limb by guessing that neophyte writer-director Zach Braff (co-star of TV's "Scrubs") worships the 1996 film "Beautiful Girls." Fans of that film will recall the character of Marty, played by a very young Natalie Portman. A sequel to that film was never made, but I believe I just watched Mr. Braff's interpretation through a quirky little film called "Garden State." Instead of returning to his hometown for a high school reunion (like Timothy Hutton's character in "BG"), Andrew Largeman (Braff) is a small-time actor who returns to his New Jersey hometown in order to attend his mother's funeral. And instead of Matt Dillon and his other sad-sack never-quite-outgrew-high school buddies, he has Peter Sarsgaard and a bunch of his stoner friends. Largeman also has the requisite dysfunctional famiy led by his psychiatrist father (played by Ian Holm) whose idea of raising his son was to keep him doped up. Sadly, Largeman is still dependent on many of those needless prescriptions. Appropriately, it's at the doctor's office where Largeman first meets Sam (Natalie Portman, in an updating of her Marty role). Sam has a problem with the truth. She can handle it just fine, but she can't tell it. The older Largeman and Sam make an unlikely couple and together they ride through "Garden State's" many co-mingled adventures. Andrew Largeman is searching for his identity. Is it in New Jersey or Hollywood? Should he forgive his dad? Should he be true to his feelings for Sam? Yes, that pretty much sums up the film. "Garden State" is harmless fluff with a well-timed soundtrack and likeable performances from equally likeable actors. Natalie Portman actually manages to turn down her looks for one film (now she's just cute) while Braff low-keys it as the mixed-up actor. Rent it or catch it on cable. *** (out of) ****  

"The Bourne Supremacy": is a sequel. Starring Matt Damon. Run away as fast as you can? Nope. Surprise, this film is good. VERY good. Damon is back as Jason Bourne, hero of many Robert Ludlum novels, and lover to Marie (Franke Potente). Bourne still has the pesky memory problem (he doesn't know who he is or how he became such a badass spy) and he's still, well, a very wanted man. This time he's wanted because he allegedly killed a man in Germany. The problem? He was thousands of miles away at the time, averting an attempt on his life. Brian Cox and Julia Stiles are back and so is Chris Cooper (well, in flashbacks). Joan Allen joins the chase as CIA agent Pamela Landy. Meanwhile, Bourne is hopping mad, and you don't want to upset super-cool Jason Bourne. I say "super-cool" with only a trace of a smirk. I love the way Damon plays Bourne. He doesn't have a trace of arrogance. Not bad for a spy, eh? The central part of the film is the chase. Bourne vs. the CIA, the CIA vs. Bourne, and most importantly, Bourne's chase for who he really is. In my opinion, the real star of "The Bourne Supremacy" is its director, Paul Greengrass. Greengrass, who directed "Bloody Sunday," does a pitch-perfect job of controlling his film. He seems to know 'exactly' when to pull back; when to slow down the action, and when to stop a scene from a spiraling into overkill. His restraint is near-perfection. He is aided by a great script by Tony Gilroy (adapting Ludlum's novel). Matt Damon is excellent as Jason Bourne, the spy who seems to be able to out-spy James Bond. Its predecessor, 2002's "The Bourne Identity" was a loud and fast collage of car-chases that never seemed to know when to pull back. The sequel corrects that problem, but doesn't skimp where it counts. "The Bourne Supremacy" is not only one of the best films of the year so far, but it's the film die-hard James Bond fans have been waiting for years to see. The heck with "Spy vs. Spy," how about "Jason Bourne vs. James Bond"? I'd pay to see that! *** 1/2 (out of) ****

"Anchorman": Movie previews can be a very good thing. It gives you a chance to see what's coming out, and helps you to decide in advance whether to spend your eight bucks (or whatever the amount) or put it towards something more worthwhile. Previews can be a bad thing, especially the ones that give away much of the film or, as in the case of Will Ferrell's latest film, "Anchorman," show many of the funny parts, leaving little in the way of fresh and unexpected surprises. Ferrell is Ron Burgundy, a very self-absorbed anchorman (picture a younger version of Ted Baxter) for a late-70's San Diego television station. Burgundy and his all-male co-workers have a good thing going: silly carousing, a "friendly rivalry" with one of San Diego's other news station; the good life. It all comes crashing down when the station's manager (played by Fred Willard) decides to hire Veronica Corningstone (Christina Applegate) to be KVWN's first female anchorman, er…"anchorperson." Needless to say, Burgundy and his news-crew buddies (including Steve Carell, Paul Rudd and David Koechner) are more than just a little threatened by this…"woman" who has strayed a little too far away from her kitchen and a little too close to their comfort zone. Make no mistake about it - "Anchorman" isn't Oscar material. It's a film made up of some (sometimes) very funny moments with a little bit of a story to surround the zany ideas. The film was co-scripted (with Ferrell) and directed by SNL-alum Adam McKay. Fans of 70's schtick (I am one) will love the film's various in-jokes, especially the character names ("Wes Mantooth," "Brick Tamland," Champ Kind, "Brian Fantana" --- good stuff). "Anchorman" benefits from excellent performances, especially Will Ferrell, who is, well, just about the funniest actor alive. It's mostly harmless entertainment and definitely worth a rental, but if you see it at your local multiplex, I wouldn't spend more than the matinee price. *** (out of) ****

"Spiderman 2": Sequels, as a rule, are almost always inferior to their original. The best ideas are already taken and the ones that are copied are, well, copied. Sadly, "Spiderman 2" follows in this tradition. Instead of building upon all the good things from the very enjoyable first film, the sequel recycles, recycles, recycles. Sam Raimi is back as director, as well as Tobey Maguire as Peter Parker/Spiderman, and Kirstin Dunst as his friend Mary Jane Parker. This time, instead of well-meaning scientist-turned Green Goblin, we have well-meaning scientist-turned Doctor Octopus, aka 'Doc Ock' (played by Alfred Molina). In the film's defense, these are characters created by Marvel Comics nearly forty years ago. However, I think the film series needs to find some fresh ideas. My attraction to "Spiderman 2" was its strong word-of-mouth, enjoyment of the first film, and my devotion to the comic book series. I'd also heard that the film's special effects were out of this world. Y'know something? I didn't notice the special effects until the last half-hour of the film. I can only conclude that as filmgoers, we've seen it all; that "special effects" are no longer special. Sadly, neither was this film. ** (out of) ****

