A 'job' well done

As the saying, goes never judge a book by its cover or, in this case, a movie by its name. The generically titled “The Bank Job” is indeed about a bank robbery, but those hoping for a light romp may get more than they bargained for.

Based on the true story of 1971’s unsolved walkie-talkie robbery in London, the film theorizes why coverage of the bank robbery disappeared from newspapers after only a few days. Did the government issue a D-Notice — a request to stop coverage — to the media? If so does that mean the government was somehow linked to the theft?

That’s what director Roger Dickerson (“No Way Out”) and screenwriters Dick Clement and Ian La Frenais (“Across the Universe”) would lead you to believe, and it is this angle of government conspiracy that adds a different spin to the heist film formula.

The scheme of the robbery has a motley crew of small-time con artists led by Terry (Jason Statham, “The Transporter”) digging a tunnel from a couple store fronts down the street to the bottom of a bank vault of safety deposit boxes. Thanks to a tip-off from Martine (Saffron Burrows, “Reign Over Me”) they know that the alarms will be off for a brief window of time.

Things get more complex from there with the robbery being a mere setup to get a hold of incrementing photos of a royal that are being used as black mail by the black power leader Michael X. This is where the truth of the “based on a true story” comes into question, but whether it holds water matters not as it compels within the context of the film.

Clement and La Frenais’ script drops the audience in the middle of things and doesn’t take long to set up the robbery. We are introduced to characters quickly, and the script is sly about how it slowly reveals information about its characters.

The cast is largely full of faces unfamiliar to American audiences, and most of the characters are just standard personas. Of the secondary robbers, Stephen Campbell Moore as Kevin and Daniel Mays as Dave stand out most. Statham is the star and he carries the film with his rugged charisma. He is a good — if limited actor — well suited for this sort of material.

Heist movies are usually about one of two things, the thrill of watching an elaborate plot executed or the aftermath of the robbery where things go wrong for various reasons. “The Bank Job” falls into the latter category with an assortment of government officials, crooked cops and seedy criminals coming after Terry and his gang.

Recent heist movies like “The Italian Job” and the “Ocean’s” movies have been breezy and relatively lighthearted. Audiences expecting more of the same with “The Bank Job” will be surprised at how hard-edged the film is.

“The Bank Job” is a throwback to gritty British crime films like 1971’s “Get Carter” and 1980’s “The Long Good Friday” and it looks and feels the part. It doesn’t pull away from violence or try to cover it up with tongue-in-cheek humor.

The presence of Statham will inevitably bring comparison to Guy Ritchie’s “Lock Stock and Two Smoking Barrels” and “Snatch.” Ritchie brings an irony and self-awareness to his material that makes his films on British crime play more like comedies than straight thrillers. Although “The Bank Job” has moments of humor, as when one of the robbers orders takeout while digging the tunnel, the film is mostly a taut thriller.

Dickerson generates a good deal of suspense during the robbery with a plot development too delicious to reveal here. He keeps that suspense going once Terry has to try to find a way to keep ahead of all the various people after him.

As the film draws to it conclusion, the number of players involved is numerous, but the way the screenplay juggles it all is quite clever and satisfying. It is a dark, hard road to a happy ending, but stick with it because you will get one.

Hollywood's 'Horton' captures most of Dr. Seuss' magic

After the uneven “How the Grinch Stole Christmas” and the disastrous “The Cat in the Hat,” the idea of Hollywood taking on another Dr. Seuss classic was hardly appealing, but with “Horton Hears a Who” the good doctor has finally been given the treatment he deserves.

Although “Horton” is a computer-animated film, the filmmakers wisely didn’t go for the motion capture realism that made “The Polar Express” and “Beowulf’ a bit creepy. Directors Jimmy Hayward (a veteran from Pixar) and Steve Martino get the look right. It helps that the film is animated instead of live action. Animation allows for all of Dr. Seuss’ wild imagination and all his Rube Goldberg-esque machines to be fully realized.

The innate problem with adapting Dr. Seuss to a feature length film is that you have to inevitably pad the story. There really is only about a half hour of material in a Dr. Seuss book, so it is no surprise that many of his books were successful animated into a 30-minute format in the 1960s through to the 1980s.

The previous two attempts at expanding his material to 90 minutes failed because they missed the essence of what continues to draw children to Dr. Seuss. It is his whimsy, invention and sweetness that has allowed him to endure. But the “Grinch” and especially “The Cat in the Hat” were mean-spirited, ugly films that were little more than vehicles for Jim Carrey and Mike Myers to do their comic shtick.

The additional material added to the story of Horton — a gentle elephant who vows to protect the world he rightly believes lives on a speck of dust — for the most part is in tone with the source material. Carrey is back for his second crack at Dr. Seuss as Horton, but thankfully he is relatively restrained. There are only isolated moments where Carrey goes off on random comedic tangents that break away from the spirit of Dr. Seuss.

Only one scene — a dream sequence parodying Japanese anime — is a completely unnecessary departure from the story. It is a mildly amusing bit, but has no business being in the final cut of the film. It would’ve been a fun deleted scene, but in the context of the film it is a head-scratcher.

Other scenes, though, are great fun and are perfectly worthy padding. A scene in which Horton has to cross a precarious bridge while the Mayor of Whoville (Steve Carell, “The Office”) is at the dentist is hilarious with every little bump for Horton causing an earthquake for Whoville.

There are also small moments of inspiration that would do Seuss proud. The malleability of Horton’s ears is a reoccurring bit throughout the film that is quite amusing. Horton uses them as a diving cap, a hat and a blanket.

Carrey and Carell as the main characters give solid vocal performances and are well supported by a cast of familiar voices. Seth Rogan as Morton, a hyperactive mouse who is the only animal in the jungle that stands by Horton, delivers another strong voice-over performance following his work in “The Spiderwick Chronicles.”

Carol Burnett is perfectly snooty as Kangaroo, who doesn’t like the free thinking Horton bringing disorder to the jungle. Will Arnett (“Arrested Development”) gives a great comedic performance as Vlad, a vulture for hire sent to destroy the flower on which Whoville is perched.

“Horton Hears a Who” has been taken up by some in political debate. You know it is an election year when even a Dr. Seuss story becomes a political talking point. Some are claiming the film is pro-life (or anti-abortion, if you prefer) because of its reoccurring theme “a person is a person no matter how small.”

Others have read into the story as a parable about the importance of faith with both Horton and Mayor of Whoville being persecuted for believing in something no one else can hear. One review by Gina Carbone from Seacoast Newspapers went as far as to say: “‘Horton Hears a Who’ could do for intelligent design what ‘An Inconvenient Truth’ did for global warming.”

Written in 1954, “Horton Hears a Who” was meant to have a political undercurrent as an attack on McCarthyism. Kangaroo, who riles the jungle up into an angry mob and insists Horton admit that Whoville doesn’t exist, is an obvious stand-in for McCarthy.

“Horton Hears a Who” is about standing up for the little guy and letting every voice be heard, even the ones you don’t necessarily agree with. It is a simple moral of tolerance, a good message for children and adults alike, and the film incarnation delivers that message with humor and surprising pathos. It took Hollywood three tries, but at least they finally got Dr. Seuss right.

'Miss Pettigrew' is an old fashioned screwball gem

“Miss Pettigrew Lives for a Day,” a light and frothy throwback to the classic screwball comedies of the 1930s and 1940s is a wholly enjoyable experience that shouldn't be ignored as just a bit of trifle.

Set in London on the eve of World War II, the film stars Frances McDormand as Miss Pettigrew, a middle-aged governess who has been unfairly fired from her last position. When the employment agency refuses to help her, she swipes the address of Delysia Lafosse (Amy Adams), an American actress and singer looking for a new social director. Suddenly, Miss Pettigrew is taken up in the whirlwind lifestyle of the young starlet.

The film starts out frantic and madcap with Pettigrew helping Delysia juggle the three men she is currently involved with: Nick (Mark Strong, “Stardust”) a club owner, Phil (Tom Payne) the son of a theater producer and Michael (Lee Pace, “Pushing Daisies”) a piano player. The film eventually settles into a more leisured, but no less enjoyable, pace.

It is no surprise who Delysia will wind up with, but what is surprising is how affecting this love square is. Sometimes predictable is OK when the story is told and acted so well. In this case, even with the outcome known there’s still a sense of tension. Credit for this goes to the strong cast and a sharp script by Simon Beaufoy (“The Full Monty”) and David Magee (“Finding Neverland.”)

McDormand, who is still probably best known for her Academy Award winning performance in “Fargo,” is one of the most underused and best actresses in her generation. She is a versatile comic actor who grounds her performances in a certain degree of reality. She thrives in quirky, oddball or offbeat characters, but plays them with a sincerity that keeps them recognizably human.

All of this holds true in “Miss Pettigrew” with McDormand getting laughs from nothing more than facial expressions. There’s a great running gag in which Pettigrew always just misses getting to eat. But McDormand’s performance also hints at an underlining sadness. She has regrets and she wants to prevent Delysia from having the same sense of a life lost.

