'Tree of Life' is film as art

I believe there are three kinds of films: film as art, film as entertainment and film that has both artistic and entertainment value. Terrence Malick's “The Tree of Life” falls squarely in the art category. It is a film that will confound and bore some, while leaving others enthralled.

This is a film that defies how we as an audience have been trained to watch films. There is no real plot to speak of. The film is certainly about something, but there is no three-act structure — no clear beginning, middle or end.

Questions like “What's going on?” Or “What does that mean?” are very likely while watching “The Tree of Life.” The best way to process the film is emotionally. Many scenes play with little or no dialogue and rely solely on the power of the images and accompanying music. To be sure this is often an astoundingly beautiful film. If anything, simply looking at the visuals of the film is worthy.

The primary focus of the film is a husband and wife (Brad Pitt and Jessica Chastain) and their three sons (Hunter McCracken, Laramie Eppler and Tye Sheridan). Pitt, a former naval man, is a harsh disciplinarian, who is psychological and, eventually, physically abusive to his family. Chastain plays a sweet, innocent, childlike mother, who, despite the passage of time, always retains an ageless beauty.

Through this family, Malick is attempting to explore the meaning of life, love and existence. It is an ambiguous exploration to say the least that yields some revelations, but no clear answers, which is probably the point. There are no true answers to these questions, only the search for them.

The acting in the film is strong throughout and has a natural quality. It's almost as if we aren't watching actors, but merely peering in on real life. Yet, at the same time, there's an ethereal quality to much of the film.

Pitt is very good as the stern father who, as an audience, we grow to find loathsome and yet he does have moments of sympathy. Some films would portray the character simply as an abusive monster, but there's more complexity here.

The film looks at how strict disciple without compassion can cause the opposite of the desired effect. The middle son Jack, played by the excellent McCracken, turns bitter, rebellious and even mean. He also loses respect for his mother because she allows herself to be treated so poorly.

Jack is later played by Sean Penn, but the actor is asked to do little more than brood and look weary. The older Jack does allow the audience a clue, though, on how to possibly process a film that at times seem impenetrable. What we are seeing, at least in part, are likely Jack's memories. The film jumps around time, much like someone flipping through memories and, as with memories, there is a certain dreamlike quality.

Much of the film is filled with seemingly unrelated images of nature — crashing ocean waves, waterfalls, sunflowers, sunsets — so much so that, at times, the film feels like a nature documentary. Malick even shows us nothing less than the creation of the universe and progression of our planet. There are even brief scenes featuring dinosaurs. It is hard to say what these visuals have to do with the family at the center of the film except to place them into a larger context of existence.

This is most definitely not a film for everyone. It is slow and meandering and  certainly will try many people's patience. Still there's something there. If anything, this is a conversation starter even if only to figure out what you just watched.

'Jesus Christ Superstar' showcases great singing

Arts in Motion Theater Company brings Andrew Lloyd Webber's “Jesus Christ Superstar” to the Loynd Auditorium stage in North Conway, N.H. for the next two weeks with shows Thursday through Sunday. Though based on a book you may have heard of, this is not your typical passion play.

“Jesus Christ Superstar” first appeared on Broadway in 1971 following the release of an album. The show is a rock opera loosely based on the gospels' accounts of the last week of Jesus' life with lyrics by Tim Rice that feature contemporary slang, attitudes and references. It isn't a black-and-white portrayal of these events and plays in the grays by showing Jesus' insecurities, doubts and flaws and his betrayer, Judas, as a tragic, even sympathetic figure.

Arts in Motion's production, working from a concept by Gregory Charette under the direction of Mary Bastoni-Rebmann and music direction of Tracy Gardner, is a showcase for several good singers and some solid acting.

Rafe Matregrano returns to the role of Jesus Christ having previously performed it in M&D Productions' “Godspell.” He has a strong voice that is sometimes stretched to its limits, but when he stays with his range he has rather sweet voice.

Most importantly, Matregrano gets the emotions right. He does not hold back in this performance. His anger and hurt towards Judas is clearly visible on songs like “Strangething Mystifying” and “The Last Supper.” Matregrano is strongest on the more contemplative songs particularly on “Gesthsemane,” a song in which Jesus struggles with whether he is able to willingly let himself die.

Holly Reville is fantastic as Mary Magdalene. She has a pure, clear and beautiful voice that is perfectly highlighted on “Everything's Alright.” She brings a lot of warmth and compassion to the role. Her performance of “I Don't Know How to Love Him” is one of the show's best moment.

Paul Allen is sharing the role of Pilate with Matt Stoker. I saw Allen's take on the role, so I can only comment on that. Allen has a powerful and commanding voice. He doesn't make an appearance until late in first act on “Pilate's Dream” and while he may not be the most beloved character, you're eager for his return.

Like Matregrano, Allen gives a complete performance. He doesn't simply sing the songs, but puts genuine feeling into them. “On Trial By Pilate,” he makes his frustration toward Jesus clear as well as his unwillingness to condemn him and the pressure put on him from the masses calling for Jesus' death.

Jahn Deschambeault as Judas has a strong voice, but, because of technical difficulties with the microphones, hearing her voice was often difficult. Her performance is good and she is able to hint at Judas' emotional turmoil, but doesn't quite fully bring it across.

This microphone issue also marred Ged Owen's performance as Caiaphas, the high priest who sees Jesus as a threat to the nation. It is a shame as Owen gets to show off his capable use of the lower ranges of his voice. Unfortunately, sometimes you can't hear any of it. Hopefully, these audio issues were just opening night hiccups that will be sorted out as the show progresses.

Abby Miller has one solo as Simon Zealotes and her powerhouse voice is one that leaves a lasting impression.

Stacy Sand as King Herod has fun on “Herod Song.” The song is Herod's mocking plea to Jesus to perform some miracles and prove he is the son of God. Sand is flanked by a line of Rockette-style dancers and the number is the show's highlight in terms of dancing.

