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King Kong

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Step right up, ladies and gentlemen, and see a marvel for the ages! Adventure! Romance! Horror! All in one three-hour motion picture! Ladies and gentlemen, I give you: KING KONG!!

Peter Jackson’s remake of the 1933 classic is an epic experience, three solid hours of high-flying entertainment and special effects wizardry. It follows the same story as the original (and its inferior 1976 remake), but it magnifies everything — the scary parts are scarier, the exciting parts are more exciting, and so on. Where Kong once faced a dinosaur, he now faces three. You get the idea.

Jackson has set his new version in the year the original came out, so it’s not just Kong and his mysterious island that are fantastical; in 1933, even New York City seems like a different world, with its Depression-era bread lines and shanty towns and desperately out-of-work actors, filmmakers and producers.

One of these is Carl Denham (Jack Black), a consummate showman and huckster who uses studio backing to fund an insane sea voyage. He intends to shoot a film on the ship and at whatever locale they arrive at, using playwright Jack Driscoll’s (Adrien Brody) script. Of course, Jack hasn’t actually finished the script yet, but that kind of detail has never stopped a low-budget filmmaker like Carl Denham.

At the last minute, Carl persuades Ann Darrow (Naomi Watts), a between-jobs vaudeville performer, to be his leading lady for the film, playing opposite suave matinee idol Bruce Baxter (Kyle Chandler). And off they go to parts unknown — except Carl has a secret destination in mind, gleaned from a mysterious map he acquired. They’ll be dropping anchor at Skull Island, a mythical land that time forgot where there are hostile natives and an unusually large ape of whom you may have heard tell.

The film is easily divided into three acts. There’s an hour of events leading up to Skull Island, 90 minutes spent on Skull Island, and 30 minutes back in New York. I will say this: We ought to get to Skull Island faster, and once we return to New York, we ought to end more quickly. That Skull Island section — the length of many films by itself — comprises some of the most ingeniously crafted horror, suspense and adventure scenes ever put on film. It’s 90 minutes of buoyantly paced, adrenaline-pumping action, each sequence seeming to top the one before it. (Dinosaurs! Dinosaurs running! Dinosaurs FIGHTING! DINOSAURS FIGHTING KONG!!) I jotted in my notes that one of the scenes was “breathtaking,” only to discover that the one following it was even MORE spectacular.

The result is that when Kong is relocated to New York, where he is destined to climb the Empire State Building and suffer the slings and arrows of outrageous fortune (not to mention the bullets of biplanes) … well, it’s a bit of a letdown. That middle section that occupies half the film is such a tour-de-force of perilous adventure that almost nothing could follow it. The film would have been better served with the New York finale coming as an extension of the Skull Island climax, not as a wholly separate act.

Admittedly, in the spectrum of complaints, “the middle part was too exciting” is not a very damning one. But I also take issue, as I suspected I might, with Jack Black as Carl Denham. He has the character’s mad profiteering down, but that’s as far as he goes. If Carl has emotions, they are suppressed by Black’s wide-eyed ironic detachment, which works fine in comedies but has no place in an earnest old-fashioned adventure tale like this one. He’s miscast, plain and simple, and the screenplay (by Jackson and his usual writing partners, Fran Walsh and Philippa Boyens) gives him one opportunity after another to grow into a dynamic character, only to yank the chance away again every time.

The other central characters, Ann Darrow and Jack Driscoll, aren’t meant to do anything other than fall in love and be separated by Kong. Naomi Watts’ interaction with Kong is very interesting, however. Enacted by Andy Serkis in a motion-capture suit and subsequently computerized (like they did for Serkis as Gollum in the “Lord of the Rings” series), Kong behaves the way a real ape would. The physical movements are correct, and so are the attitudes — angry, amused, petulant, at times almost human. Watts seems to be in the company not of a bizarre monster, but of a real animal, albeit an oversized one. Neither of the film’s other versions ever achieved that level of realism.

The big question in the final act is whether we buy how attached Ann has become to Kong over the course of their time together. I bought it; some probably won’t. They have a scene together in Central Park, after he’s escaped from his captors but before he climbs the Empire State Building. Whether you find that moment sweet or stupid is probably indicative of you feel about the film overall. By the end, I thought of Kong as Ann’s pet. And we all know how sad it is when the military shoots our pets down from atop skyscrapers.

The Three Burials of Melquiades Estrada

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In basic terms, “The Three Burials of Melquiades Estrada” is about a ranch hand fulfilling his promise to bury his best friend in his hometown in Mexico. But on a deeper level, it’s about the intrusion of modern values on what used to be the Old West, about a cowboy clinging desperately to a way of life that has nearly disappeared.