McDormand shines in her own romantic subplot involving a lingerie designer named Joe (Ciaran Hinds). This older pairing acts as juxtaposition to the youthful abandon of Delysia and her love interests. Joe and Pettigrew remember World War I and quietly dread the prospect of a new one. McDormand’s scenes with Hinds add a weight that you don’t necessarily expect in a piece this fluffy. It doesn’t kill the light tone of the film, but just adds a bit of depth to a film that could otherwise be called superficial.

Adams, who was so effervescent in last year’s “Enchanted” is equally bubbly here, so much so you almost expect her to float right off the screen. And yet, like McDormand, she adds an underlining pain to her performance.

In many respects, this is a film about the fronts we put on to survive life. Delysia smiles her way through life because she can’t afford not to. Adams plays this beautifully. She is a performer with such an open face that when she smiles it is hard not to feel her joy and when she frowns it is hard not to feel her sorrow. This holds especially true during a heart-wrenching duet with Pace on “If I Didn’t Care.”

Given the two female leads, many will probably be quick to dismiss this as just a chick flick, but it would be a shame to cut the audience of such a charming film in half. This is an old fashion, feel-good heart warmer that some would claim they don’t make anymore. Well, they do — and here it is. Savor it.

'The Spiderwick Chronicles' are a diverting journey

The last couple of months have been oddly lacking in family-friendly fare, so it is no surprise that “The Spiderwick Chronicles” has become a hit. When you’re starved for nourishment even the blandest dish can seem like a rare delicacy.

“The Spiderwick Chronicles” is the latest book-to-screen fantasy adaptation to fill the gap while audiences wait for the next “Harry Potter” or “Narnia” film, and it is a well produced but unremarkable film. It has all the elements in place, but is held back by a sense of déjà vu.

It may seem as if I detested “Spiderwick,” but I am more disappointed that this material isn’t more inventive. The film starts with an intriguing premise, but doesn't take it far enough. There is an invisible world of fantastical creatures that exists parallel to ours. Arthur Spiderwick (David Strathairn, “Good Night, and Good Luck”) has researched and extensively documented this world and placed it all in one book. This proves dangerous because if an ogre named Mulgarath gets a hold of the book he could rule both realms. Spiderwick seals the book and puts a protective spell on it and his home. Eighty years later one of his relatives breaks the spell and brings on the wrath of Mulgarath and his army of toad-like trolls.

The film’s protagonists, a trio of adolescent siblings, are archetypes given a couple traits to play rather than fully formed people. Jared (Freddie Highmore, “Finding Neverland,” “Charlie and the Chocolate Factory”) is the sullen, rebellious one, who ultimately becomes the leader of the pack. His twin brother Simon (Highmore again) is a timid walking encyclopedia, and Mallory (Sarah Bolger) is the bossy older sister who likes to fence. The dynamic is established early on and never develops.

There are plot developments that any discerning film-goer will be able to see coming. Instead of eliciting surprise or creating a touching moment, all they do is induce groans. Younger viewers who don’t have a lifetime of movies under their belt won’t know the wiser, but for adults it may be frustrating that screenwriters David Berenbaum (“Elf”) and Karey Kirkpatrick (“Chicken Run”) relied on the obvious instead of putting a different spin on the tried and true. Berenbaum and Kirkpatrick have shown in the past that they know how to make formulas seem fresh, which makes "Spiderwick" all the more disappointing.

For all my complaining, there is a lot to like about “Spiderwick.” The movie has some good visuals and isolated moments of magic and wonderment, as when a flower bed transforms into a group of fairies. Director Mark Waters (“Mean Girls”) creates a nice atmosphere and keeps the film well paced. The final confrontation with the trolls, though rushed, recalls the dark tongue-in-cheek humor of “Gremlins.”

There is some nice comic relief supplied by a couple creatures named Timbletack (voiced by Martin Short) and Hogsequel (voiced by Seth Rogen of “Knocked Up” and “Superbad”). Timbletack is sweet and helpful unless he’s angered, and then he turns into a little green demon. Luckily, he’s easily appeased by honey. Hogsequel is a pig-like creature who wants to help but is easily distracted by his favorite food: birds.

These characters are well voice by Short and Rogen and are given dialogue that is funny and has some spark. It is with these characters that the film finds some life of its own and hints at a greater film that lies just below the surface.

The cast is strong and makes the material seem weightier than it is. Strathairn makes Arthur Spiderwick a dignified, good-hearted figure and, although, he has limited screen time he makes a lasting impression. Joan Plowright (“Dennis the Menace”), as the aunt of the film’s young heroes, also has little screen time but is a warm, welcomed figure late in the film. This is probably Highmore's last “cute-kid” part, but he plays his duel role well.

Nick Nolte gets one scene to play as Mulgarath, and he plays it for all it is worth. He is more frightening in a few minutes than all the film’s computer-generated ghoulies combined. Unfortunately, Mulgarath spends the rest of the film as just another special effect.

As far as family entertainment goes, you can do far worse than “Spiderwick.” There are some very solid laughs and the overall experience is a pleasant, if overly familiar, one. It makes for a distracting enough afternoon for adults and should keep kids at bay for 90 minutes.

Oscar turns 80 and no one notices

The Academy Awards turned 80 last Sunday, not that many took notice. According to the Associated Press the glitz ceremony was the lowest rated since 2003.

It is difficult to say why people didn't tune in, but the writer’s strike seems a likely culprit. The strike ended Feb. 12 and just 11 days later Hollywood threw its biggest gala of the year. Many believe putting on the Oscar ceremony was an impetus to concluding the strike, but perhaps Hollywood was too eager to get on with the show. Less than two weeks was clearly not enough time to get the word out about the 80th Academy Awards or — as host Jon Stewart referred to them — the make-up sex after the strike.

It is also quite probable that many potential viewers were turned off by the idea of a self-congratulatory award show following directly after the three months of stubborn bickering that shutdown the film and television industries. Three-plus hours of Hollywood patting itself on the back may have left a nasty taste in audience’s mouths. Instead of tuning in to watch the glorious return of Hollywood, it would seem instead many decided to give the proverbial finger to the film industry.

It probably didn’t help matters that many of the most nominated films of the year such as “There Will Be Blood,” “Michael Clayton” and Best Picture winner “No Country for Old Men,” were little seen by mainstream audiences. I commend the academy, though, for the films nominated because the Oscars shouldn’t be a popularity contest, but about showcasing the truly best films of the year.

In past years, the academy has had a tendency to lean more toward the mainstream. Take the 2000 Oscars, for example. That year “The Sixth Sense” and “The Green Mile” were both up for Best Picture. Both are fine films, but their spots were hardly earned when more challenging and adventurous films like “Fight Club,” “Three Kings” and “Being John Malkovich” were also viable options.

I’ve always had a love/hate relationship with the Academy Awards — I’m still bitter about “Titanic” winning Best Picture in 1998 — but in the last few years the academy has become more daring in what it nominates and who it awards. Given this year’s low ratings, hopefully the academy doesn’t regress back to old habits.

As for the award ceremony itself, it felt slightly rushed and at times forced. You could sense that the producers and writers behind the show only had a short time to put it together.

The producers got the show in at a spry 3 hours and 15 minutes, but, in their rush to keep things moving, were too quick to cut acceptance speeches short by playing the winners off the stage with music. This is hardly a new practice, but this year the music seemed to come in much too soon. In the worst case, Marketa Irglova, one of the winners for Best Song, was played off before she could even get a word out. Jon Stewart proved himself to be a gracious host when he rectified the mistake and brought Irglova back out.

The evening’s acceptance speeches were for the most part unremarkable. There were good moments for sure, but nothing nearly as memorable as Cuba Gooding Jr.’s exuberant antics in 1997 or Adrien Brody French kissing Halle Berry in 2003.
That being said, Best Original Screenplay winner Diablo Cody’s tearful and genuine acceptance speech was moving, and Best Supporting Actress winner Tilda Swinton was thoroughly cheeky in her acceptance speech stating she had an agent who looked exactly like the famous statuette she had just won, even down to the buttocks.

An Oscar ceremony wouldn’t be complete without numerous gratuitous clip shows, a trend that was well mocked with a couple brief parody clip shows, including “A Tribute to Binoculars and Telescopes in Films.” Unfortunately, there were plenty of real clip shows as well, this time chronicling the entire 80-years of the Academy Awards. One nice touch though was footage of previous winners explaining what it felt like winning. The best of these was Steven Spielberg comparing the warm sensation he felt upon winning to male menopause.

Ultimately, it was Stewart who kept things on track. His steady stream of one-liners often had real bite, and even moments that seemed as if he was playing too nice with the celebrities were quickly subverted. “The Daily Show” host couldn’t help himself from sneaking in a few political jabs, the best being: “Oscar is 80 tonight, which automatically makes him the Republican nominee.”

The evening’s single best moment, though, was also perhaps the most absurd. The ceremony came back after a commercial break to show Stewart playing Nintendo Wii tennis. It was a completely random moment and showcased exactly what was lacking from the rest of ceremony: a sense of the unexpected.

'Jumper' entertains despite itself

“Jumper” is a very silly movie. It is at times downright stupid in its complete abandonment of plausibility and logic. And yet, in spite of all of its problems, I liked it.