Elsewhere it is the dancing that is the show's weakest element. The stage often just feels cluttered and chaotic and it seems as if the performers are, at times, wandering around aimlessly. The show also feels somewhat disjointed with scenes working well together as stand-alone pieces, but not really ever connecting.

The use of video was largely superfluous, but there are some directing choice that work extremely well as when Jesus' shadow falls on to the crucifix that is the center piece of the stage during the interspective “Gesthsemane.”

Ultimately, it is the singing that make this worth checking out. Tickets are $15 and $12 for students and seniors. For more information or tickets, visitwww.artsinmotiontheater.com.

More than a 'couple' of laughs

Need a laugh? How about several of them? M&D Productions has the solution with its production of “The Odd Couple: The Female Version,” which opened Thursday at Your Theatre in North Conway, N.H. and is playing Thursday through Saturday for the next three weeks.

Neil Simon's “The Odd Couple,” the story of slob and a neat freak who decide to move in together, has seen many incarnations and first appeared on Broadway in 1965. The play spawned the successful 1968 film starring Jack Lemmon and Walter Matthau, which in turn spawned the popular TV series that aired from 1970 to 1975 starring Jack Klugman and Tony Randall.

On the 20th anniversary of the show, Simon decided to revisit the characters, but with a gender reversal. Thus, Oscar, the slovenly one, and Felix, the fastidious one, became Olive and Florence. Julianne Brosnan takes on the role of Olive and Jane Duggan that of Florence, and they make a good team.

Brosnan, who last year appeared as the uptight Sister Aloysius in “Doubt,” gets to let loose as the proudly messy Olive while Duggan makes it rather easy to see how anyone would be driven crazy by Florence after mere hours together let alone days and weeks. This is comic dialogue that is all about delivery and timing and these two, under the direction of Rich Russo, hit every line just right.

Much of the female version is word for word the same as its predecessor. All the most iconic moments, such as the linguine scene, are still intact. There are two major changes in content. Poker night with guys is now Trivial Pursuit with the ladies. In the original version Felix and Oscar have a date with their neighbors, the Pigeon sisters from England. In the female version Florence and Olive have a date with the Costazuela brothers from Spain.

This production has gathered together a strong group of women to play the Trivial Pursuit night friends. Karen Gustafson as Mickey “The Cop,” Janette Kondrat as the sarcastic Sylvie, Christina Howe as Renne and Pa'Mela Ramsay as the dimwitted Vera have terrific chemistry together, and the scenes have an easygoing flow. There's a great energy when a suicidal Florence arrives late to Trivial Pursuit after her husband leaves her.

It is with the brothers that Simon actually upgrades upon the original. The brothers are still struggling with the English language which leads to some confusion of terms that have the flavor of classic vaudeville.

As played by Eric Jordan and Doug Collomy, the Costazuela brothers are absolutely hilarious. They come in during the second act and re-energize the show. Collomy speaks in a fast, high-pitched voice that is just right, while Jordan is slightly more suave of the duo. It is board caricature not dissimilar to the “two wild and crazy guys” character from “Saturday Night Live,” but it works extremely well. Duggan has the most stage time with these two, and the way these three play off each other is priceless.

The laughs come fast and often in this production and they are long and hearty. Some dialogue may be missed over the roar of the laughter and that's no exaggeration.

Call the box office at 662-7591 for tickets.

Attend the ballad of 'Sweeney Todd'

 A murderer is on the loose, or so proclaimed ads in The Conway Daily Sun, but fear not: This madman resides only on the stage of the Eastern Slope Inn in North Conway, N.H. The Mount Washington Valley Theatre Company's production of Stephen Sondheim’s “Sweeney Todd” opened Wednesday, Aug. 10, and is playing through Aug. 20.

Grant Golson plays Sweeney Todd, formerly Benjamin Barker, who returns to London after a 15-year banishment on false charges. He seeks vengeance against the crooked Judge Turpin (Kevin O'Neil) who destroyed Todd’s life so many years earlier. With Todd’s wife dead and his daughter, Johanna (Brittany Santos), the ward of the Turpin, he sets up shop as a barber waiting for the opportunity to give Turpin an extra close shave.

When Todd’s initial attempts at bloody retribution fail, he decides that all of humanity deserves to fall at the hand of his blade. His ally in this scheme is Mrs. Lovett (Victoria Bundonis), who bakes Todd’s victims into her meat pies. This adds an aspect of sharp social critique particularly on the wickedly funny “Little Priest.”

Director Andrew Glant-Linden and set designer Daniel Thobias open the production at an insane asylum with the inmates forming a chorus that sets up the show with “The Ballad of Sweeney Todd.” As the show begins proper, the padded cell walls of the set are pushed and pulled to transform into 19th-century London and the inmates become the characters of the play.

This staging choice is a departure from the original, which first opened on Broadway in 1979, but as the show progresses it makes more and more sense as you realize all the primary characters are driven by obsession. For Todd that obsession is killing Turpin, for Turpin it is sheltering Johanna all for himself and for Mrs. Lovett it is her misguided love for Todd.

Even the seemingly normal characters like Todd's daughter and her suitor Anthony (Peter Carrier) are driven by a love that is more like a fixation. Upon further inspection the lyrics to “Johanna,” the sweet ballad Anthony sings to his new love, have a certain darkness to them. “I'll steal you, Johanna, I'll steal you/Do they think that walls could hide you?/Even now, I'm at your window/I am in the dark beside you/Buried sweetly in your yellow hair.”

Golson, who has appeared in a variety of productions for the Mount Washington Valley Theatre Company including “Annie” this summer and “Music Man” and “Singin' in the Rain” last summer, makes a terrific Todd.

This is something different for Golson. He broods fantastically and has a powerful voice. On “Epiphany” he revels in Todd's madness. What makes the performance work so well are the smaller details, the barely noticeable facial expressions and gestures.