"Saved": Ah, another like it or loathe it film. Warning: if you're a devout Christian who doesn't appreciate a good mocking, stay the hell away from "Saved." Heh, heh. Jena Malone is Mary, a Christian girl with a couple of problems. One: her boyfriend is a wee bit confused about his sexuality. Two: in an effort to help ease his confusion, she gets herself pregnant. Uh-oh. Not good for her image in the community. Fortunately, despite being completely surrounded (engulfed?) by Christianity, she has two friends (played by Eva Amurri and Macauley Culkin) who are sympathetic to her plight. Together, they rally against the local Christian school hypocrite (played by Mandy Moore) to save the day. "Saved" is a biting satire of the Christian lifestyle. Best of all (for me), narrow-minded Christians couldn't stand this film. Director and co-writer Brian Dannelly is a bit over the top at times, but his film is mostly on-target. Recommended. *** (out of) ****

"Fahrenheit 9/11": Documentary filmmaker Michael Moore strikes again! He has engaged and enraged audiences for years with his own brand of controversial filmmaking. None of his efforts to date, however, have struck a nerve with audiences quite like his latest documentary, "Fahrenheit 9/11." Moore, doing what he does best, skillfully paints a picture of his subject (our President, George W. Bush, as well as his family and friends role with the Saudi royal family) through the use of carefully selected archival films and cleverly edited footage obtained through personal interviews with individuals that support his claims. Not much has changed with his films - only the subject. "Fahrenheit" is a film you will either like (if you can't stand our President) or loathe (if you like him, or just don't like attack politics). To his credit, Moore does a thorough job of convincing his audience there are a lot of questions we should be asking about our country's leader and if there are other reasons for why he chose to invade another country. Moore, however, leaves out known facts, twists and distorts, and does nothing to hide his obvious agenda. To his credit, he actually appears to pull some punches, and he resists going for the jugular. "Fahrenheit 9/11" is neither fair nor balanced, but then again, neither is its subject. *** (out of) ****

"Super Size Me": If you're like me, and many other people around the world, you occasionally dine at McDonald's. It's doubtful, however, that you're anything like Morgan Spurlock. On a lark, the documentary filmmaker decided to film a crazy experiment. He declared that for thirty days he would eat nothing but McDonald's. Three fatty, sodium-laden squares a day. And if anyone asked him if he wanted to "Super Size!" his meal, he had to said yes. Was it a gimmick or a crazy stunt? Well, it was for a documentary, but what Spurlock experienced during those thirty days should be enough for any sane person to stop eating at McDonald's altogether (note: I, not being of sane mind, ate there today). Some of his personal side effects included an extreme jump in his cholesterol, chest pains (he was monitored by three doctors throughout the month), and a frustrated girlfriend, who happened to be a vegan chef! Almost as difficult as eating the same crap for thirty days, is keeping our interest on the subject for 96 minutes. Fortunately, Spurlock is an engaging personality with enough wit and insight on his topic to keep his audience suitably entertained. Needless to say, you can't leave this film without a different perspective on the fast food restaurant, or for that matter, any fast food. If it wasn't for my very occasional cravings for bacon, egg and cheese McGriddles, I'd probably ditch the place. *** (out of) ****

 "Shrek 2": I LOVE children's films. There, I said it. And might I add, with nary of trace of guilt or shame. There is something wonderful about the way these films light up a child's eyes. Not that I needed any persuasion to see "Shrek 2," but to enhance my experience, I brought along my three year-old niece Lucy and five year-old nephew Jack. I sat between them and kept their popcorn cups filled as we watched this wonderful film, the sequel to the 2001 original starring Mike Myers as the voice of the ogre Shrek, Cameron Diaz as his true love Princess Fiona, and Eddie Murphy as the wise-cracking Donkey. What I didn't like about the first film - its silliness and derivativeness, is back in the sequel, but it's now the film's schtick, and for whatever crazy reason, I accepted it this time. Shrek and Fiona are now in happily-ever-after land, and to make it official, it's time for the ogre and his now-ogre wife to spend time with her "normal" parents, the king (voiced by John Cleese) and queen (Julie Andrews) at their home in Far, Far Away. Needless to say, the king is less than enthusiastic that his "once-beautiful" daughter has been "ogrefied" by her marriage to that…that 'ogre.' The queen just wants her daughter to be happy, but the king, who enlists the aid of a hit-cat (Antonio Banderas) and a fairy godmother with less than honorable intentions (Jennifer Saunders - 'Eddy' from "Absolutely Fabulous"), would rather see his daughter with Prince Charming (Rupert Everett). The sequel, which was written and directed by a team of people, smartly dropped the corporate jabs of the first film and added some references a child would understand, such as a lot of fairy-tale characters. "Shrek 2" is best explained as funny entertainment, the kind of film your child will like for its silliness and the parent will enjoy for its many cultural references (previously known as "derivativeness"). I took this bait this time, and yes, it was tasty. *** (out of) ****

"Valentin": Writer-director Alejandro Agresti, sadly, had but a single fond memory from his childhood. It was an afternoon spent alone with his estranged father's girlfriend, Leticia. They went to the movies, talked, and had a beautiful time getting to know each other. Agresti, when reflecting back, decided to build a film around that memory. "Valentin," stars Rodrigo Noya as Agresti's childhood namesake, Valentin. The film is set in Buenos Aires in 1969, during the great space craze. Valentin is eight years-old and living with his paternal grandmother, who, since the boy was four, has raised the child. Valentin's mother was institutionalized in part because of her alcoholism, and his father (Alejandro Agresti, playing his own father) was abusive towards his son. Despite the sad theme, Valentin is a sweet boy and the film is well-intentioned, and probably more uplifting than it should be, given its hard underbelly. Agresti fills his film with little memories of the time (Che Guevera presence; the anti-semetic attitudes of the community), but it's little beyond the typical coming-of-age story. He also adds dollops of fiction to spice up his story. The fictional parts were the best part of the film. Rodrigo Noya's performance and Agresti's interesting bit playing his father keeps this film by drowning in its own self-absorption. Nice try, Alejandro. Next time, a little less cute, and a little more grit. It would've played better. ** (out of) **** (In Spanish with English subtitles).