The film starts out with an entertaining conceit. A 15-year-old boy named David (Max Thieriot) discovers that he has the ability to teleport or “jump.” He uses this power to escape an alcoholic father, rob some banks and live a posh, globetrotting existence. By the time he is in his mid-20s and played by Hayden Christensen, he has mastered his ability and set himself up nicely.

After establishing its playful premise, the film becomes convoluted. David discovers he isn’t the only jumper when he meets Griffin (Jamie Bell, “Billy Elliot,” “The Chumscrubber”). Griffin explains that jumpers have arch-nemeses named Paladins who have vowed to kill all jumpers because “only God should have the power to be everywhere at once.” The Paladins, led by Samuel L. Jackson, use staffs that conduct high voltage electricity that prevent the jumpers from teleporting. Confused yet?

There is also a forced, utterly superfluous love story with Rachel Bilson of “The O.C.” Bilson is pretty, but has no screen presence. To be fair she isn’t given much to work with. Her character is given two things to do: sleep with David and be rescued by David.

The initial fun of the film’s setup is nearly completely undermined when it switches over to its tired good versus evil plot. There’s no depth to the struggle or any examination of why this centuries-old battle is being waged.

A movie like “The Matrix” took a science-fiction premise and explored it seriously and actually had ideas behind it. There’s none of that here. This is a movie that is pure surface. What you see is what you get.

That the film doesn’t implode can be credited to director Doug Liman (“Go,” “The Bourne Identity”). Liman keeps things moving at a quick pace that doesn’t allow the more cumbersome elements of the plot to sink in. When the story fails him, Liman, at the very least, brings some glee to the visuals. The action and effects have a stylish energy.

Christensen, who has been called everything from half man/half tree to a black hole by critics, is actually a decent lead. Yes, Christensen was awful in the “Star Wars” prequels, but let’s not hold that against him forever. He can act — see “Shattered Glass” as proof. As David, he has a mischievous grin in the film’s early scenes and possesses a likeability even when his character starts out slightly amoral.

But it doesn’t matter how well Christensen plays the role because he isn’t the problem. The character is. Although David is the lead character, Bell’s Griffin is a far more engaging, better written character.

Bell gets the film’s best lines and completely upstages Christensen. Whenever Bell is on screen the film comes alive. His energy, charisma and punkish attitude make you wish “Jumper” was about him. He makes the film work when it should be stalled on the side of the road.

“Jumper” is escapist entertainment, nothing more, but, for some, quite possibly less. It is a movie with the potential to be so much more, but that works well enough as is. No one will confuse “Jumper” for a good movie, but if you’re in the right frame of mind, a good time can be had.

Top ten favorite films of 2007

With the Academy Awards approaching now seems as good a time as any to list my favorite movies from last year. I choose the word favorite over best because I haven’t seen every film of 2007 and I am not presumptuous enough to assume I have seen the best. I have seen more than most people though, averaging about a movie a week theatrically. It was a tough call, but here are my ten favorite.

“No Country for Old Men”
The Coen Brothers are among the most, quirky, daring and skillful filmmakers working in America. After a few duds, they are back on form, with their best film since “Fargo.” The plot is simple: a man (Josh Brolin) finds a satchel of money and he’s pursued by a relentless killer (Javier Bardem). Bardem creates one of the best cinematic villains in recent memory and the acting by a cast that includes Tommy Lee Jones and Woody Harrelson is stellar cross the boards. The ending has frustrated some, but in its way it is absolutely perfect.

“Juno”
In this funny, fresh and endearing comedy, a smart, sardonic 16-year-old (Ellen Page) becomes pregnant and decides to give the baby up for a adoption to a seemingly perfect couple (Jennifer Garner and Jason Bateman). Although highly praised, some have claimed the film’s dialogue is too clever for its own good and that no teen actually talks like Juno, but it is all about the deliver and the fantastic Page, nails the tone. The film inches up on the predictable and formulaic and then takes a sharp left into an ending that feels genuine and completely satisfying.

“Once”
An Irish busker (Glen Hansard) meets a Czech immigrant (Markéta Irglová) on the streets of Dublin and they connect through music. Over a week they play, write and eventually record music together. At times romantic, this is more than just a romance. It is one of those rare films to capture the allusive feeling of sharing a deep, if only brief, bond with someone. Hansard and Irglová are musicians in real life and wrote the songs featured in the film. The dialogue is sparse, but feels real and the music is beautiful and emotional. This is a movie to treasure.

“Sweeney Todd”
Tim Burton’s brooding, bloody adaptation of Stephen Sondheim’s darkest musical is a wholly original blend of horror, tragedy, satire and the blackest comedy around. A barber (Johnny Depp) whose life was destroyed by a corrupt judge (Alan Rickman) decides to take his vengeance on all of humanity. That the whole film is set to song makes the proceeding all the more unsettling. Depp, who has a surprisingly good singing voice, is brilliant as the title character and Burton’s visuals are extraordinary. An acquired taste for sure, but this is a film to savor for those who take their film’s black.

“Ratatouille”
Coming out of the Pixar studio, this is a great movie. Not a great kids’ movie, not a great animated movie, simple a great movie. Too often animated features go for bright colors and slapstick humor and nothing more. Pixar’s films are colorful and have their share of slapstick, but their films are filled with a lot of heart and know that you don’t need to condescend to children. The story of a rat with natural cooking abilities that guides a hapless kitchen hand to culinary greatness is basic enough, but the film is full of wit, intellect and surprising emotion.

“Hot Fuzz”
Writer/director Edgar Wright, co-writer/star Simon Pegg and co-lead Nick Frost followed up their hilarious zombie comedy “Shaun of the Dead” with this equally assured parody of the buddy cop genre and British paranoia horror movies like “The Wicker Man.” Although not as slickly paced as its predecessor, the film pays off in a big way with a spectacularly over-the-top gun fight that perfectly satirizes overblown action films. The jokes are layered thick from subtle to outrageous, so it is a comedy that gets better with repeat viewings. Thoroughly English, but for those who like Brit comedy, it is hard to beat.

“Across the Universe”
A musical comprised entirely of Beatles songs is a dangerous endeavor to undertake, but luckily this isn’t a re-tread of 1978’s atrocious “Sgt. Pepper’s Lonely Hearts Club Band.” Cynics have dismissed Julie Taymor’s film as pretentious, and although it is flawed, it is a movie with ambitions, stunning visuals and moments of brilliance. The plot weaves the songs into a Vietnam era drama that, while not entirely original, features characters we care about. Well sung by a largely unknown cast with a few surprise cameos, the film is a joy for Beatles fan, with re-interpretations of classic songs that are at times thrilling.

“Zodiac”
Critically acclaimed upon its release, this film has been ignored during the award season, which is a shame. Based on the true story of the Zodiac killer this is more than just another gory serial killer movie. This is less about the killer and more about the obsession to know his identity that grips a journalist (Robert Downey, Jr.), a cartoonist (Jake Gyllenhaal) and a detective (Mark Ruffalo). Director David Fincher adopts the tone of gritty 1970s films like “All the President’s Men” and “Serpico” and the film plays as well as the best films from that era.

“Gone Baby Gone”
This is the surprisingly effective directorial debut of Ben Affleck. Working from a novel by Dennis Lehane, the author of 2003’s “Mystic River,” Affleck creates a crime drama about the search for a missing girl in Boston that sounds and looks authentic. In a case of nepotism gone right, Affleck’s brother Casey gives his best performance to date as a private detective working with the police and the rest of the cast, which includes Morgan Freeman and Ed Harris, is uniformly good. The film takes the time to ask complex moral and ethical questions and doesn’t cheat the audience by giving easy answers.

“Atonement”
On the eve of World War II, two lovers (Kiera Knightley and James McAvoy) from different social classes are torn apart by a girl’s lie, but this is neither a love story or war movie, although it is effective as both. This is really about the lifetime of guilt the girl lives with. The girl is played brilliantly, and seamlessly, by Saoirse Ronan, Romola Garai and Vanessa Redgrave. Everything from the acting to the score to the cinematography is exquisite. There’s also a stunning unbroken shot at the solider filled beach at Dunkirk that is a masterpiece in itself.

Honorable mentions: “There Will Be Blood” for Daniel Day Lewis’ screen commanding performance, “Michael Clayton” for its intricately told and acted plot, “The Bourne Ultimatium” for being the best and most satisfying sequel in a year flooded with them, “Reign Over Me” for showcasing a fine dramatic performance by Adam Sandler, “1408” for being a horror movie with a heart, “Grindhouse” for being a gloriously over-the-top, intentionally trashy filmgoing experience, and “Disturbia” and “Transformers” for making Shia LaBeouf a star.

'Cloverfield' is all gimmick, no substance

Indifference is the word that comes to mind in describing my reaction to the creature feature “Cloverfield.” I laughed a few times, received a couple decent scares, but for the most part just sat in the audience unmoved.

“Cloverfield” had a big opening weekend thanks to an ad campaign that kept the film’s content a mystery. All we knew was that something knocked the head off the Statue of Liberty. It is a great scene, but if you’ve seen the trailer, you’ve already seen the film’s best moment.

As the movie opens, a group of uninteresting 20-somethings are having a going-away party for Rob (Michael Stahl-David), who is going to Japan for a new job. The festivities are cut short when a monster attacks New York.