Bundonis is Golson's equal and helps provide the show with much needed moments of brevity. She has assured comic timing and just a touch of campiness that plays nicely off of Grant's more somber performance. This juxtaposition is most hilariously apparent on “By the Sea.”

O'Neil is appropriately unsettling as Turpin, as is Andrew Lipman as his right-hand man, The Beadle. Carrier and Santos have less colorful roles as Anthony and Johanna, but perform admirably.

This is large ensemble cast that is put to the test by perhaps Sondheim’s most challenging musical, which features dense, overlapping operatic lyrics. The cast is up to this difficult task, but in a few cases struggles to be heard as the live music drowns out the performers. This is a problem that continues to plague productions at the Eastern Slope Inn stage.

The worst example of this occurs during “Kiss Me” and “Ladies in Their Sensitivities.” These songs are sung simultaneously, one in the foreground and one in the background, and when you add the band it creates a wall of sound in which nothing can be made out.

Isolated moments like that aside, this is still a solid production. This is a show that requires a lot of singing of its cast and, under George Wiese's musical direction, there are moments that are genuinely spine-tingling and shouldn't be missed.

Tickets are $30. For tickets visitwww.mwvtheatre.org or call the box office at 356-5776.

'Cowboys and Aliens' is solid entertainment — no really

“Cowboy and Aliens” may sound like the title of campy, low-budget film, but, surprisingly enough, this is a straightforward, well-crafted, big-budget western that just happens to feature aliens.

The premise of aliens interacting with cowboys may be hard for people to accept, but is it really any more silly than aliens invading modern times? Why wouldn't aliens stop by Earth in the 1800s?

Director Jon Favreau, working with producers Steven Spielberg and Ron Howard, grounds the film in reality. As was true with his “Iron Man” movies, as goofy as the premise may be, he treats the material seriously.

Now serious doesn't mean not fun, but merely that this isn't a broad comedy or parody of the western and sci-fi genres. Instead it is a slick hybrid of elements of both that, while flawed, is entertaining and has unexpected emotional weight.

What adding aliens into the western formula also does is give a common adversary to unite former enemies. In this film town folk, cowboys, bandits and Native Americans all join forces to face off with what they refer to as “demons.” This makes for an interesting and different dynamic.

The film opens with a man (Daniel Craig) waking up in the desert with a strange, futuristic metal device on one of his wrists. He has no knowledge of who he is, but he has deadly skills that come to him innately when bandits try to take him hostage. This set up makes Craig's character a bit like Jason Bourne in the “Bourne” movies.

Craig's unknown man heads to a local town where he's recognized as a wanted man with a long list of crimes and is thrown in jail. Then the aliens fly in, activating the device on Craig's wrist, which turns out to be a weapon. The aliens kidnap several town folks before Craig can use his newly discovered weapon. A reluctant alliance is made between Craig and the town folks and they set out to rescue their kin.

Favreau has done a good job recreating the old West, or at least the film version of the old West. The period detail feels authentic. This isn't a rushed film. When the action scenes arrive they are thrilling, but Favreau and his team of six writers take the time to establish the characters and fleshing them out into more than mere stock characters.

Before the aliens arrive we are introduced to a slew of familiar western characters: the sheriff (Keith Carradine), Doc, the barkeep (Sam Rockwell), the preacher (Clancy Brown), a tyrannical rancher that runs the town (Harrison Ford), the rancher's fool son (Paul Dano), the rancher's Native American ranch hand (Adam Beach) and a beautiful, mysterious woman (Olivia Wilde).

This is an exceptionally strong ensemble cast with even the smallest roles filled by talented actors. Brown, probably best know to sci-fi fans as the villain in the first “Highlander” film, is a pleasant surprise. As the preacher, he gives a warm, low-key performance that sidesteps cliche. In a couple of the film's strongest scenes, Brown attempts to teach Rockwell how to shoot while also discussing the existence of God.

Ford is in his gruff old-man mode and few actors snarl out a line like he can, but under the crotchety facade, there's a good man. The film nicely develops the relationship between Ford and Beach. This becomes the emotional spine of the film.

Craig gets to play stoic and heroic, but keeps the performance grounded in real emotion. Much like with his portrayal of James Bond, he brings a quiet intensity to his character. He develops an interesting chemistry with Wilde, who is more than just a love interest. There's a plot development with her character that could lose some audience members.

There are definitely elements of the script that are silly – the aliens are essentially intergalactic prospectors looking for gold – but the film overcomes this by refusing to wink at the cameras. The straightforward approach paired with strong acting from everyone involved makes this a solid piece of escapist entertainment.

'Hairspray' is bright, bubbly fun

The Eastern Slope Inn Playhouse stage has been sent back to a cheery version of 1962 with the non-stop song and dance fun of “Hairspray,” which opened Tuesday, July 26, and is playing through Aug. 7.

“Hairspray,” like “The Producers” before it, is a musical based on a film in which the musical then inspired its own film. The story is a bubblegum version of the civil rights movement told through the integration of an “American Bandstand”-style dance show.

The leader of this revolution is Tracy Turnblad (Amber Coartney), an overweight girl with a good heart, gumption and a wish to dance on the “Corny Collins Show” and to win the heart of the show's dreamboat star Link Larkin (Peter Carrier). When she gets her wishes on both accounts, she sets out for something bigger: blacks and whites dancing together.

While the plot is a sugarcoat, the themes of racial equality are handled sincerely and honestly. The show also deals with issues of bullying of those who are different. The Tracy character proves her taunters wrong with confidence and a refusal to be anything less than herself. It is a good message, and, while real life is rarely this easy, every once in a while it can be.

The Mount Washington Valley Theatre Company's production is a appropriately bright and colorful. This is a show that jumps from one song to the next very quickly, and director Nathaniel Shaw keeps the energy level high and the pacing brisk. The choreography, also by Shaw, is a creative hodge-podge of popular dance moves from the era.