"Bon Voyage": In my previous review for "The Flower of Evil," I discussed how French director Claude Chabrol had been making films since 1958, yet I'd never seen any of his work. Coincidentally, another new-to-me French film director, Jean-Paul Rappeneau, has been directing since that same year. The difference is, unlike Chabrol's fifty films during that period of time, Rappeneau has made exactly eight films-a very Kubrickian-like pace. Rappeneau has won several awards and nominations for his previous films ("Cyrano de Bergerac" featuring Gerard Depardieu is probably his best-known work) and if his latest effort, "Bon Voyage" is an indicator, his previous films are worth investigating. It's 1940 and the French are about to capitulate to the Germans. Yes, it's a low point in France's history, but is there a better way to portray it than through the comic eyes of a 72 year-old film director who lived through the experience? The stunningly well-aged Isabelle Adjani plays Viviane Denvers, one of France's best-known actresses. Viviane is used to getting what she wants, whether its the perfect role, or a patsy for her dirty work. Gerard Depardieu plays French Prime Minister, Jean-Etienne Beaufort, who in addition to France's war problems, has the lovely Ms. Denvers on his mind. Meanwhile, the man framed for Denvers' crime, his "partner-in-crime;" a lovely research assistant (Virginie Ledoyen), and a professor with a valuable secret that's important to the war effort, are headed for a collision course. Mix in Peter Coyote as the evil bad guy (is it a coincidence that he's an American playing a foreigner, or am I just paranoid?), a revenge-minded relative, plus a persistent detective, and you have one heckuva recipe for an entertaining film. "Bon Voyage" is a delicious mixture of intrigue and farce. It's filled with wonderful performances, from the 48 year-old (!!) Isabelle's Adjani's self-absorbed actress, to Peter Coyote's cool villain. Jean-Paul Rappeneau, who also co-wrote the juicy script, does a brilliant job of balancing the film's 114 very well-pace minutes. "Bon Voyage" is an action-packed thriller and a very funny film-all rolled into one. I await (uh, no) the insipid Hollywood remake. Very highly recommended. *** 1/2 (out of) **** (In French with English subtitles).

"The Flower of Evil": I have a growing infatuation with French films. Maybe it's because I've watched a string of good ones lately (including some classics). Or maybe it's because when it comes to making good films, the French seem to 'get it.' I was drawn to "The Flower of Evil" because of its director's reputation. Claude Chabrol has been making films since 1958 and is considered one of the greats. I confess I've never seen any of his works, so I was hoping his latest effort would be a good one. Well, let's just say it had an interesting premise. Francois (Benoit Magimel) has just returned from law school in America. He had few nice things to say about our country (ah, those America-bashing French!) but from my recent French-film-watching experiences, that's pretty typical. Francois goes back home (Bordeaux, France) to dad, Gerard (Bernard Lecoq), his politician step-mom (Nathalie Baye) and her gorgeous daughter, Michele (Melanie Doutey), with whom he's had a less-than-natural attraction for some years. In addition to his step-sister (who, thanks to a little family in-breeding, is also his cousin), Francois is close to his Aunt Line (Suzanne Flon), who has more than her share of family secrets, many of which come to light during step-mom's run for office. As I said, I am not familiar with Chabrol's work, but I can't help but wonder if he's been a big influence on Francois Ozon's ("8 Women," "Swimming Pool," "Water Drops on Burning Rocks") work. The difference is, Ozon is clearly on top of his game, while Chabrol, if this film is an example, isn't. Like many French films, "The Flower of Evil" takes a long, long time to get to its point. Unlike some of the others, however, this one doesn't dazzle along the way, and ultimately, its point isn't worth the wait. ** (out of) **** (In French with English subtitles). DVD.

"Kill Bill: Vol. 2": Quentin Tarantino isn't an easy man to explain. He's generally been described as an egomaniacal maverick, and in some serious cinematic circles, he's loathed as a hack. Personally? I think he's one of the best directors in the world. His mind for films is nearly second to none, and his results are fantastic. About six months ago, the writer-director released his fourth film: "Kill Bill: Vol. 1" "KB: V1" was a fantastic orgy of violence, and I mean that in a good way. In my opinion, every frame of that film, when taken in the proper context, was brilliant. In short, that film was a masterpiece. Tarantino's follow-up, "Kill Bill: Vol. 2" is more of a companion to the first film. It's quieter, a lot less choreographed, and a lot more willing to "talk things out" than its predecessor. Since the body count wasn't quite completed after the first volume, "KB: V2" picks up where things left off. It spends a lot of time very deliberately tracing the 'origins' (for lack of a better word) of the Bride's (Uma Thurman) relationship with her intended target, Bill (David Carradine). And, of course, along the way, the very revenge-minded Bride (I'll let you find out her real name) runs into Bill's brother, Budd (Michael Madsen), and Elle Driver (Daryl Hannah), one of the Bride's ex-fellow killers on the Deadly Viper Assassination Squad. With this effort, Tarantino definitely took a more cerebral approach to the situation. There are still plenty of 'cool' signature moments (I loved his use of music and the intentional homages in his camerawork), as well as his patented dialogue that was clearly lacking from the first volume. And, as with his previous films, Tarantino the writer, wrote some delicious parts for his otherwise under-appreciated actors, while Tarantino the director, coaxed some subtly brilliant performances from his cast, especially Hannah and Carradine. Uma Thurman, of course, was terrific. The bloodthirsty crowd will be left a little wanting, but diehard film fans will appreciate the overall effort. "Kill Bill: Vol. 2," shows Quentin Tarantino knows the pen is indeed mightier than the sword. *** 1/2(out of) ****