The cowboy is named Pete Perkins, and he is played by Tommy Lee Jones, who also directed the film — his first time in that capacity, and what a thoroughly eloquent job he has done. Jones gives the film a casual, loping feel. Many scenes in the first 45 minutes appear out of chronological order, giving the sense that the sequence was chosen randomly — but in fact a close look shows that Jones has constructed the film very carefully, revealing things methodically and purposefully.

Pete works in a southwestern Texas town, and his best friend is an illegal alien named Melquiades Estrada (Julio Cedillo). Pete speaks Spanish pretty well, owing to his living in a border town and often working with immigrants. Though rough around the edges, he is possessed of a warm heart and a strong sense of justice. He would be a true cowboy if only this were 1890 instead of 2005.

Pete’s opposite is Mike Norton (Barry Pepper), a border patrol officer who has just moved down from Cincinnati with his young wife Lou Ann (January Jones). Mike spends his days hating illegal aliens, reading Hustler magazine while he’s on patrol, then coming home and exercising his husbandly rights with his bored wife.

Lou Ann and Mike are a white-trash couple who live in a trailer park, and Lou Ann doesn’t know a soul in town. She misses home. “Cincinnati’s really pretty in the springtime,” she tells a diner waitress. “There’s lots of malls.”

That diner waitress is Rachel (Melissa Leo), a 40-ish powerhouse of a woman who is carrying on affairs with both Pete and the local sheriff (Dwight Yoakam), possibly others. Her husband Bob, owner of the diner, scrambles eggs in silent obliviousness. Rachel befriends Lou Ann and the two of them go off in search of adventure together.

At some point, Melquiades dies. In fact, his death is discovered in the movie’s first scene; as I said, events are shown out of order for a while. (The very compassionate screenplay is by Mexico’s Guillermo Arriaga, whose previous works — “Amores Perros” and “21 Grams” — also used non-linear storytelling.) How he dies, and what happens next, is what comprises the bulk of the film.

Like any good cowboy, Pete has a strong sense of right and wrong — but only in certain areas. Adultery is fine, for example. He is unwavering in his efforts to fulfill Melquiades’ request to be buried in a tiny village in northern Mexico, doing what he believes to be God’s work but taking extremely questionable measures to accomplish it.

Mike, meanwhile, needs a mighty change of heart if he’s going to keep his wife, his job and his life. He is essentially put into a crucible, a situation that will force him to either change or die. I wonder if a change wrought by such invasive means really counts. Sure, Saul saw God on the road to Damascus and subsequently was a new man. But that was God working on him directly. Does it count if the intervention comes not from God but from someone who merely thinks he speaks for God? How much wrong are you allowed to do in the name of rightness?

The sunny, sagebrushed vistas of the Southwest have never looked as striking as they do here, photographed by two-time Oscar-winning cinematographer Chris Menges. The colors pop, the “bland” landscapes seem vibrant, the dust on the ground seems palpable. The film works on three levels: as a visually appealing modern Southwestern saga, as an old-fashioned cowboy story, and as a compelling, slightly troubling look at modern ideas superimposed against an old-fashioned lifestyle. Choose which level you prefer and enjoy a very confident, well-made film.

The Grace Lee Project (documentary)

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Grace Lee is an American-born girl of Korean parents who grew up in Columbia, Mo., and was one of only three Asian girls in her school. Of the other two, one was also named Grace Lee.

This was no crazy coincidence. As “The Grace Lee Project” demonstrates, there are thousands of Grace Lees in America. Now, Lee is common enough to be the Asian equivalent of Smith. But why Grace? And what, if anything, do all these Grace Lees have in common? What does it mean to be a “Grace Lee”?

Our filmmaker, the one from Missouri, sets out to answer these questions in this lightweight but watchable documentary. A private investigator discovers there are more than 3,000 Grace Lees nationwide, with heavy concentrations in California and New York, and through her own surveys of hundreds of her like-named sisters, Grace finds patterns.

The average Grace Lee is in her 20s, straight, born in America to Korean immigrants, college-educated, and described by all who know her as smart, nice and quiet. No one says “forgettable,” but that seems to be a common thread, too: Many people say they knew a Grace Lee in high school but have no idea what ever happened to her. As the filmmaker puts it, “Does any other name scream ‘Generic Asian Girl’ more than Grace Lee?”

She is thrilled to find a news story of a Grace Lee who tried to burn down her high school, only to discover that she failed at it, and that it may have been intense scholastic pressure to succeed that motivated her — making her a typical Grace Lee after all.