In a tradition dating back to John Waters' original 1988 film, the role of Tracy's mom Edna is played by a man in drag. Richard Sabellico, previously seen raising hell in “Damn Yankees,” takes on the role previously played most famously by Divine in the original film, Harvey Fierstein in the original Broadway cast and John Travolta in the 2007 film.

Sabellico's performance gets big laughs with his manly voice coming out occasional on certain line readings. It may be an easy gag, but it is an effective one that is well delivered. Sabellico shares a sweet and tongue-in-cheek ballad with Craig Holden as Edna's husband.

Physically Coartney is miscast as Tracy. Coartney may not be a twig, but she is by no means the big girl that Tracy is supposed to be. Most of the fat jokes at Tracy's expense therefore become head scratchers as you think “But she isn't even that big.” The role of Tracy is meant to be empowering for girls who are heavier and that aspect is somewhat missing here.

In terms of performance, though, Coartney nails it. She is bubbly and full of warmth and good cheer. She has a strong voice as well that is nicely showcased in songs like “Good Morning Baltimore,” “Mama, I'm Big Girl Now,” “Welcome to the 60s,” “Without Love” and “You Can't the Stop the Beat.”

The rest of the cast is equally solid. Catherine Yadain and Lizzy Palmer provide some quality villainy as mother and daughter who conspire to use the “Corny Collins Show” for their own gains and attempt to suppress all things different.

Kelsey Thompson as Tracy's dorky friend Penny gets laughs whenever on stage. Andrew Malone has a powerhouse voice and smooth dance moves as Seaweed Stubbs and steals the show on “Run and Tell That.” Tunisia Hayward as the jive talking Motormouth Maybelle also has a notable voice and shines on “Big, Blond and Beautiful.”

This is a show that looks as light as cotton candy, but does provide a bit more substance. It is a show where everyone on stage, even the villains, smile widely. Those smiles transfer over to the audience rather quickly and stay on throughout the show.

Tickets are $30. However, Flex Passes, good for four admissions for $100, are available, as are group rates. For information and reservations, call the box office at 356-5776 or visit the Mount Washington Valley Theatre Company website atwww.mwvtheatre.org.

'Captain America' is a rousing adventure

“Captain America” is the fourth superhero movie this summer following on the heels of “Thor,” “X-Men: First Class” and “Green Lantern.” It would be easy to roll your eyes and say “not another one,” but the film escapes possible superhero fatigue by being a straightforward, old-fashioned adventure.

This is the fifth film to come from Marvel Studios. Starting with 2008's “Iron Man,” they've been making a series of films that will culminate with next summer's “Avengers,” which will bring together Captain America, Thor, Iron Man, Hulk and other characters.

Marvel Studio's films have thus far all have been of high quality and made with a care that honors both the original source material while still making the films accessible to a broader audience.

“Captain America” is the story of Steve Rogers (Chris Evans), a 90-pound weakling with a good and tenacious heart who desperately wants to serve his country during World War II. He gets his chance when Dr. Abraham Erskine (Stanley Tucci) recruits him for a special program that, thanks to a super serum, transforms Rogers into a specimen of physical perfection.

Rogers' nemesis is not Hitler, but another ubermensch named Johann Schmidt (Hugo Weaving), aka the Red Skull because his head turned a lovely shade of red when he took an earlier form of Erskine's serum. Schmidt has built his own army known as Hydra and he dreams of, what else?, world domination.

Before Rogers gets to see combat, the script by Christopher Markus and Stephen McFeely rather shrewdly has Captain America used as propaganda to sell war bonds during USO shows. The image of Captain America appears in comics and movies, which is a knowing, but not forced nod to the origins of the character.

When Rogers hears his buddy Bucky Barnes (Sebastian Stan) has been taken prisoner, he goes rogue. With the aid of agent Peggy Carter (Hayley Atwell) and inventor Howard Stark (Dominic Cooper), he leads a one-man mission to rescue Bucky.

The film is a throwback to adventure film serials and war movies, albeit with a bigger budget. Joe Johnston is the ideal director for this material having already shown an affinity for this time period 20 years earlier with “The Rocketeer,” a film about another World War II-era comic book hero.

Johnston gets the look of the era right, and the pacing, with the exception of one action montage, is not as rushed as many modern action films. The film takes its time establishing Rogers before his transformation and allows for scenes like his conversations with Erskine. Tucci, an always reliable character actor, is wonderful in these scenes.

The special effects are top notch, but more subtle than in a lot of superhero movies. The effect of making Evans look like a scrawny version of himself is seamless and rather remarkable. Likewise, the effects for Red Skull are equally convincing. These are the best kind of effects, the kind you accept and then no longer notice. There are also plenty of explosions, ray guns, submarines and aircrafts to dazzle the eye.

Evans, who usually plays cocky and arrogant, does a nice job capturing the sincerity of Rogers. Evans makes a solid hero, but he may have dialed down too much as his Captain America doesn't seem quite forceful enough. Even so, getting the earnestness right was most important.

Weaving, best known for his villainy in “The Matrix” movie, is unsurprisingly terrific here. He is menacing, creepy and ever so slightly mad. All right, he's a raving loon, but Weaving plays it as a man who is thinking about foaming at the mouth rather than actually foaming.

Tommy Lee Jones does his gruff, dry Tommy Lee Jones thing as a skeptical colonel. There's a lot of typecasting in this film from Jones to Weaving to Evans, but typecasting works for a reason. Jones and Weaving have played roles like this before and they do them well. The film benefits for having them.

Atwell as the obligatory love interest looks smashing. She looks like 1940s pin-up girls that so many World War II soldiers fawned over. Thankfully, she can also act and there is a sweet, tentative, rather chaste romance that develops between Atwell and Evans.

This is a rousing adventure in the old style. Those who love the chaotic noise and incoherent action of “The Transformers” best stay away. There is action to be had here, but there's also crazy things like story and characters as well.