"Broken Wings": Sadly, death and despair, not uncommon in any society, runs prevalent in Israel. However, having said that, "Broken Wings" from Israeli filmmaker Nil Bergman, isn't about the terrors that are a constant presence in Israel's daily life (thank goodness), but it does cover death and despair, especially the latter. The film is set in Haifa, Israel where Dafna Ullman (Orik Zieberschatz-Banai) is a widowed mother of four, raising 17 year-old Maya (Maya Maron), 16 year-old Yair (Nitai Gvirtz), as well as 11 year-old Ido, an adventurous (read: reckless) boy. The three siblings dote upon their little six year-old sister Bahr (Eliana Maron) who's just beginning school. This is a crucial time when the family needs their mother. Dafna's job as a nightshift midwife means odd hours and a lot of on-call, overtime situations. Her work responsibilities often keep her away from her family, including their important events. Dafna's lack of parental focus cause her to miss Maya's singing career, the troubled Yair's little cries for help, and the impressionable Ido, who is at an age when he needs a lot of supervision. And little Bahr is terrified of attending her first year of school, plus she really needs a mother to pick her up everyday. You get the idea. The title of this film is very misleading. "Asleep" would've been more appropriate, but not for the obvious reasons. Sleeping is the running theme to this film and it mostly involves the mother, Dafna, who, by the chain of events caused by her husband's untimely death, not only has her life completely altered, but her personal decisions directly impact the lives of her fragile family members. Writer-director Nil Bergman had good intentions and his film has had success (it was the winner of nine Israeli Academy awards), but despite some obvious inspirations, he's no Mike Leigh, and when all's said and done, his film isn't the promised enlightening trip into the screwed-up lives of one family. Instead, "Broken Wings" is a little soap opera that tries, but ultimately is too depressing to recommend. ** (out of) **** (In Hebrew with English subtitles)

"Eternal Sunshine of the Spotless Mind": It's probably safe to say that all of us have at least one bad memory we'd liked erased. You can't do that of course, but in the movies, anything can happen. And if you're Charlie Kaufman, writer of the imaginative films "Being John Malkovich" and "Adaptation," the sky's the limit. Clementine Kruczynski (Kate Winslet) is just getting over a strange relationship with Joel Barish (Jim Carrey); only she doesn't know it. You see, thanks to a technology perfected by a company called 'Lacuna Inc.,' that memory can be purged. So once the fickle Clementine tires of the boorish Mr. Barish, she can simply erase him from her memory. No more lasting effects from tough breakups or awkward 'meetings' at inopportune times. Just wipe away the whole thing. The idea isn't perfect of course, and when Joel realizes what Clementine has done he decides to try it for himself. Jim Carrey and Kate Winslet are naturals in their roles, while Tom Wilkinson (as the doctor behind the concept) and his nurse (Kirsten Dunst) are perfectly cast. Sadly, from what I've read, many of Kaufman's ideas were purged from the final film (by director Michel Gondry, who also directed "Human Nature" from a Kaufman script), a decision that might be the reason why the film's release was delayed by several months. I liked "Eternal," but I can't help but wonder what it could've been had the original vision been realized. My fingers are crossed that the DVD re-inserts some of those missing ideas. *** (out of) ****

"The Ladykillers": The latest film from Joel and Ethan Coen is a remake of the 1955 film, "The Ladykillers." I never saw the original, but modern artistic liberties have clearly taken over in this remake. Tom Hanks plays Goldthwait Higginson Dorr, Ph.D., a very (and I mean VERY) distinguished Southern gentleman. G.H. answers an ad for a "room to let" from a "nice old lady" named Marva Munson (played by the wonderful Irma P. Hall). G.H. is looking for a quiet place with a root cellar for his classical music band. In reality, G.H. and his motley crew need the place to dig through to the money room at the nearby River Bandit casino. After many comical close calls, Marva finally discovers the gang's real intentions, and, well, the title of the film explains what must be done. In many respects, this is a classic Coen Brothers film. "The Ladykillers" is loaded with quirky characters and great running jokes. Tom Hanks is excellent as the snaggle-toothed-Edgar-Allen-Poe-quoting G.H., while the supporting cast, especially Irma P. Hall and Marlon Wayans (whose foul-mouthed character is the sole reason this film landed an 'R' rating) do justice to their well-written characters. In the end, however, something is lacking. I've been waiting since 1996 for the Brothers Coen to produce a film as whackishly clever as "Raising Arizona" and as masterfully complete as "Fargo." They've had moments since then, and while I feel their remake of "The Ladykillers" is close, it's not quite the brilliant fare we thought we might've seen by now. Call me spoiled. Delicious premise, great characters, but the finished film doesn't quite satisfy. *** (out of) ****

"I'm Not Scared": Don't be misled by this film's title. It comes from a novel of the same name, but shame on its author (Niccolo Ammaniti, who also wrote the film's screenplay) for giving it such an illogical title. Yes, the film has a couple of scary moments, but it's mostly implied. Think of it as if Terrence Malick made an Alfred Hitchcock thriller. Still, having said that, I've always felt the best way to approach a film is to know as little about it as possible. Some of my all-time favorite films were viewed cold. "I'm Not Scared" may not land among my favorites, but it is a great film and if that's all that matters to you, don't bother reading the rest of this review. "I'm Not Scared" begins during the especially hot summer of 1978 in Apulia, Italy. Ten year-old Michele (Giuseppe Cristiano), like most boys his age, is adventurous and very curious. Michele, along with his friends and his little sister, play among the lush cornfields of the gorgeous southern Italy setting. They engage in friendly horseplay, explore the caves, and ignore the various warning signs that dot their playground. The film, which seems to begin as a child's fable, unfolds into a gritty thriller when unbeknownst to his friends Michele makes a shocking discovery at an abandoned farmhouse. The discovery forces Michele to grow up a little faster than expected and tests his fear versus his sense of morality. And what he knows and doesn't know and whom he tells, makes all the difference to his once-innocent world. Gabriele Salvatores ("Mediterraneo") directed "I'm Not Scared" with almost perfect restraint. In spite of the sometimes, sensitive nature of his film, Salvatores was never exploitive, and always knew exactly when to pull back. Not surprisingly, given the film's setting, "I'm Not Scared" was beautifully photographed and enhanced by a sumptuous (and very Italian) score. Interestingly, Salvatores shot his film with a camera precisely 4,' 2" off the ground, exactly the height of his young star. I could go on and on with praise for this magnificent film, but my best advice is to just see it. And then see it again. **** (out of) **** (In Italian with English subtitles)