We are excused exposition of the origin of the giant reptilian creature, but instead get stuck for 20 minutes at the party that opens the film. Our point of reference is Hud (T.J. Miller), who is given the duty of getting testimonials from the party guests. When the mayhem ensues Hud keeps shooting, even when common sense would say it was time to put the camera down.

Critics and audiences alike seem to be fond of the film that is basically “The Blair Witch Project” meets “Godzilla,” but I found that the shaky hand-held camerawork distracting. I am aware the film’s gimmick is supposed to make the proceedings feel more realistic, immediate and frightening, but all I can say is that it didn’t work for me.

The film at times evokes 9/11-like imagery, but it doesn’t seem worthy of evoking them. Some are claiming that the monster is meant to be a metaphor for the 9/11 attacks. If this truly is the case, it doesn’t make the film any weightier, and if it is meant to be catharsis then it is in poor taste.

This isn’t to say the film isn’t well made. The special effects are extremely well executed. The illusion that everything is being captured on a hand-held camera is never broken. When you finally get to see glimpses of the creature and the giant killer lice that fall off it, they are impressive.

I just didn’t care. With the exception of Lizzy Caplin’s Marlena, all the actors aren’t particularly memorable. Caplin (“Mean Girls”) has spunk, attitude and genuine presence, but her talent is wasted as she becomes nothing more than a tag-along during a mission to rescue Rob’s injured ex-girlfriend (Odette Yustman).

“Cloverfield” was written by Drew Goddard and directed by Matt Reeves, who both come to this from careers in TV. The dialogue is flat and rarely interesting and the characters mostly vapid. The film’s approach is to go for realism, but who wants that in a monster movie? Monster movies are meant to be fun and campy.

The film is actually structured more like the cheesy disaster films of the 1970s than a monster film. “Cloverfield,” like such films as “Earthquake” and “The Towering Inferno,” has cookie-cutter characters who are trying to get from point A to point B while trying to survive all sorts of peril. This simplistic plot can work if you have characters you care about. “The Poseidon Adventure” is a good example of how to do this right.

There is one sequence with our group of survivors walking through the New York subway system that does utilize the hand-held camera approach well and generates tension. The only light that they have is that of the camera, and, of course, that handy night vision feature. But even this bit was already done in “28 Weeks Later,” which wasn’t a very good film itself.

It is worth noting that George Romero, the director of the classic “Night of the Living Dead,” is taking the same hand-held approach in his latest zombie film “Diary of the Dead.” Due out in limited release on Feb. 15, “Diary” and “Cloverfield” will probably inevitably be compared to each other. Based on the trailer, Romero’s film seems to be a better executed endeavor than “Cloverfield,” but trailers can be deceptive.

'The Bucket List' is familiar, but gets the job done

If you read other reviews for “The Bucket List,” you are likely to see words like contrived, cliché, manipulative, sappy and schmaltzy. These reviews are not wrong. “The Bucket List” is indeed all of these things, but most viewers won’t care. In spite of its flaws, the film works at achieving its modest goals.

Jack Nicholson and Morgan Freeman star as a couple of cancer patients with a year to live. The two decide to go out with a bang and check off all the items on their mutual bucket list — a list of all things they want to do before kicking the bucket. It helps that Nicholson is the billionaire owner of the hospital treating both of them.

Director Rob Reiner and screenwriter Justin Zackham are not trying to push any boundaries here. This is pretty standard fluff, and that’s OK because that’s exactly what someone going in expects.

The reason the film succeeds as much as it does is due to the strength of the performances of Nicholson and Freeman. The two do what they do best. Freeman, who has narrated everything from Tim Robbins' redemption from Shawshank to marching penguins, once again provides narration and quiet wisdom. Nicholson does a variation on the wealthy cynic he played in “As Good as It Gets” and “Something’s Gotta Give.”

Both actors have done better work, but they are clearly having fun together and likewise it is fun to watch these two acting greats share the screen. Nicholson is the master at being over-the-top and Freeman the master at being low key, and the actors play off each other well. Standout bits include the duo sky diving and taking some vintage muscle cars for a spin on a race course.

There’s an ongoing theological conversation between the two characters that is pleasant enough, but sounds more profound than it truly is because of who is saying it. It is inevitable in a film dealing with death that discussions of the afterlife will be addressed, but what is on showcase here should’ve been either a more barbed witty exchange or a more thoughtful and introspective one. This is a minor quibble. The dialogue isn't awful, it just could have shined a bit brighter.

In the final third of the film, the plot shifts away from globetrotting adventure and focuses on Nicholson making amends with his estranged daughter and Freeman rekindling the spark that had gone from his marriage. When the film downshifts into this more sentimental mode, some may find the proceedings eye-rolling. I thought I’d be one of those people, but the film got to me. I was well aware I was being manipulated and didn’t care.

Although this is basically a two-man show, Sean Hayes has a nice supporting role as Nicholson’s put-upon assistant. Those familiar with Hayes' “Will and Grace” persona may be surprised with how effectively dialed down he is here. One of the film’s best laughs involves his character’s name. Although marginalized for most of the film, Beverly Todd as Freeman’s concerned wife makes her screen time work well. On the page she is a bit of a nag, but Todd keeps the character human.

“The Bucket List” is the sort of movie that you could nitpick and tear apart if you chose to, but why bother? No, we don’t really get any big answers about life’s questions or learn anything about being a cancer patient. A better, more serious film would attempt to explore these avenues, but that “The Bucket List” doesn’t do these things doesn’t make it bad. There are some big laughs and some big tears and you come out feeling good. Sometimes that’s all you want or need from a film.

Heather Masse's musical fairy tale

Most people don’t get their big break in a bathroom, but then again Heather Masse is not most people.
When Masse graduated from Fryeburg Academy in 2000 she seemed destined to be a successful singer. A major presence in the music department, Masse won the best female vocalist award at Berklee in 1997, 1999 and 2000 and won the best female vocalist award at the Maine State vocal jazz competition in 1998, 1999 and 2000.

Nearly eight years later Masse is making good on the promise she showcased in her years at the academy. Now not only is Masse the leader of her own band, Heather and the Barbarians, who are performing at One Longfellow Square in Portland at 8 p.m. Jan. 20, she is also part of the successful trio The Wailin’ Jennys.

Like most aspiring musicians Masse headed to New York, but before hand she spent a couple years in Boston working with Alzheimer’s patients. While she loved the work she felt she needed to really give her music career a chance.

Masse was working as a nanny and playing music in New York when she got a call about an opportunity with the Wailin’ Jennys from Aoife O’Donovan, a friend from her years at the New England Conservatory.

“I’ve known Aoife for a while through the self music, rich music circuit,” said Wailin’ Jennys member Ruth Moody. “She was one of the first people I called when we needed a new member because I thought she’d know great singers and she said, 'I have the perfect person in mind.' She said hands down she’s your gal.”

That gal was Masse, who caught up with band members in Pennsylvania to see one of their shows and see how she liked them.

“We only had about 10 minutes and we couldn’t find anywhere to do it except the handicapped women’s washroom, restroom, bathroom, whatever you call it,” said Moody. “We locked ourselves in there and sang a few tunes. We just knew right away she had such a rich alto voice and it was just perfect.”

After finishing that tour, The Wailin’ Jennys gave Masse a call and invited her up to Winnipeg, the home base of the group, to see how the collaboration worked. And it did indeed work.

“I could tell right away that she was a lovely person and a kindred spirit,” said Moody. “She just integrated immediately. It sounds like a fairy tale, and in a sense it feels that way. She was exactly what Nicky (Mehta) and I were looking for. She fit right in personality-wise and musically brought some new, interesting approaches and flavors to the sound.”

Her time with the Jennys has sent Masse all across the country and has afforded her the opportunity to perform on the NPR staple “Prairie Home Companion.”

“We did it in Wolf Trap, Virginia, and it is this awesome outdoor stadium,” said Masse. “There were about 5,000 people in the audience and then on top of that there are 5 million people listening at home and it is live broadcast so there is so much pressure. But just the vibe of the staff of ‘Prairie Home Companion,’ there are all just such good people.”


The Wailin’ Jennys were regulars on the program, and, while the two veteran Jennys knew the routine, Moody said Masse fit perfectly into the scene.

“When we did our first 'Prairie Home Companion' show with Heather, she fit right into that situation so perfectly and naturally that by the end of the show she was doing a duet with (host) Garrison (Keller) on 'You Are My Sunshine.'”

Masse spent much of 2007 touring with the Wailin’ Jennys across the states, Canada as well as Scotland and England. There was a small window of opportunity before their next tour, so Masse put together a mini-tour for Heather and the Barbarians.

“Since we (The Wailin' Jennys) played Stone Mountain a couple months ago and it got sold out, they said they could’ve done two shows, a bunch of people weren’t able to get to the show, so hopefully a bunch of that crowd can come out to Portland,” said Masse.

Masse is excited to hit the road with her own band, if only briefly.

“It’ll be fun to really get into it and really get a feel and rhythm playing every night with that band. I’m excited about it,” said Masse.

Heather and the Barbarians formed in Boston while Masse was at New England Conservatory.