'Harry Potter' gets a worthy conclusion

The poster for “Harry Potter and the Deathly Hallows: Part 2” doesn't say the name of the film anywhere on it. In its place in large capital letters are the words: IT ALL ENDS. A bit over dramatic, but not for a Harry Potter fan. For a generation, this is the end of not just a movie franchise, but their childhood.

Author J.K. Rowling's seven-book fantasy series of a wizardry academy and the title character's coming of age and battle with the evil Lord Voldemort began back in 1997 and concluded 10 years later. The film series began in 2001 and now 10 years, eight films, four directors and two screenwriters later we have reached the conclusion.

Just as with the book series, a complex interlocking story and a completely realized world, the films are an impressive achievement. This is a franchise that never dips blow a certain quality level. The films range from simply good to excellent.

At this point, if you are not on board the train to Hogwarts Academy, which takes a beating this time around, this film isn't going to change anything. In fact, if a friend or family member were to drag a newbie to see this film it would be incomprehensible and not because it is the second part of a two-part film, but because it is the culmination of everything that came before it.

A lot happens in the film and getting too much into plot will lead to spoilers, which shall be avoided for those, who, like me, haven't read the books. All you need to know about the plot is Harry (Daniel Radcliffe) finally faces off with Voldemort (a truly creepy Ralph Fiennes).

Although Harry's loyal friends Ron (Rupert Grint) and Hermione (Emma Watson) stand by him, he must make the final confrontation alone. Harry also gets help from Neville Longbottom (Matthew Lewis), an awkward classmate, who in this final chapter becomes a heroic leader. Watching Neville get his due is one of the joys of this film.

It is amazing that all the principal child actors were never replaced and they've grown into fine adult actors able to hold their own with a cast of some of the best British actors alive. Of the massive cast, all of which is splendid, if you had to spotlight someone it is Alan Rickman's Severus Snape. His pregnant pauses and ambiguous intentions remain intact, but now we finally get to see Snape as he truly is. Rickman plays it beautifully.

Director David Yates returns for his fourth film. It was wise to have the last four films be handled by one filmmaker since, unlike the previous four which were more episodic, the final three books were more like a trilogy.

Yates is a skillful filmmaker who has had to bring the darker half of the series to the screen. Each progressive film has drained more of the color from the brightly colored universe director Chris Columbus first introduced in “Harry Potter and the Sorcerer’s Stone.”

The first half of “Deathly Hallows” was slow, pensive and introspective and did a fine job of putting into motion everything that unfolds in “Part 2,” which is at times relentlessly intense. This is no longer merely kid stuff. The film earns its PG-13 rating.

Yates does a good job keeping this final film tightly paced. This is an exciting, fast-moving film — sometimes too much so. There is a climatic battle at Hogwarts and the death of several characters are quickly glossed over.

Dealing with the death of characters seems to be one of Yates limitation as a filmmaker. In all the films he has directed, major characters die and it always feels anti-climatic and lacks the emotional payoff they deserve. That being said, there is a character killed in “Deathly Hallows: Part 2” that is addressed perfectly and in a way that is deeply saddening.

Steve Kloves, who has adapted all but one of the books, returns to cross the finish line. Throughout the series he has done a good job of distilling books that continued to increase in length. Yes, things were cut and things were altered, but the essence always remained intact.

The producers on the film wisely decided, after the first couple films, to not slavishly follow the books and to make the films their own thing. The films remain faithful to Rowling's vision while also being able to have their own take on the world, which is the sign of a good adaptation.

Clearly, Potter isn't for everyone, but for the loyal fans this is a fitting end to one of the most beloved characters in both modern film and literature.

A 'damn' good time

CONWAY — “Damn Yankees,” the Mount Washington Valley Theatre Company current production playing at the Eastern Slope Inn Playhouse through July 23, is about a middle-aged baseball fan so desperate to see his beloved Washington Senators beat those damn Yankees that he's willing to sell his soul to the devil.

Yes, it is another variation on the old Faust legend. Guy sells soul to devil for everything he ever dreamed of only to realize he already had everything he wanted. Joe Boyd (Kevin O'Neil) is literally your average Joe Schmoe. A passing wish to sell his soul to the devil is granted when lucifer himself appears in the form of Mr. Applegate (Richard Sabellico).

Applegate transforms Joe Boyd into the 22-year-old baseball sensation Joe Hardy (Peter Carrier) who single handedly turns the Senators' baseball season around. Joe, a salesman himself, gets an escape clause put into this contract. He can change his mind by midnight on Sept. 24. This is it self a trick as the regular season ends Sept. 25, so if Joe wants the Senators to win the pennant it must be before then.

Joe misses his wife (Patricia Bartlett) and moves back into his home as a boarder. Carrier and Bartlett share a tender duet on “A Man/Woman Doesn't Know.” Mrs. Boyd doesn't realize she's singing about her missing husband with this younger version of her husband. It adds poignancy to an otherwise standard ballad.

Applegate doesn't like this development and sends in Lola (Becca Gottlieb), his best seductress, to help ensure that he gets Joe's soul. This leads to perhaps the show's most famous number “Whatever Lola Wants,” which Gottlieb brings across with fantastic flair. Gottlieb's performance is a highlight of show. She is both sensual and funny and even creates some sympathy for Lola.

The whole cast is strong, though. Sabellico, who just directed the Mount Washington Valley Theatre Company's latest production of “Annie,” is quite funny as Applegate. Applegate has most of the show's best lines and Sabellico has a dry line delivery that works just right.

Carrier has a likable stage presence and a powerful voice. He brings a lot of warmth and heart to his performance. Andrew Lipman has fun as the team manager and there's a nice sense of camaraderie between the actors who make up the team. This comes across best in the tongue-in-cheek number “The Game,” a song about all the women the team has given up in the name of the game.