"The Son": An eye for an eye makes the world blind. That line could probably sum up "The Son," the latest film from the writer-director brothers Dardenne (Luc and Jean-Pierre, best known for "La Promesse"). Olivier (Olivier Gourmet) is a carpentry instructor at a vocational school in modern-day Belgium. His marriage to Magali (Isabella Soupart) ended shortly after the tragic death of their young son. Magali still has a lot of affection for Olivier, but she can not stay married to a man whose feelings about their son's death are still very unresolved. The film, however, has little to do with their marriage, and more to do with a character that I will not mention in this review. In fact, I'm going to stop here. I'd like to elaborate, but in order to preserve the film's impact, the less you know, the better. On the surface, "The Son," the film, is an exercise in patience. Below the surface, "The Son," the story, is an exercise in humanity. The film's message, though subtle, is powerful. It's utterly amazing how a 110 minute film with extended scenes featuring the cutting of lumber (and filmed with a hand-held camera), almost no dialogue, and nary a single note of music, dramatic or otherwise, can touch you in a way you didn't think possible. This formula also creates some incredible tension. "The Son" is astonishing in its simple power. The ending of "The Son" is abrupt (recalling Antonioni's "L'Avventura") and very deliberate. This is the stuff of film classes. The brothers Dardenne present their "case" beautifully, but leave it to the viewer to interpret what they just witnessed and how they might reconcile the film's dilemma. Let's just say this isn't a film that will immediately leave your head. **** (out of) **** (In French with English subtitles)

"Goodbye Lenin!": Imagine falling asleep the night of the 2000 U.S. Presidential election, only to wake up several months later to the news that the President is actually Al Gore. That's the general concept of "Goodbye Lenin!," only the film begins in October 1989 shortly before the fall of the Berlin Wall. Christiane Kerner (Katrin Sass) is a proud socialist in her native East Germany. Her communist beliefs leave her at a loss for how the "Westies struggle to survive under capitalism." (!) One night, during a particularly ugly riot, and after watching her beaten 20 year-old son, Alex (Daniel Bruhl) get hauled away by police, Christiane suffers a serious heart attack that throws her into an eight-month coma. When she finally wakes up, the world around her has changed, and for her family, seemingly for the better. Her daughter Ariane (Maria Simon), for example, is now happily employed by the local Burger King. Examples of the new capitalistic society are everywhere, including a prominent sign for Coca Cola that's just outside Christiane's window. The problem? Her now-delicate heart would be unable to withstand the shock that her beloved country no longer existed. This condition keeps her bed-ridden. Alex, mindful of his mother's politics, schemes to leave her world exactly as she (temporarily) left it. He, along with a wannabe director friend, cook up a series of fake news broadcasts designed to lead her to believe that communism (and her country for that matter) still ruled the day in East Germany. Alex also enlists friends, family and neighbors to help in the ruse. He scours Germany for examples of now-defunct products, like Christiane's favorite pickles (he ends up pouring an off-brand into an old jar) --- anything to show that that Lenin's beliefs have won. Co-writer and director Wolfgang Becker takes an excellent concept and throws it into a blender. He doesn't exactly embrace the values of the dated country, but he's given his audience a clear rooting interest. He's also not so sly about his influences, especially Kubrick's "A Clockwork Orange" (I kept waiting for 'Alex' to find a good milk bar. Nice ode in the mother character's first name, too), or even trying to gain the audience's sentiments with a good dose of "Amelie" charm (right down to its nearly note-for-note music). "Goodbye Lenin!" is billed as a comedy, but that's very misleading. In spite of some of the character's antics, this isn't some wacky episode of "I Love Lucy;" this is a serious subject. Ultimately, "Goodbye Lenin!" is about unity, both within families as well as countries. Becker's film isn't exactly cohesive and seems to lack a specific direction, but unlike communism in East Germany, it wins in the end. *** (out of) **** (In German with English subtitles)

"Big Fish": What's more important, style or substance? Director Tim Burton has made his living attempting to do both. He's succeeded with films like "Pee-Wee's Big Adventure," "Beetlejuice" and "Ed Wood," but couldn't quite pull it off in "Batman," "Edward Scissorhands" and "Nightmare Before Christmas." Quirkiness has always been the central theme in Burton's films and his latest, "Big Fish," is no exception. Edward Bloom (Albert Finney) has lived a rich, full life, but his time is almost up. His estranged son, Will (Billy Crudup), who retreated to Paris years earlier, comes back to not only reconcile with his pop, but also the tall tales he'd come to memorize over the years. Will left in large part because he didn't know who his father was, the man in the fantastic tales, or just a traveling salesman. Ed told his son, and anyone who would listen, some wild stories, about his heroic youth, and the improbable way he met his wife (played by Alison Lohman in flashbacks, then Jessica Lange), to the circus characters he met over the years, plus many other "eye-rollers." Burton goes back and forth in his story (Ewan McGregor plays the younger Ed) and tries to pull hard on our heartstrings, but nothing he's doing here hasn't been done better elsewhere. "Big Fish" is a hodge-podge of several films, including "Forrest Gump" and the recent, far-superior "The Barbarian Invasions." Burton scores in the style department, filling his film with stunning images. He also draws strong performances from his deep and impressive cast, especially Finney, plus nice turns from Helena Bonham Carter and Steve Buschemi. The exception is Billy Crudup as the estranged son. He's out of place and poorly-cast. For a better example of the same role (exiled-to-Paris son reconciling with his dying father), check out Stephane Rousseau in the aforementioned "Invasions." The problem with "Big Fish" seems to lie in the substance department. The derivative story, while ambitious and often charming, is full of too many ideas and too many characters. It never seems to gel. No matter how hard it tried to convince me otherwise, I wasn't buying this fish story. **1/2 (out of) ****