“We started out playing more artsy/jazzy stuff,” said the Barbarians’ guitarist Ben MacDonald. “Due to everybody's busy schedules we have not been able to play or rehearse regularly. Our evolution has been gradual and I think organic one over the past few years.”

The band is more than just the typical guitar, bass and drum scenario and is enriched by two saxophone players who also double on the clarinet and bass clarinet. The sound is an eclectic, genre-jumping mix of jazz, blues, pop and rock.

“It is hard to say exactly how we work,” said MacDonald. “It is almost as though it doesn’t take much work at all. All the musicians are so versatile and competent, added to that is the fact that we have known and played with each other for almost five years. We have a good group sense of how things will work out and what needs to happen when.”

In addition to The Wailin’ Jennys and Heather and the Barbarians, Masse has played with numerous other groups over the years including the bluegrass band Kill Joy Sorrow. Masse did a Boston to Minnesota road tour with the Kill Joy Sorrow a couple summers ago. The July tour had the five band members (and Masse’s dog Jasper) crammed into a Subaru Legacy with a broken air conditioner.

“It was a really fun time,” said Masse. “It is sort of the other extreme of touring with the Jennys. We always get our own hotel room and we fly everywhere, but it was fun to have that other experience, too, because you actually get to see places and people more than you do with the Jennys. Like some days we have a day off in a city, but mostly we go somewhere and play the gig, go to sleep, wake up and then have to travel and have to go the next place.”

Even though the touring can be trying, Masse makes a point before every show of reminding herself why she is doing what she does and what she is trying to give to an audience. The answers to those questions give her the strength to go on with the show.

“I want to bring joy and peace and happiness and opening to people. Music has that kind of affect on people, especially with the Jennys, They write a lot of songs about peace,” said Masse. "That’s kind of nice for me because when I graduated Fryeburg I wasn’t sure I wanted to go into music because I really enjoy being with people and helping people and that’s why I really enjoyed working with Alzheimer’s patients. But with the Jennys it is sort of a nice balance where I am performing and singing to an audience, but it also feels like I am helping them in some way.”

Masse, who says the fact that she is part of the Jennys has given her opportunities she wouldn’t have had otherwise, is still adjusting to the idea that she is actually working as a musician.

“I’m still getting use to the fact that when I am home from a tour and have two weeks off that I don’t have to work a day job,” she said. “This has never happened before where I have two weeks off or three weeks off and I don’t have any other commitments other than to rest and practice.”

Masse will be hooking back up with the Jennys after her tour with the Barbarians to head back on the road. The group will be bouncing around the country from Alaska to Florida and everywhere in between until September. Beyond that, Masse isn’t sure what is in store for her.

“I sort of live by the moment," Masse said. "I’m not such a great planner, but things have been working out by living my life that way, by seeing what opportunities come up and taking them when I can.”

'Sweeney Todd': Dark, macabre and brilliant

There are films that are an acquired taste and then there’s “Sweeney Todd.” Tim Burton’s adaptation of Stephen Sondheim’s audacious musical is a truly unique experience that blends song, horror, black comedy, satire and tragedy into a gothic tapestry that at times attains brilliance.

Johnny Depp plays Sweeney Todd, formerly Benjamin Barker, who returns to London after a 15-year banishment on false charges. He is seeking revenge against the crooked Judge Turpin (Alan Rickman, Snape in the “Harry Potter” series) who destroyed Todd’s life so many years earlier. With Todd’s wife dead and his daughter the ward of the Turpin, he sets up shop as a barber waiting for the opportunity to give Turpin an extra close shave.

Things get darker and more sordid from there. 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 his scheme is Mrs. Lovett (Helena Bonham Carter, “Fight Club, “Big Fish”), who bakes Todd’s victims into her meat pies. Suddenly business is booming at the once failing shop.

Sondheim’s musical was more overtly comic with a targeted satire on consumerism paired with the tragic tale. Burton and screenwriter John Logan (“The Aviator”) have exorcised many of those elements, although not entirely, and instead focus on the tortured soul and fractured psyche of Todd.

Burton is perhaps the only filmmaker who could make this material work so well on the screen. The gothic expressionism that has been prevalent throughout Burton’s entire career is a perfect marriage with the grim cynicism of Sondheim’s darkest work. Burton has drained much of the color from the film, creating a drab-looking London that at times borders on black and white with its use of grays.

Within Burton’s canon this is closest in look and tone to “Sleepy Hollow.” Where that film was an exercise in style, here Burton now also has substance and dramatic weight to go with his striking visuals.

As one would expect, the film is very bloody. When Todd starts slicing throats Burton goes way over-the-top to the point of comedic levels. Some may say he over-does it, but a realistic approach would have been far too graphic and unbearable to watch. As is, it is unsettling, but for those with a dark sense of humor, oddly humorous.

Fans of the stage version may be disheartened to hear that some songs have been cut short or removed entirely. But Burton uses Sondheim’s music to good affect, especially “The Ballad of Sweeney Todd,” which, though missing lyrically, is a strong
presence on the score.

Broadway purists made a fuss over the casting of non-singers Depp, Carter and Rickman in the lead roles of a musical with some of the most melodically and lyrically complex songs in Broadway history. Everyone acclimates themselves nicely, and, while they may not have the most powerful voices, all three are decent to good singers.

The singing is more intimate than in the stage production but no less forceful. Depp in particular stands out by dynamically infusing his singing with his acting. On songs like “My Friends” and “Epiphany” Depp is spine-tinglingly good. Rickman, who does villainy like this better than just about anyone, shares an alternately sweet and creepy ballad with Depp.

Carter probably has the film’s weakest voice, but uses it well to capture the longing and sorrow hidden in Mrs. Lovett, Carter’s lovely “By the Sea” is one of the film’s few light moments.

There is much I haven’t even addressed, like the romantic subplot between Todd’s daughter Johanna (Jayne Wisener) and the sailor (Jamie Campbell Bower) who rescued Todd. Even this doesn’t play as one might expect. There’s also a brief but fine comedic turn by Sacha Baron Cohen (“Borat”) as a rival barber.

Given the subject matter, it is sort of extraordinary that this film even came out of the Hollywood machine at all. Kudos to DreamWorks and Warner Bros. for having the nerve to put money into a film miles away from the mainstream and then having the gumption to release it days before Christmas. Now that was some sort of stroke of macabre genius.

'I Am Legend' is more brains than brawn

“I Am Legend” is likely to surprise a lot of people. It is not your typical big-budget, big-bang Will Smith blockbuster. Things do certainly blow up really well, but this is by no means a wall-to-wall action film. Instead it is a surprisingly quiet, even moving film about the struggle of being the last man in New York, possibly the world.

Smith stars as military scientist Robert Neville, the survivor of a virus that turns those it infects into super strong, blood-thirsty night creatures with a deadly allergy to light.

In the Richard Matheson novel of the same name — which also inspired 1971’s “The Omega Man” — the virus turned humans into vampire-like creatures. Here the monsters most closely resemble the zombies of Danny Boyle’s “28 Days Later.” In fact, much of the film recalls Boyle’s 2003 low-budget gem, and that’s a good thing — especially considering the misfire of that film’s official big-budget sequel, “28 Weeks Later.”

“28 Days” opened with Cillian Murphy walking the eerily empty streets of London. “I Am Legend” capitalizes on that same sense of isolation, with Smith spending the majority of the film walking or driving the desolate streets of Manhattan with his dog Sam.

The visuals of the empty city, including images of blown out bridges and overgrown plants, are quite extraordinary and striking. These scenes feel authentic, and they are an impressive achievement in production design and visual effects. Director Francis Lawrence (“Constantine”) doesn’t pile on big action set pieces or go for cheap scares, but instead focuses on creating the lonely world in which Smith exists.

While the film does feature some genuinely frightening encounters with the monsters, the movie is much more interested in exploring Smith’s situation and the effects of his isolation from human contact. Smith’s Robert Neville isn’t your typical hero. He is fit and muscular, but is afraid of the world he lives in. He doesn’t attempt to battle his foes, but merely survive them. The search for a cure and his loyal dog are the only things keeping him going.

The script by Akiva Goldsman (“The Cinderella Man,” “A Beautiful Mind”) and Mark Protosevich (“The Cell”) allows Neville’s sanity to be thrown into question. Neville has posted mannequins throughout the city and has given them names and personalities. He talks to them as if they were real, but it is unclear whether Neville knows it is fantasy anymore.
Smith is basically doing a one-man show, and his performance recalls Tom Hanks’ similar struggle in “Cast Away.” His “conversations” with Sam the dog are full of light humor, yet at the same time Smith also manages to create a genuine relationship with the dog.

We know Smith can be funny, but there’s more to this performance than just a series of one-liners. Smith has some scenes that are quite affecting in ways you don’t necessarily expect in something marketed as a creature feature. The visual achievement of the emptied streets of New York is matched by Smith’s performance that shows a man barely keeping his sanity in a world of solitude.

There are some logistical questions that could be raised about Neville’s existence, but they don’t distract from the overall story. The film sets up its world and you accept it. But there is one hugely disappointing aspect of the film, which for some may be so distracting as to undermine the whole film.