The show also features some impressive dance numbers, which shouldn't be surprising given that the great Bob Fosse was the show's original choreographer. Director and choreographer Nathaniel Shaw does a nice job creating Fosse-esque dance routines particularly for “What Lola Wants” and “Two Lost Souls.”

“Damn Yankees,” by George Abbott and Douglass Wallop and music and lyrics by Richard Adler and Jerry Ross, first opened on Broadway in 1955 and went on to win six Tony Awards. The Mount Washington Valley Theatre Company production is working from a slightly revised revival of the show from 1994.

The revival version makes some alteration to the second act including Lola falling in love with Joe and Lola and Joe singing “Two Lost Souls,” which was original a duet between Lola and Applegate. These changes seem odd and detract from the main theme of Joe's everlasting love for his wife.

This is a solid piece of musical theater that is well presented by the Mount Washington Valley Theatre Company. Tickets are $30. For tickets visitwww.mwvtheatre.org or call the box office at 356-5776.

'Horrible Bosses' lacks bite, but provides laughs

“Horrible Bosses” is a black comedy about put-upon employees who decide to kill their bosses that doesn't follow through enough on its convictions. The film lacks bite and a willingness to go to truly dark places, but thanks to a very solid cast the film is still funny in its own goofy, vulgar sort of way.

Jason Bateman's Nick works grueling hours in an office run by an egomaniacal psycho played by Kevin Spacey, who gives the promotion Nick was waiting for to himself. Charlie Day's Dale is an anxiety-filled neurotic working as a dental assistant to Jennifer Aniston who sexual harasses him. Jason Sudeikis' Kurt works for a coke fiend played by Colin Farrell with a comb-over from hell.

The trio decide to off their bosses and enlist the help of a “murder consultant” played by Jamie Foxx, whose character has a name that can't be printed and a very funny story about how he got that name that definitely can't be printed here. Foxx suggests they kill each other's bosses similar to Alfred Hitchcock's “Strangers on a Train” or Danny DeVito's riff on that film “Throw Momma from a Train.”

Now, forgive me as I get academic for a second. Black comedy seems like a term that should be easy enough to define and yet I found myself struggling to do so. A search on Wikipedia yielded this: “Black humor is a term coined by surrealist theoretician André Breton in 1935, to designate a sub-genre of comedy and satire in which laughter arises from cynicism and skepticism, often about the topic of death.”

That seemed about as good as any definition, but if it is a sub-genre of satire, how is it different from it? One Merriam-Webster definition of satire is: “wit, irony, or sarcasm used to expose and discredit vice or folly.” Black comedy does the same thing, but puts a mirror up to the most vile, deplorable aspects of humanity. In essence it is a darker form of satire.

Another key of black humor is taking something to its logical extreme to the point of which it becomes illogical. For example in “A Modest Proposal,” Jonathan Swift suggested that impoverished Irish sell their children to the rich as food and actually included possible recipes. Or in the case of “Horrible Bosses” if you don't like your bosses, kill them.

With this understanding, “Horrible Bosses” disappoints at being a black comedy. It is more of a vulgar, screwball farce with dark undertones and on that level it works, but those who hoped the film would go to weirder and nastier places will be let down.

This is a case where an original script by Michael Markowitz was re-written by “script doctors” and you can sense the material was softened and made easier to digest. It isn't that the material is bad, in fact it is often very funny, but in spite of some racy content, it feels too safe given the premise.

The cast goes a long way to making this movie entertaining and even elevating the material from average to above average. Bateman, a master of dead pan delivery, Day and Sudeikis have a great dynamic together.

Day and Sudeikis worked together previously on last year's under appreciated romantic comedy “Going the Distance” and they are developing a strong screen chemistry. They make a good team and it would be interesting to see them paired more.

The film's best scene involves Bateman and Day accidentally spilling a large supply of cocaine and frenetically trying to clean it up while falling under the influence of the drug in the process. It is howlingly funny.

Spacey previously played this kind of character in the far darker “Swimming with Sharks,” but it is a welcome reprisal as he is the king of menacing, snarky put-downs. Farrell gets big laughs as an obnoxious moron. He's barely recognizable and it is a performance that needs to be seen. Aniston gets to show off a vulgar side and it suits her well.

Movies are all about expectations. Walk in expecting a goofy, coarse comedy with a bit of meanness and there are many laughs to be found with “Horrible Bosses.”

'God of Carnage' pulls no punches

“God of Carnage,” M&D Productions' latest production, which opened Thursday, July 7, at Your Theatre in North Conway, N.H. and is running Thursday through Saturday for the next three weeks, is an honest, authentic look at how a civil discussion can collapse into a frothing-at the-mouth argument.

Writer Yasmina Reza's play is simple enough on the surface. Two sets of affluent parents meet under the best of intentions to discuss a violent act that occurred between their two young boys. Veronica and Michael Novac's (Christine Thompson and David Freeman) boy lost two teeth in the altercation, but they see themselves as being the bigger people by inviting Annette and Alan Raleigh (Elaine Kondrat and Rob Clark) over to have a peaceful discussion.

What starts of as an awkward, uneasy exchange de-evolves into a screaming match as the underbelly of both seemingly perfect couples gets exposed. Under their high class facades they are no more above the base actions they gathered to chastise their boys for participating in. 

Reza script is very finely constructed. Essentially we have a 90-minute argument, which, if written poorly, could become shrill and one-note, but shifting allegiances keep things interesting. It would be easy to simply have the two sets of parents remain united fronts, but at any given time the sides will split along gender lines, ideological beliefs or who is submissive and dominant in the respective relationships.

There is much discussion by the parents of what it means to bully someone and how to punish the bully. As the evening progresses, we see, though, how the more dominant spouses browbeat their significant others and how disagreements escalate to things being thrown.

Veronica has a holier-than-attitude as she thinks she is a better, more caring human being because she's writing a book about the atrocities in Darfur although she's never been there herself. Her true colors shine through when she starts going on about how Western civilization is above that sort of savage behavior and yet she's the first to resort to violence.