"The Twilight Samurai": is an insightful film about the Meiji Restoration period (after the end of the Tokogawa period) in Japanese history. The recent film, "The Last Samurai" mined some of this territory, but "Twilight" focuses on the latter part, the mid-1870's, and drops most of the swordplay in favor of a little romance coupled with a deep look into Japan's caste system. Hiroyuki Sanada stars as Seibei Iguchi, a modest man and widower, who, after the death of his wife to tuberculosis, is left to care for their two daughters. He likes his job (as a low-salaried samurai clerk) but looks forward to the end of the day when he can spend time with his daughters. Seibei's priorities earn him the nickname "Mr. Twilight" from his co-workers, who are accustomed to drinking after work. One of Seibei's deep regrets is he was never allowed to marry his childhood sweetheart, Tomoe (Rie Miyazawa). Both entered into arranged marriages when they were very young. The story shifts when the recently divorced Tomoe, after learning her old friend is struggling to balance the responsibilities of work and family, attempts to re-enter his life. The problem? Tomoe comes from a higher class, the main reason why the friends never married. Her ex-husband is also a highly ranked samurai warrior with a jealous streak. He isn't exactly appreciative that the lower-ranked Seibei may be considering a romance with his ex-wife. What follows isn't so predicable. Yoji Yamada, creator of Japan's enormously popular "Tora-san" series of light-hearted films, directed "The Twilight Samurai," which received an Oscar nomination for best foreign film (it also came close to sweeping the Japanese version of the Academy Awards). "Twilight" is the prolific director's 77th film in 41 years, and like the others, has yet to be released in the United States. I'm not sure if this beautiful and contemplative film will ever be shown over here (I saw it as a special screening) or if it will be made available on DVD, but it's worth the anticipation. ***1/2(out of) **** (In Japanese with English subtitles)

"Kitchen Stories": If you're looking for a film for the person with too much action in their lives, I recommend "Kitchen Stories" by Norwegian filmmaker Bent Hamer. "Kitchen Stories" is the story of bachelor dining habits in northern Norway. No, I am not kidding. Hamer's film is a bit of an ode to training films from the 50's and 60's, adding in a lot of subtle humor. "Kitchen Stories" begins with one of the cleverest openings in memory (a clue: it fooled our projectionist), and from there, continued to toy with its audience. Folke (Tomas Norstrom) works for a Swedish scientific company, who, among other things, observes people in their natural home habitat. Folke is assigned to the home of Isak (Joachim Calmeyer), a Norwegian farmer and lonely widower. Out of boredom, Isak agrees to allow his kitchen habits to be observed by Folke, who spends much of the day perched upon a tall stoop (it resembles a tennis judge's stand) in Isak's kitchen, armed with a clipboard and pen. His job is to literally document and diagram Isak's exact kitchen habits (I told you I wasn't kidding). Folke is not allowed to speak to, nor consort in any way with his subject. Predictably, the two men slowly develop a quiet friendship, even though Isak takes much pleasure in "messing with" Folke as he tries to do his job. Taken strictly on the surface, "Kitchen Stories" is a very boring film. Ironically, like the mental manipulation of the audience by the director and in turn, Folke by Isak, "Kitchen Stories" is appreciated after it has been dissected, another theme of the film. If you're a fan of Monty Python (I am), then you'll enjoy the wink, wink style of "Kitchen Stories." Recommended. *** (out of) **** (In Swedish [Folke] and Norwegian [Isak] with English subtitles)

"Monster": isn't your average, ordinary film about a serial killer. First of all, this one has a female serial killer. No hockey masks, no bad acting. In fact, "Monster" features great acting, especially from its lead, Charlize Theron, whose performance almost made me forget I picked Naomi Watts for my "best actress" in a 2003 film. Theron plays real-life serial killer, Aileen Carol Wuornos (we must include that middle name!), who, in the late-80's, went on a killing spree in the state of Florida. She was later convicted (and executed) for killing seven men. Wuornos, whose appearance and attitude made it pretty impossible to hold down a real job, made her living as a highway prostitute. It was there that she discovered she could supplement her income by eliminating her johns, who, in her eyes, were unworthy of living. She also killed to help support her lesbian lover, Selby (Christina Ricci), who was on the run from her unapproving family. For me, Ricci's character was every bit as fascinating as Wuornos. The one problem I had with "Monster" was how the filmmaker handled Wuornos, the serial killer. Writer-director Patty Jenkins, making her feature debut, took a very sympathetic approach to her subject. For me, that made "Monster," already a disturbing film, that much more disturbing. Wuornos came from a very dysfunctional background, and her first victim was reportedly someone who left her for dead; yet despite her rotten life, no amount of embellishment can make me sympathize with someone who committed such horrific acts. Still, this is a review, not an editorial. As a film, "Monster" was well-paced, had an interesting topic, and of course, a completely riveting performance from Charlize Theron, who took on a very different persona from her usual roles. I kept trying to picture her character from "Cider House Rules." Night and day. Christina Ricci as Wuornos' lover Selby, whose life was almost as screwed up, played meek and misunderstood very well. It was a very good, very understated performance. Jenkins' approach to her subject is about the only negative to this film. Overall, "Monster" has too much going for it to not recommend it. *** (out of) ****