The film’s super-human monsters are mediocre CGI creations that look out of place in a film of such high-quality visuals. The strength of Smith’s performance and the film’s creepy atmosphere may not be enough for special effects aficionados to let these cheap-looking monsters slide. Try to look past this flaw, though, for “I Am Legend” is far more than just a monster movie. It is a rich character study full of heart and humor.

The 'secret' is out: 'National Treasure' is just OK

Before turning your cell phone off as you enter “National Treasure: Book of Secrets” it would be a good idea to shut off your brain and check your cynicism at the door. Too much thinking will kill your chances of enjoying the sequel to 2004’s “National Treasure.”

Audiences seem to be enjoying the latest adventure of treasure hunter Benjamin Franklin Gates (Nicolas Cage). For the second week in a row “Book of Secrets” has been No. 1 at the box office, and it has brought in nearly $144 million thus far. Who am I to disagree with numbers like that? For my money, though, the new Goofy short that preceded the film was far more entertaining. Then again, I've always had a soft spot for Goofy.

“Book of Secrets” follows the formula that undermines many sequels. It attempts to recreate the previous film, but makes everything bigger and, in theory, better. This logic rarely works and if anything has the opposite effect on a film’s quality.

The original “National Treasure” had a silly charm and entertained with its audacious premise that the Declaration of Independence doubled as a treasure map. Like its predecessor, “Book of Secrets” plays like a lighter version of “The Da Vinci Code.” Fans of the first “National Treasure” probably won’t be let down, but the film doesn’t try to do anything new, except now the treasure hunt is a globe-trotting one.

The plot has Ben Gates searching for a city of gold to prove that one of his ancestors wasn’t involved in the assassination of Lincoln. It all has something to do with John Wilkes Booth’s diary, and the clues will send Gates and his colleagues from Washington to Paris to London and back again.

It is obvious that this material is ridiculous, but the film knows it is and that’s what salvages the film from being a complete bore. Cage’s Gates has an uncanny ability to figure out the most obscure meaning of any clue within minutes, sometimes seconds, and the film has some fun with that.

“Book of Secrets” has quite possibly the best cast of any film in 2007, and includes Jon Voight (returning as Gates’ father), Ed Harris, Helen Mirren (as Gates’ mother) and Harvey Keitel (returning as an FBI agent). Diane Kruger as Gates’ love interest and Justin Bartha as Gates’ sidekick also return. Sadly, a lot of the acting seems flat. This feels like a paycheck movie, as in the actors can’t wait to finish the scene and cash their checks.

The film sets up the Kruger-Cage and Mirren-Voight couplings in parallel bickering matches that aren’t particularly funny. Mirren and Voight fare marginally better of the two pairings, but in both cases it is more annoying than amusing.

One could contend that since this isn’t trying to be a great film that there is no point in knocking the acting. The problem isn’t that the acting isn’t Oscar worthy, but rather that there is lack of joy in the performances. Take for example Johnny Depp and Geoffrey Rush in the first “Pirates of the Caribbean.” There was an excitement when they were on the screen. They were clearly having fun and relishing creating vivid characters. That is sorely lacking in “Book of Secrets.” In Cage’s performance there are hints of that magic, but they are far too limited.

In spite of all the complaining, “Book of Secrets” isn’t a bad movie; it is just a rather ordinary one. It plugs along well enough but never raises hairs or tingles spines. It makes for a diverting two hours, but nothing more.

There is one cool sequence on a teetering platform, a couple laugh-out-loud moments and a few grin-inducing moments of cleverness. There is a very necessary place for mindless escapism, and “Book of Secret” fills that role. It just could fill it so much better than it does. Oh well, there’s always “National Treasure 3.”

Laughing 'hard' with John C. Reilly

“Walk Hard: The Dewey Cox Story” is a box office dud, just sneaking in at the bottom of the top 10 movies in its opening weekend. It is hard to say why since the film is a silly, but sly lampoon of the musician bio-pic.

The film’s co-writer Judd Apatow had a good year with two big summer hits, one as a writer/director (“Knocked Up”) and the other as a producer (“Superbad”). It looked like the Apatow branding was becoming a sure path to the top of the box office. So what went amiss with “Walk Hard,” because it certainly isn’t an issue of quality? Maybe this style of comedy just doesn’t play well this time of year.

Or perhaps audiences have grown weary of parody films given the slew of lame films like “Epic Movie,” “Date Movie” and “The Comebacks.” These films are made quick and with little thought. The formula is to reference several recent films and do a shot-by-shot remake of a scene with a slight twist. This can work, but more often than not it is just lazy and cheap filmmaking.

A genre parody shouldn’t merely reference films that fall within its target of satire, but mock the conventions and clichés of the genre. Mel Brooks’ best films did this better than any other, and thankfully “Walk Hard” is in that tradition rather than the new parody formula. “Walk Hard” also recalls “This is Spinal Tap” in a good way even if its comedy volume doesn't quite make it to 11.

“Walk Hard” stars John C. Reilly as Dewey Cox, a rock star who is most directly tailored after Johnny Cash in “Walk the Line” but who has an uncanny ability to play any style. This leads to amusing songs in the style of Elvis Presley, Bob Dylan and Brian Wilson.

Apatow and co-writer/director Jake Kasdan hit all the ups and down of the rock star lifestyle and do a fine job mocking the somber tones of “Ray” and “Walk the Line.” The childhood flashbacks of those films are sent up in a hilarious sequence in which Dewey accidental cuts his brother in half. As the doctor informs Dewey and his parents, “It is a particularly bad case of somebody being cut in half.”

Reilly, who has been a reliable supporting player for a decade in films as diverse as “Boogie Nights,” “The Aviator” and “Talladega Nights,” is on top form in his first lead role. He is adept at the physical comedy and can deliver a joke with the best, but Reilly, who is also a good dramatic actor, does more with the material. There’s an underlining sincerity in his performance that keeps the more raucous comedy grounded.

There are moments when the film seems to be trying too hard to make Reilly be Will Ferrell, especially during a scene when he is running around in his underwear, but Reilly has his own goofy charm and shines most in the musical numbers. The songs range from relatively straight homage to outrageous spoof. The best is a duet with Jenna Fisher (“The Office”) called “Let’s Duet.” Fisher as Dewey’s June Carter-esque second wife is a perfect comedic match for Reilly and has just the right tone for the material.

The whole cast, which includes “Saturday Night Live” cast members and veterans Tim Meadows, Chris Parnell and Kristin Wiig and cameos by Jack White, Harold Ramis, Frankie Muniz, Jewel, Lyle Lovett and others, is excellent. Cast members approach the material at just the right angle. There’s a wink and nudge, but there’s also an attention to detail provided by Kasdan.

The film gets the look and feel right. Kasdan as a director switches to grainy black and white for a great Bob Dylan parody and alters his palate again to take on the bright, tacky colors of 1970s variety shows. There’s a particularly humorous sequence featuring Jack Black, Jason Schwartzman, Paul Rudd and Justin Long as The Beatles that recalls the obscure mockumentary “The Rutles: All You Need is Cash.”

When reviewing comedy all you can do is say whether you laughed, and I did laugh, often heartily and louder than anyone in the theater. The film’s humor is at times vulgar, but never mean-spirited. The more familiar you are with music history, the funnier the film will be. Those who grew up in the era the film targets or those well versed in the time period will have the most fun.

The absurdity of politics: Five favorite political satires

When one is inundated by the political machine by all forms of the media — as we have been in the yearlong lead-up to the primaries — it is hard not to see the absurdity in the mechanism. Shining a light on that absurdity is the basis of one of the United States' great institutions: satire.

With the New Hampshire primary quickly approaching on Jan. 8, months of build-up to the primary will be replaced with the months of build-up to the election. If you find your cynicism bubbling up to a scalding boil, perhaps this is an apt time to rent a few political satires. What I provide here are five personal favorites to help you keep your sanity in the political circus.

“A Face in the Crowd”
This obscure 1957 film from director Elia Kazan features Andy Griffith brilliantly playing against his type as a charming country bumpkin, who becomes a cold, calculating megalomaniac following his overwhelming success as a TV star. The corrupting influence of power is hardly an original concept, but Kazan crafted an eerily prophetic film about the ever-blurring worlds of entertainment and politics. This is most evident in a powerful scene in which Griffith is shown coaching politicians on how to play to the camera and win audiences. Made in the early years of television, the film saw that this then-new medium was, for better or quite possibly worse, the future.

“Wag the Dog”
Barry Levinson’s “Wag the Dog” is a satire in the very best sense of the word because it pulls no punches and targets everyone: politicians, the media and even the electorate. Robert DeNiro stars as a political analyst who hires a Hollywood director (Dustin Hoffman) to produce a fake war to distract from a scandal during a president’s campaign for re-election. The premise sounds like farce, but the film is so sharply written and performed as to make the viewer pause to wonder just how much of what the media shows is merely manufactured.

“Bulworth”
Warren Beatty stars as a suicidal, disenchanted politician who decides to end it by hiring a hit man to off him. Knowing he will die in a few days, Beatty begins to speak bluntly with incendiary language about the corruption of the political system and even adopts a hip-hop look and vernacular. Beatty is a well-known liberal, but it would be foolish to dismiss his work here as writer, director and star as nothing more than liberal propaganda. The film goes beyond mere party stereotyping, and, like its lead character, reveals the flaws of the entire system, and because of that the film is sharp and on target.