Thompson is exceptional in this role. Cold, stiff and full of a bitter anger that she tries to control, but ultimately can't. Veronica is not likable and Thompson embraces that and doesn't attempt to soften her at all. It is an intense performance and a true sign of her talents as an actress.

Clark, stepping out of his usual nice guy persona as seen in such productions as Arts in Motion's “Almost, Maine” and “Ordinary People” and M&D's “California Suite,” is fantastic as a boorish lawyer who is constantly on his cell phone.

It is Clark's rude behavior as Alan that starts sending things down hill. He makes no attempt to hide his disdain for this little meeting. In addition to constantly being on his phone, he refuses to play along with Veronica's let's-play-nice attitude, especially when she starts offering condescending parenting advice.

Alan and Veronica are clearly the more dominant personas in their relationships. Annette is literally sickened by his behavior. Kondrat is good as Annette. She plays her as sweet, but when she is pushed into a corner she lashes out. Freedman plays Michael as a passive neurotic, who is constantly trying to play peacekeeper. He switches sides and attempts to defuse the situation, which only infuriates his wife.

The set designed by Mark DeLancey is urban, modern and sophisticated and is in stark contrast with the brutish behaviors that arise. The centerpiece of the set is a blood red painting with violent slash marks. It seems out of place with the rest of the slick décor. As the show progresses it becomes a more accurate reflection of its surrounding.

Director Heather Elise Hamilton keeps the show loose, perhaps too much so as the argument ratchets up toward the end, but the pace and tone she finds fit the free-flowing structure of the dialogue. The writing, much like an actual conversation, goes off on tangent only to circle back to subject later. 

This is an excellent and well performed piece of theater. It is unsettling and leaves the audience on edge but is also savagely funny and will lead to some lively discussion — just hopefully not as vehement as the discourse on stage.

Call the box office at 662-7591 for tickets.

'Transformers 3' gives mindless entertainment a bad name

As I sit down to write about “Transformers: Dark of the Moon,” the third in Michael Bay's insanely and globally popular franchise about cars that turn into robots that talk and beat the crap out of each other, I let out a heavy sigh as I realize I've lost eight hours of my life watching this schlock.

In truth, I actually liked most of the first in the series. There was a sense of wonder and even some moments of quiet grace amongst the chaos. The novelty wore off fast, though, in the second film which was a jumbled, overlong mess.

Everyone involved, including director Bay and star Shia LaBeouf, actually owned up to the second film's poor quality and promised a marked improvement in terms of character development, coherent action and an overall darker tone. Their intentions were pure at least, I'll give them that.

The plot involves the evil Decepticons using a transportation device to bring an army to Earth to reshape the world into their home planet. The good Autobots stand loyally by humanity as all creatures are deserving of freedom.

As has been true with all these films, “Dark of the Moon” is far too long for what is supposed to be a dumb summer action movie. The first 90 minutes is exposition that is so deadly dull that by the time you get to the climatic hour-long siege in Chicago it is hard to even care. The film would've benefited immensely by streamlining the first part of the movie to an hour or even 45 minutes.

Give credit where credit is due, the special effects here are first rate. The robots look convincingly real and their integration into real settings, particularly Chicago, is impressively seamless. The action is more crisp this time because it had to be to shot in 3D. Even in 2D it looks better. Still, we've seen this all before and these metal giants hacking way at each other looks the same every time. After a while it becomes numbing and boring.

The transformers themselves, with the exception of leader Optimus Prime and Bumblebee, LaBeouf's Sam Witwicky's loyal bodyguard, have no discernible personalities or traits and are interchangeable.

The human drama is no better. LaBeouf, who was likable in the first film, is obnoxiously maniac in the third installment. The performance is full of terrible mugging and lots of yelling. It would be easy to put the blame on LaBeouf, but Bay should've seen this wasn't working and reined him in. Even the most talented actors, and LaBeouf does indeed have his charms, need direction.

Bay is more interested in his bombastic visuals than his actors, though. It is not just with LaBeouf. Much of the surprising strong supporting cast, including Patrick Dempsey, Frances McDormand, John Malkovich, Alan Tudyk and Ken Jeong, is way overacting. This is fun to a point, but eventually becomes distractingly annoying.

Series regular John Turturro is desperately struggling to get laughs in a performance that is becoming increasingly strange. It is as if he knows the material isn't working and he's just trying to keep himself amused. Sometimes he amuses us as well.

Then there's Rosie Huntington-Whiteley, who replaces Megan Fox as the impossibly hot love interest. It is telling that most of the discussion around these women's performances is centered around who is hotter. A Victoria's Secret model making her acting debut, she's definitely beautiful. As is often the case with women in Bay's movies, she's here as eye candy. In terms of acting she is no better or worse than Fox.

So, will people like the film? Undoubtedly. It has already made $400 million worldwide in a week. People are going to give it a pass because it is just a mindless popcorn movie. But mindless entertainment doesn't need to be this brain dead and certainly not this oppressively long.

'Annie' director offers first-hand Broadway insight

The Mount Washington Valley Theatre Company has done "Annie" before, but this time the company has the rare opportunity of working with a director who was part of the original Broadway cast.

"Annie" opened on Broadway in 1977. Richard Sabellico was brought in to take over the role of Rooster, the conniving con artist brother of alcoholic orphanage matron Miss Hannigan, in February 1981 and held the role until September 1982.

Sabellico, who turned 60 Wednesday, has directed "Annie" numerous times since his time on Broadway and is following the same blueprint that made the show such a success on Broadway with the Mount Washington Valley Theatre Company production which opened Thursday,  June 30, at the Eastern Slope Inn Playhouse and is running through July 9.

"I thought it [the Broadway production] was extremely well done," Sabellico said. "I thought it was very smart, very streamlined. I thought it told a beautiful story very simply and quickly and one scene melded into another very cinematically and that's what we are going to do here even on limited resources and limited budget. We are still doing it the same way. Exactly the same way."