"The Barbarian Invasions": In 1986, French-Canadian filmmaker Denys Arcand made the film "Decline of the American Empire," a study of all things intellectual among a group of very eclectic friends. 17 years later, and with many of the same cast and characters, Arcand created "The Barbarian Invasions," which from all accounts (I didn't see the first film) continues the political and sexual assault. "Barbarian" begins with the hospitalization of Remy (Remy Girard), a very opinionated and mostly disliked college professor. Remy has a terminal disease. Remy's rich and successful son, Sebastien (Stephane Rousseau) in a gesture to make his father as comfortable as possible in his last days, uses his money and influence to bring together all his father's friends, some of whom don't especially care to see this arrogant man. Sebastien, through bribery of the hospital's union staff, manages to secure an unused wing of the hospital. And when ordinary painkillers won't do, Sebastien hires a junkie (Marie-Josee Croze) to supply Remy with heroin. I've given you the setup of the film, but it's at the execution level where "Barbarian" succeeds. Arcand created, and then saw to fruition, an amazing story about a man's life. He took a series of characters, showed us their warts, extolled their virtues, and then allowed us to decide whether they deserved our sympathies. Arcand's script (which was nominated for an Oscar, a rarity for a foreign film) is nothing short of a gift. Rich, vibrant, intelligent, beautiful. Arcand's politics, which swing to the left side of the spectrum, are very much in evidence in this film, which takes shots at Canada's healthcare system, not to mention some of their neighbor's failed policies. The film, over the course of its 99-minute running time, has a lot to say. Arcand also directed three standout performances: Stephane Rousseau's dry and pushy Sebastien (ironically, Rousseau is a famed comedian in Canada); Remy Girard's wonderful interpretation of Remy, who has a lot of friends for such a hard-ass, and Marie-Josee Croze's tender performance of the junkie. "The Barbarian Invasions" is a very rewarding experience. *** 1/2 (out of) **** (In French with English subtitles)

"Monsieur Ibrahim": is the coming-of-age story of Momo, a 15 year-old Jewish boy (played by Pierre Boulanger), and his interactions with Monsieur Ibrahim, a Sufi shop-owner played by Omar Sharif. The film is set in a 1960's Paris neighborhood, where Momo lives a motherless existence with his self-absorbed, unloving father (Gilbert Melki), who hasn't given up on the return of his long-missing wife. Momo has two obsessions: music and girls. In order to pursue the latter, he shoplifts from Ibrahim and then spends the leftover grocery money on the neighborhood prostitutes who, until the neighborhood girl finally notices him, serve as Momo's idea of love. Instead of taking the hard approach, Ibrahim takes the impressionable boy under his wing. Despite their religious and cultural differences, it isn't long before the two characters form a bond. "Monsieur Ibrahim" was directed and written by Francois Dupeyron, who tried his best to model his film after some of the classic French New Wave films of the Sixties. He did an admirable job, especially with the mood and the settings. Dupeyron's story (based on the novel by Eric Emmanuel Schmitt) shows how Ibrahim, who lives by his Koran, and Momo, who is some fifty years younger and has his own code, can have their lives intertwine when circumstances intervene. "Monsieur Ibrahim" borders on slow, but thanks to some good performances from its leads and a very nice story, the charms of "Monsieur Ibrahim" win out. Recommended. *** (out of) **** (In French with English subtitles)

"The Last Samurai": Tom Cruise has been playing cocky for years. That's his shtick. He even mocked himself in "Magnolia." For his latest film, "The Last Samurai," Cruise once again does cocky, only this time, he shows some depth to his role. Cruise is Nathan Algren, an arrogant Civil War hero, who, ten years after the war ended, is now as a drunken mock-up of his former self. Algren's talents are now limited to the show circuit as a celebrity demonstrator for a rifle company. Fate intervenes when a Japanese businessman offers Nathan the chance to make $500 a month to whip the Japanese emperor's army into fighting shape. The emperor (played by Shichinosuke Nakamura) wishes to destroy a colony of samurai warriors led by the legendary Katsumoto (Ken Watanabe). The samurai represent the old, tired way of Japanese culture, while Algren and his new band of mercenaries, complete with arms training, represent the future. Against Algren's wishes, the mercenaries move too early on the samurais, who cut the army to pieces and capture the Civil War hero. In the battle that led to his capture, Algren killed Katsumoto's brother-in-law. And to make matters worse, Algren is kept alive and cared for by the Katsumoto's newly widowed sister, Taka (Koyuki). This proves to be a very humbling experience for Algren, who not only has to dry out in the Japanese mountains, but also has to live with the beautiful Taka, as well as her grieving children, who in turn, must be hospitable to their new guest. It's at this point that the film turns. Algren realizes his true side, as well as the side he should be on. "The Last Samurai" was directed and co-written by Edward Zwick, who brought his experience as director of "Glory" to this picture, especially during "Samurai's" magnificent battle scenes. Zwick did a marvelous job controlling the tempo of the film, which would change from scene to scene, from the serene calm of the samurai camp to the fierce anger and corruption of the Japanese mercenaries. Zwick complemented his film with lush cinematography (from John Toll) and a gorgeous score (by Hans Zimmer). The performances, up and down the film, were outstanding, from Tom Cruise's heroic, but ultimately humble warrior, to Ken Watanabe as Katsumoto, as well as Koyuki as the grieving widow. Veteran character actor Timothy Spall ("Topsy Turvy") also contributed an excellent turn as an American photographer now living in Japan. In conclusion, "The Last Samurai" is a beautifully produced, wonderful example of a true epic film. *** 1/2 (out of) ****