“Primary Colors”
Director Mike Nichols chronicles the primary campaign trial of a Bill Clinton-esque politician played by John Travolta in a film that feels authentic when it could’ve been mere caricature. Anyone can do a spoof of Bill Clinton as a lech and get a laugh, but comedy is at its strongest when the humor is laced with weightier, thought-provoking ideas. Travolta’s thinly disguised version of Clinton is remarkably good, but his performance and the film itself are not one-dimensional mimicry. The film features a strong line of cynicism placed next to a hopeful heart and isn’t afraid to raise hard questions about what it means to be a politician in America.

“Election”
Don’t be fooled by the MTV Production’s logo as the film’s opening credits unfold. This not another dumb teen film, but rather a biting allegory for political corruption. Reese Witherspoon stars as an overachiever who will do anything to become student body president. Matthew Broderick playing against his former Ferris Bueller persona is the one teacher who attempts to oppose Witherspoon. Director/co-writer Alexander Payne's choice of setting for his lampoon of politics forces the audience to ask if national elections are any more sophisticated or meaningful than ones on a high school level. After all, high school presidential elections are popularity contests and student body presidents are figure heads who can never deliver on their promises.

'No Country for Old Men' is exceptional in every way

“No Country for Old Men” has already been named the best film of the year by the National Board of Review and the New York Film Critic Circle, but that’s likely only the beginning of accolades to be lauded on the Coen Brothers latest film. It is an exceptional piece of filmmaking.

This marks Joel and Ethan Coen’s first true adaptation, although "O Brother, Where Art Thou" borrowed themes from "The Odyssey." "No Country for Old Men" is an extremely faithful reworking of Cormac McCarthy’s novel about a man who stumbles upon a satchel of money from a drug deal gone wrong and the unrelenting killer that comes after him.

Whole sequences unfold exactly as they do on the page, and passages of McCarthy’s rich dialogue from the minute to the lengthy appear nearly verbatim. It is refreshing to see filmmakers be respectful to their source material, but the Coens aren’t blinded by their revere of McCarthy’s words.

In many ways they have improved upon McCarthy’s novel. They have distilled the best parts of the novel, removed scenes that didn’t work, clarified the unclear and tightened the pacing in the cat-and-mouse game that ensues between Llewelyn Moss (Josh Brolin, “American Gangster”) and his pursuer Anton Chigurh (Javier Bardem, “The Sea Inside.”)

On the level of plot, “No Country for Old Men” is simple. Llewelyn takes the money and Chigurh comes after him. It is the execution that is so astounding. The Coens have always been fine filmmakers, but something about the darker side of humanity brings out the best in them. Like “Blood Simple” and “Fargo,” this is an atmospheric, moody piece of filmmaking that lingers in the mind.

The cinematography by Roger Deakin creates sequences of growing, quiet tension. There are small moments like a single lightning bolt cracking during a chase through a desert and a looming shadow in a doorway that stick with you.

The cast is uniformly excellent, but the performance that is sure to be talked about for years to come is Bardem’s Chigurh, one of the best screen villains in years. Bardem — a Spanish actor who is largely unknown by American audiences — is menacing, but never over-the-top. In fact, if anything he is subdued. There is glint of joy in is eye as he gambles with people's life at the flip of a coin that is more frightening than anything you’ll see in splatter films like “Saw” or “Hostel.”

Don’t be mistaken though. This is a violent, bloody movie, but this isn’t violence for violence’s sake. McCarthy and the Coens are attempting to say something about our society. There is a questioning of how things have gotten where they are in the world. There are no answers provided to these questions. Everything isn’t tied up neatly in the end. Audiences well trained to have a sense of closure in their films will surely be let down, but the ending is exactly what it needs to be.

The film’s questioning nature takes the form of Tommy Lee Jones’ Ed Tom Bell. Bell is a weary sheriff worn down by a society he no longer understands. This is hardly a new archetype in fiction, but Jones brings levels of nuance to the character that weren’t on the page. Jones has played law enforcement figures for decades, but there’s something different about his performance here. Simple put, he is great.

This isn’t to short Brolin, who after bouncing around Hollywood as a B-actor for 20 years final got some juicy roles this year. His work here and in “American Gangster” put him in a new league. Like with Jones, the word that comes to mind is nuanced.

There is no showboating in the cast, even when Woody Harrelson and Stephen Root pop up in the latter part of the film to provide a bit of comic relief. And the movie is funny. Pitch black, but funny. After all, when faced with the terrible, as Jones’ Bell suggests, you have to laugh because “there ain’t a whole lot else you can do.”

Amy Adams truly is enchanting

For the legions of people who grew up watching classic Disney animated films — specifically “Snow White and the Seven Dwarfs,” “Sleeping Beauty” and “Cinderella” — “Enchanted,” with its blend of homage and self-parody, is an absolute delight.

“Enchanted” starts out in a magical kingdom where Princess Giselle (Amy Adams) awaits her prince. It has been a long wait since Prince Edward (James Marsden, Cyclops in the “X-Men” movies) is easily distracted by battles with trolls. Once they meet it is love at first sight, but naturally there is an evil stepmother (Susan Sarandon) who banishes the sweet but naïve Giselle to a place where there are no happily ever afters: New York.

This prologue is pleasant, but familiar. The animation is brightly drawn, Giselle’s animal helpers — led by the chipmunk Pip — are amusing and the songs are fun, but things truly come alive when Giselle enters the very real New York. No longer animated, Giselle struggles to apply fairy tale rules to the real world. Prince Edward, his servant (Timothy Spall), Pip and eventually the stepmother all follow after her.

Giselle meets a father (Patrick Dempsey, “Grey’s Anatomy”) and daughter (Rachel Covey) who take her in for one night that extends to several. There is fiancé in the mix, but even the most novice filmgoer knows that the stiff Dempsey will fall in love with Giselle.

“Enchanted” is pure formula filmmaking. It offers no surprises on the story level, and that's OK. Formulaic filmmaking is only bad when done poorly, and here the execution is excellent. Screenwriter Bill Kelly, who wrote “Blast from the Past” — another cheeky fish-out-of-water story — creates a knowing tone that doesn’t push its satire too far.

If the story doesn’t surprise, the presentation does. Sequences that would feel derivative in an animated film are fresh and funny here where the logic of the animated world is suddenly imposed on reality. Remember when Snow White was able to command all the woodland creatures to help her clean house? Giselle has the same ability, only this time it is pigeons, rats and cockroaches doing the cleaning. It is not nearly as gross as it sounds — after all this is a PG Disney film — and is one of the comedic highlights of the film.

Similarly, in a scene in which Giselle leads a lavish song and dance number in Central Park, the screen is full of infectious energy that yields big laughs. But while these are all good reasons to see “Enchanted,” it is Amy Adams’ effervescent performance that is the film’s true raison d’être.

Adams was nominated for best supporting actress in 2005 for her role in the little seen “Junebug.” It was a sour film with unpleasant characters, the one exception being the bright and charming Adams. She brings that same sunny charisma to

“Enchanted” and makes Giselle a character that is completely lovable. Adams' charms need to be seen to believe, and they alone are well worth the price of admission.

This is not to slight the rest of the cast. Dempsey, who basically has the straight-man role, plays it well and is charming in his own way. Marsden gets laughs as the overly earnest, well intentioned, but slightly dense Prince Edwards.

Sarandon is clearly having fun hamming it up as the evil stepmother, and even though her non-animated screen time is limited, she makes every second count. The computer animated Pip, although not an actual actor, per se, also steals scenes and is going to be a hard act to follow for the new “Alvin and the Chipmunks” movie.

“Enchanted” is a movie that kids will drag parents to and girlfriends will force boyfriends to see, but the film is a rare breed that should appeal to almost everyone. The film is light and fluffy and proud of it. It is just good, clean, escapist fun.

'Beowulf' excites but lacks dimension

“Beowulf” utilizes a sophisticated form of computer animation blended with the latest in 3-D technology to create an extraordinary cinematic experience. The catch is you need to go to an IMAX theater to experience the film as it was truly intended to be seen.

Watching the 2-D version of “Beowulf,” you can’t help feeling cheated. The film makes no attempts to hide the fact that things should be flying at you, and it is frustrating and even distracting at times.

The epic poem “Beowulf” is juiced up with violence and sex in telling the tale of the title hero and his battle with the vile monster Grendel. People are ripped in half, heads are bitten off and a copious amount of blood is spilled. Angelina Jolie as the monster’s mother is more or less, with the emphasis on the more, nude for her entire performance. If the movie were live action it would be a hard R; as is, it has managed a PG-13.

“Beowulf” is entirely animated and employs motion capture, the same technology used to create Gollum in “Lord of the Rings” and that director Robert Zemeckis also used for “The Polar Express.” Unlike a traditional animated feature, the actors not only provide their voices, but their performances are then made into computer-generated versions of themselves.

With the exception of Ray Winstone (“The Departed”), who is transformed into the muscular Beowulf, and Crispin Glover ("Back to the Future"), who becomes the grotesque Grendel, all of the cast members are animated to look as they do in real life. You’ll easily spot the likes of Anthony Hopkins, John Malkovich and Brendan Gleeson.