Sabellico keeps returning the show even after 30 years because of its simple message of hope and optimism.

"I think it is a terrific show," Sabellico said. "I love the message it tells. I like the variance in the cast members from old to young. The animals — I love dogs. But basically it is its message of hope and seeing the glass as half full instead of half empty and always looking forward to the next wonderful thing that could happen instead of being sunk and mired in the past."

Sabellico wanted to put on the best show, and he requested that Linda Pinkham, matron of the Mount Washington Valley Theatre Company, get professional actors for the principal roles.

"This cast is very good," Sabellico said. "The principals are excellent. The kids are, surprisingly, very adept at learning quickly. Their attention leaves a bit to be desired, but their abilities are quite good."

Raquel Leifer, the 10-year-old actress from New York who is starring as Annie, has appeared in role before, but this is her first experience in a professional production.

"This is a lot more intense and real," Leifer said. "In the other one we didn't use a real dog. This just makes me feel more like I really am Annie."

Sabellico is also very pleased with the adults in the cast, noting, "They learn it. They do it. They give back to me what I ask and they bring their own stuff to it."

Michele Foor, who plays Miss Hannigan, feels privileged to have the opportunity to work with a director that was in the original Broadway production of "Annie."

"You just get a whole different insight into it and plus he puts his own personal stamp on it," Foor said. "He's very invested in the characters and keeping them real and keeping the story very real. It raises the stakes a lot and it makes it more interesting as an actor to work on it that way."

Foor first appeared in "Annie" 27 years ago and has appeared in the show numerous times since and various roles. Much like Sabellico, she keeps returning to the show because of its simple, beautiful message.

"I just love it," Foor said. "It gives me a warm fuzzy feeling even though I shouldn't be having that as Miss Hannigan. It is just one of my favorites and this has been a great experience so far."

Grant Golson, who is returning for a fifth season with the Mount Washington Valley Theatre, is taking on the role of Daddy Warbucks and said that Sabellico helped him find the character.

"I came here having just done the show two months ago playing Daddy Warbucks and had a lot of gobbledygook in my head, a lot of preconceived notions of who Daddy Warbucks was," Golson said. "Richard really helped me rediscover who Daddy Warbucks truly was and kind of bring a lot more of myself into it."

Golson keeps returning to the Eastern Slope Inn Playhouse stage because "he fell in love with the area and fell in love with the little playhouse" when he first came here in 2004 for what was his first professional lead.

"I just had a wonderful opportunity to play some really wonderful and challenging roles over the years," Golson said. "I just love it here."

For tickets visit www.mwvtheatre.org or call the box office at 356-5776.

'Midnight in Paris' is Woody Allen at his witty, charming best

Woody Allen is a film-making machine. He has written and directed, and often starred in, at least one film a year since 1971. In recent years he's wisely chosen others to be in stand ins for the roles he would've played. With Owen Wilson in “Midnight in Paris,” a charming and effervescent film, he's found one of his best surrogates.

Since 2005, Allen has been making his way through Europe, having done three films in England, two in Spain and now one in France. “Midnight in Paris” is a love letter to the City of Lights much like the numerous notes of adoration he scribed to the city that never sleeps.

Owen Wilson stars as Gil, a screenwriter who views himself as a Hollywood hack, who is in Paris with his fiancee (Rachel McAdams) and her parents (Kurt Fuller and Mimi Kennedy).

Gil is taken by Paris and yearns to move there to work on his novel. His fiancee and her parents are typical gauche Americans, who can't be bothered with French culture. Allen's script uses the conservative parents to get in some political swipes in that will certainly get the film branded as liberal swill.

But this isn't Allen's satire of modern politics, but a fantasy in which Gil is whisked away by a magical car to Paris of the 1920s where he gets to hobnob with all his literary and artistic idols including F. Scott Fitzgerald and his wife Zelda (Tom Hiddleston and Alison Pill), Gertrude Stein (Kathy Bates), Ernest Hemingway (Corey Stoll) and Salvador Dali (Adrien Brody). Perhaps most importantly he meets Adriana (Marion Cotillard), the woman who finds herself the temporary muse to many artists.

Allen's script wisely doesn't waste time trying to explain the mechanism of the time travel because the how doesn't matter. It is the why that counts. Gil is traveling back to the time that, in his mind, was the Golden Age. Allen uses time travel to explore nostalgia and the idea that some other time was better than the present. The final message that emerges is an expected one given Allen's own predilection toward the past.

The film is very funny, but the humor level depends on how familiar you are with the artist Gil meets. Even cursory knowledge is enough to get most of the jokes, but the more you know the funnier the material will become.

The whole cast is splendid. Cotillard continues to remain seemingly effortlessly charming and she has a sweet, low-key chemistry with Wilson. McAdams, one of the most likable actresses working today, shows her acting chops by coming off as completely insufferable. Brody's appearance isn't much more than a cameo, but he is hilarious in his few minutes.

The best of the bunch is Stoll as Hemingway. Allen's Hemingway speaks the way he wrote: succinct and direct, yet poetic. Stoll perfectly captures Hemingway's machismo.

Wilson hasn't been this good in years. His laid back acting style is, surprisingly, a perfect fit with Allen's fast paced, witty dialogue. Wilson only looks like a surfer dude; he can play smart when he is given intelligent dialogue to work with. He doesn't attempt to imitate Allen's mannerism or persona at all, and so the blending of Wilson's acting style with Allen's dialogue creates something that feels fresh.

People put Allen's later films under harsh scrutiny and say he will never be as good as he was in 1970s and 1980s. And yet you usually see the phrase “return to form” quite frequently in association with a new Allen release, which begs the question if, let's say every other film is a return to form, did he really ever lose it in the first place? “Midnight in Paris,” yet another return to the form he supposedly lost.