"Master and Commander: The Far Side of the World": It took me nearly two months before I would attend this film. The thought of watching an epic 138-minute film starring Russell Crowe along with a bunch of men on a ship was pretty unappealing. I have to admit I caved in after hearing so many good things about the film. You know something? "They" were dead-on. "Master and Commander" is not only a good film -- it's a great one. Crowe stars as Captain Jack Aubrey, hero of the Patrick O'Brian novels, and captain of the British ship, the HMS Surprise (circa 1805). Aubrey, who sailed for the British Navy under Lord Nelson, now commands a modest, but ambitious crew, some as young as twelve years. Aubrey, along with his closest friend, the ship's surgeon Dr. Stephen Maturin (Paul Bettany) and the crew sail the rocky seas around the coast of Brazil in search of the French warship Acheron (interestingly, in the novels, the Surprise battled a U.S. warship. Hmmm). The mysterious ship launched an unprovoked attack on the out-manned and out-gunned Surprise. What the smaller ship has, however, is the wily and determined Captain Jack, who makes it his mission to find the Acheron. Peter Weir, who directed and co-adapted "Master and Commander" (with John Collee) from two of O'Brian's novels, does a wonderful job pacing the film and managing the obvious tension created by the film's plot. "Master and Commander's" characters, especially Maturin (who is also a naturalist) were nicely developed. The film's very literate script also does a terrific job highlighting the captain and surgeon's friendship, as well as Aubrey's brilliant tactical command. And despite its theme and length, the film never felt boring. "Master and Commander" also had enough swashbuckling to satiate the thirst of the action-starved. The acting was outstanding, especially from the film's leads, Crowe and Bettany. "Master and Commander" is almost like a young boy's idea of a romance novel --- with the sea and its sense of adventure as the object of affection. Like the "Lord of the Rings" series, "Master and Commander" takes its viewer on a grand journey. If I may offer my opinion, I preferred "Master and Commander" to Peter Jackson's films. Weir's "Master and Commander" is a near flawless example of great filmmaking. **** (out of) ****

"House of Sand and Fog": This has been the season for depressing films. "Mystic River" and "21 Grams" could hardly be described as uplifting, but next to "House of Sand and Fog," these two examples are bubbly. "House of Sand and Fog" stars Jennifer Connelly as Kathy Nicolo, a recently deposed homeowner, and Ben Kingsley as Massoud Amir Behrani, the man who purchased her San Francisco Bay Area property at a tax auction. Nicolo, among other things, is a recovering alcoholic with the serious inability to assume responsibility, such as responding to lien notices. When she fails to pay a $500 business tax on her childhood home (that was left to her by her father), she is forced out by the local authorities. Within days, a hard-working Iranian immigrant purchases the home. The problem? The business tax was a mistake by the county. No tax is owed and the home truly belongs to Nicolo. Tell that to Behrani, who sees the property as a way to not only relive past successes in Iran, where he was a decorated Colonel who lived in a beautiful home not unlike the one he just purchased, but also as a quick investment that will allow him to give up his two menial jobs (ditch-digger and convenience store clerk) and to give his wife and teenage son the life they were accustom to in Iran. The latter goal is more Massoud's obsession, rather than his wife's (played by the wonderful Shohreh Aghdashloo) or son's, who are comfortable with their lives. Kathy Nicolo, with the aid of one of the officers, Lester Burdon (Ron Eldard) who helped evict her, try to fight the decision. The county doesn't want to admit its mistake, so Kathy and Lester decide to slowly take matters into their own hands, a decision that has disastrous consequences for everyone involved. "House of Sand and Fog" is based on a novel by Andre Dubus (who wrote the short story for "In the Bedroom") and is directed by newcomer Vadim Perelman, who couldn't have asked for better source material for his debut. The story is a rich blend of wonderful characters and great performances, all deftly handled by Perelman. Kathy, in addition to her battle with the bottle, is a shut-in who never adjusted to her husband's sudden walkout, while Lester, who is missing love in his nine-year marriage, falls for the problematic Kathy. Massoud is a hot-tempered man who has never adjusted to the customs of his new homeland. Jennifer Connelly is excellent as the screwed-up (for lack of a more appropriate term) Nicolo, while Ben Kingsley is terrific as Massoud. The standout in the film is Shohreh Aghdashloo as Massoud's wife, Nadi, who quietly stands by her man as everything slowly crumbles around her. You genuinely feel for her, as well as the plight of the other characters. That's the beauty of Dubus's story: it doesn't pick sides. It presents the players, tells their tales, shows their warts, and allows the viewer to decide. "House of Sand and Fog" is a marvelous film. *** 1/2 (out of) ****

"Lord of the Rings: The Return of the King": What does all this mean? What's so good about the "Lord of the Rings" film series? Why are the films generating such hype? I am by no means one of the hardcore 'fanboy' types who worshipped the series of books by J.R.R. Tolkien, or someone who can quote freely from the books or films, but I am a fan of the spectacle, and for three hours during each viewing, I am fourteen again; I am living a grand adventure on a scale as large as the screen at my local multiplex. That is something that should be celebrated, for it isn't everyday that someone or something can so completely take control of your senses; to whisk you away from your grounded reality. "The Return of the King" is the third and final film of the celebrated LOTR series. Writer-director Peter Jackson picks up where "The Two Towers" left off. Frodo (Elijah Wood) and Sam (Sean Astin) are still moving towards their ultimate goal of reaching Mount Doom, where the mysterious captivating Ring is to be destroyed. And the mad Gollum/Smeagol (a CGI character voiced by Andy Serkis) is still trying to get the ring. This time the guide is trying to drive a wedge between the distrusting Sam and the singularly-focused Frodo. Meanwhile, Aragorn (Viggo Mortensen), Gimli (John Rys-Davies), Legolas (Orlando Bloom), and company continue to battle Saruman's forces (conspicuously missing its leader), this time with the aid of Merry, Pippin, and Gandalf. "ROTK," despite the assertion of the "consensus" isn't really a standalone film, but rather a continuation of the stories. The characters are almost like pieces on an elaborate board game. Nearly nine hours of dice rolls later, the characters have reached their goals. It's been an exhausting, but rewarding ride. If Peter Jackson decides, as rumored, to do a film based on "The Hobbit," I'll be there, along with, oh, a hundred million or so others. In this viewer's opinion, "Return of the King" isn't the best picture of the year, but it is fantastic entertainment. *** (out of) ****

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