The effect worked in “The Polar Express,” where the film adopted the drawing style of Chris Van Allsburg's book, but here, with a more realistic look, it becomes disconcerting. Many will be able to look past it, but for my money it took me out of the film. Part of the problem is inconsistency. Sometimes the characters look remarkably real, while others times they look like wax figures come to life. I wanted to see the real actors, not these dead-eyed simulations.

That being said, the world in which the characters exist and the sea creations and dragon Beowulf does battle with are amazing to look at. On the level of action, “Beowulf” delivers with visceral, well-directed sequences that blend cringe-worthy gore with pulse-quickening excitement. When focused on the action, the movie is engaging, but the dialogue and plotting is weak. The stretches between the action sequences are slow with mostly perfunctory dialogue to get you from point A to B. All the characters with the exception of Beowulf are one dimensional at best.

Beowulf is arrogant and full of pride, and that becomes his curse when Grendel’s mother tempts him with promises of power and lust. It sets up an interesting internal conflict for the latter part of the film, which flashes forward to show Beowulf as an elder king. Winstone is good as Beowulf and adds some nuance to the character during these scenes. Alas, just as the script is finally adding depth, this conflict is put aside to set up another spectacular action sequence. The action thrills, but is it asking too much to have a bit more substance with the spectacle?

As is often the case in Hollywood action films, the female characters are negligible. Robin Wright Penn (“Forrest Gump”) and Alison Lohman (“Big Fish”) as Beowulf’s wife and mistress are given nothing more than standard motions to go through. Jolie is asked only to be seductress, and she does it exceptionally well.

In his review, Roger Ebert wrote: “Am I the only one who suspects that the intention of director Robert Zemeckis and writers Neil Gaiman and Roger Avary was satirical?” He may be on to something. There are subversive touches throughout, including Jolie’s high healed feet (you read correctly) and Beowulf’s decision to do battle with Grendel in the nude, but if satire of the fantasy epic genre was their intention then Gaiman and Avary didn’t push it far enough.

The screenplay really is a disappointment, as both writers have shown wit and intellect before. Gaiman wrote the award-winning “Sandman” graphic novels, and Avery co-wrote “Pulp Fiction.” Give credit where credit is due, though, Beowulf’s temptation by Grendel’s mother, the film’s most interesting aspect, was a departure from the original story.

Merry Subversive Christmas: Alternative Films for the Holidays

December is nearly upon us and we are already thoroughly saturated with everything Christmas. Television is already clogging with holiday specials and films. Classics like “It’s a Wonderful Life,” “Miracle on 34th Street,” “A Christmas Carol” and “A Christmas Story” deserve their revered status, but sometimes you need an alternative.

A little subversion of the holiday spirit is exactly what is needed to make it through the holidays. So here are five films that go down a different path. In the end they uphold the holiday spirit, but that doesn’t mean you can’t have some dark fun getting there.

“Gremlins” (1984):
It is definitely not a holly jolly Christmas when a father comes home with a unique fuzzy little pet for his son. There are three simple rules: Sunlight kills him. Don't get him wet. Don't feed him after midnight. The rules are broken and the cute fuzz ball spawns the gross, mischievous gremlins.

Director Joe Dante makes a scary and funny homage to monster movies that features sly pokes at the holiday season like “It’s a Wonderful Life” playing throughout the film and a macabre monologue about why a character played by Phoebe Cates doesn’t celebrate Christmas. Not the most obvious choice for holiday viewing, but why not? After all surviving the holidays can be just as trying as battling a group of gremlins.

“The Nightmare Before Christmas” (1993):
A Christmas film as only director Tim Burton could dream up. Instead of visions of sugarplums, Burton has visions of skeletons and ghouls. In this take on the most wonderful time of the year each holiday has its own fantasyland and when Jack Skellington, the leader of Halloweentown discovers Christmas, he kidnaps Santa and decides to take a crack at being St. Nick.

Occasionally even the most subversive of holiday films become embraced by the masses and while this is probably just as over exposed as “It’s a Wonderful Life” it doesn’t feel it. With its wonderful stop motion animation, offbeat songs and demented humor it delivers a brand of holiday fun all its own.

“Scrooged” (1988):
Bill Murray stars as a cynical TV executive that gets visited by a far more hilariously twisted set of ghosts than Ebenezer ever had to deal with. What starts out as a satire on the television industry morphs into a parody of “A Christmas Carol” and than ultimately embraces the holiday message of the Charles Dickens classic.

In description, the film sounds uneven at best, but under all the black comedy, it is surprisingly heartfelt. That it works so well is a testament to Murray, screenwriter Michael O’Donoghue (a former “Saturday Night Live” writer) and a cast that includes Carol Kane, Bobcat Goldthwait and David Johanson.


“The Ref” (1994):
A bickering married couple played by a pre-fame Kevin Spacey and Judy Davis are kidnapped by a thief (Denis Leary) on Christmas Eve. Using their home as a hideout, Leary is stuck in the middle of the deeply dysfunctional couple feud, which continues in spite of their situation. Eventually, Leary becomes the mediator for their disputes and poses as their marriage councilor when the equally neurotic in-laws arrive.

Meant as a vehicle for Leary, it is Spacey and Davis that steal the show. Think of it as a bleaker, less slapstick version of “Christmas Vacation.” Things work out in the end, but the trip there is stingingly funny and at times a brutally honest reflection of family dynamics.

“Bad Santa” (2004):
Vulgar, rude and offensive, this is a Christmas movie for adults only. A drunk (Billy Bob Thornton) and a dwarf (Tony Cox) pose as a department store Santa and elf as a cover to rob a mall’s vault on Christmas Eve. Along the way a needy kid starts following the drunken Santa home.

What follows is not heartwarming. There is no magical yuletide transformation for Thornton, but the warped friendship that develops between Thornton and the kid is sort of sweet in its own odd way. For those with a sick sense of humor and high tolerance for profanity, this is a perfect palate cleanser for an overdose on holiday cheer.

For more subversion check out last year's post on alternative Christmas songs

'Ratatouille' is animation at its best

Computer animated films are everywhere. "Bee Movie" is in theaters and "Meet the Robinsons," "Shrek the Third" and "Ratatouille" have all recently reached DVD. It would be easy to dismiss the whole lot as just kids' stuff, but "Ratatouille" is a great movie. Not a great kids movie, not a great family movie, simple a great movie.

"Ratatouille" comes from the Pixar studio and their track record remains flawless. From "Toy Story" to "Monster's Inc" to "Finding Nemo" to "The Incredibles," there isn't a dud in the bunch.

Today too many animated features go for bright colors and slapstick humor and nothing more. Pixar's films are colorful and have their share of slapstick, but their films are filled with a lot of heart and know that you don't need to condescend to children.

All of this holds true for "Ratatouille," which like all of Pixar's previous films tells a simple story, but tells it well with wit and well drawn characters. Remy (comedian Patton Oswalt) is a rat living in France whose heightened sense of smell gives him a natural talent for cooking.

Remy's idol is a chef from Paris named Gusteau (Brad Garrett) and through a series of mishaps Remy finds himself in Paris at Gusteau's restaurant. The restaurant is on hard times following the suicide of its namesake after a particularly harsh review from Anton Ego (Peter O'Toole), Paris' most feared food critic. In one of the film's more off-beat touches, the spirit of Gusteau is Remy's guardian angel, or more likely just a figment of his imagination.

Things begin to turn around for the restaurant when Remy teams up with Linguini (Lou Romano), the restaurant's new dishwasher. Using Linguini like a giant puppet Remy guides him to making delicious dishes that become the toast of the town and that bring back Ego who is ready to crush Gusteau's once and for all.

It sounds like standard stuff, but it is done with a certain degree of sophistication. We all know that there will be a lesson to be who you truly are and that Remy and Linguini will win over Ego, but it is how the film does these things that is unexpected and wonderful.

There is a happy ending, but not the one you necessarily see coming. Indeed how Ego is won over is perfect and resonates emotionally in a way few modern animated films do. Ego has a monologue about food and the importance of critics that is intelligent and heartfelt. O'Toole reads it as if it is a great Shakespearean monologue.

The voice work from everyone is exceptional and while there are familiar names populating the cast, unlike so many other animated features, it is not about the actors, but the story. For decades animated features didn't cast big stars, but the voice that did the job best. That changed following Robin Williams' high voltage turn as the Genie in "Aladdin." When stars do voice work right it can be great fun, but too often it feels like just a gimmick.

In "Ratatouille" the cast's more famous actors disguise their voices and disappear into their characters. It is so much easier to get lost in "Ratatouille's" beautiful rendered Paris and into the plight of these characters when you aren't focused on the voices.

You'd be hard pressed to spot Janeane Garofalo's voice as Colette, Linguini's love interest. Garofalo gives a great vocal performance full of energy and sass and you'd never know it was her.

While there is a good degree of silly antics for children, the film also features a genuine revere for fine cuisine. The film doesn't dumb itself down and has a respect for food that may go over the head of younger kids, but which will be appreciated by adults and makes the film all the more honest.