Then she locates a truly unusual Grace Lee, a Detroit octogenarian who married a black man and has been extremely active in the Black Power movement. This firecracker of a woman is beloved by her community, where she works constantly to improve the neighborhood despite being one of only a few Asians there. Truth be told, an entire documentary could be made about her exclusively.

But we move on. Our Grace finds two major reasons for the recurrence of the name in Korean-American families: the Christian influence, and a fondness for Grace Kelly. (Really! Why Grace Kelly? Who knows.)

She spends time with a 14-year-old Christian Grace Lee in Silicon Valley who maintains the image of a typical academically competitive Asian girl but unleashes her frustrations by drawing dark, bloody pictures. Another Christian Grace Lee is the youthful wife of a pastor who works especially with the congregation’s teens, urging them to remain chaste until marriage.

So what is the point? I’m not sure there is one. The film is sort of about Grace Lee’s search for her own identity, about what it means to be Grace Lee. But she mostly focuses on Grace Lees who don’t fit the stereotype, a series of unrelated people whose only connection is that they have the same name. Some of these vignettes are interesting, but they don’t comprise a unified, cohesive whole. The project could have been done a lot more — forgive me — gracefully.

Angry Letter: Native American cinema

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I received this e-mail from someone named Gene, in response to my review of “5th World,” a film that played at the 2005 Sundance Film Festival. Gene writes:

I recently saw “5th World” at the Santa fe Film estival, and I must say I’m as angry as I’ve ever been in my life after I stumbled on your “review” of this film. [“Review” is in quotation marks to indicate it’s not really a review. As you know, if you disagree with something, it stops being what it claims to be. So no, I was not speeding, “officer”!]

If you’re going to cop to not knwoing anything about the rythm and pace of resevation life, how in the name of God can you have allowed a last line about “doing disservice” to navajo’s?! I libve in New Mexico, am not Nvajo, but this was as outrageous a take from a white person on a minority sensibility as I’ve ever read. A “disservice” in who’s frigging eyes? [Probably mine. Y’know, since it was my review and all.] An incredibly white point of view. [Is that an insult? It’s phrased like an insult, but all he’s saying is that I’m white and I think like a white person, both of which are true.]

Sorry if Blackhorse Lowe didn’t meet your expecatation sof teaching you something and rescuing you from your admtted ignorance. That wasn’t the film he clearly set out to make. A shame you couldn’t have reviewed it on the level he offered.

My saying the movie was a “disservice to Native Americans” was in reference to the film being dull and nearly unwatchable — facts that would prevent Native American artists such as Larry Blackhorse Lowe from finding a mainstream, “white” audience.

If the movie was only meant to interest Native Americans, that’s fine. But he probably shouldn’t have entered it in the Sundance Film Festival, then, where it played to a general audience and thus is liable to be judged against the other movies playing in the festival, many of which were much better than “5th World.”

By the way, a good rule of thumb is not to write e-mails when you are as angry as you’ve ever been in your life. It maks you mispell evry othr word.

Lady, It’s Cold Inside

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It’s not often that I find myself leading a revolution of the oppressed working class. Usually I look at the oppressed working class and think: Meh. I’m not the one oppressing you. Quit whining and make my McNuggets.

But since moving to a nameless eight-plex apartment building in North Portland, I have taken on a leadership role as we strive to subvert the authority of our oppressor. I speak of Landlady Peg.

Landlady Peg seemed like a friendly, neighborly sort when I was first considering renting this apartment, but she turned on me shortly after I moved in. Of course, this is because I got a satellite dish without her approval and subsequently told her she had no legal means of stopping me. But I do not think people should hold grudges simply because someone went against their wishes and used federal law to justify their actions. Forgive and forget, right?

Here’s how I know Landlady Peg is still mad about the satellite thing. When I was about to move in and we were going over the rental agreement, she told me rent was due on the 1st, and it’s considered late on the 5th. (Which really means it’s due on the 4th, but whatever.) “But if there’s a month sometime where there’s a problem, and you need to pay it late, just let me know,” she said. “We’re usually pretty understanding about that, and we’re glad to help you out.” I remembered this last month, when there was indeed a problem, and I sent her an e-mail asking if I could pay half on the 1st and half on the 15th. Her response was that this would be perfectly all right, but there would be a $50 late fee.

I maintain that this is neither understanding nor helpful.

So obviously, the grudge continues, and it brings me to my point. The apartments here are allegedly heated by old-fashioned radiators, which are controlled by a thermostat — one thermostat for all eight apartments. This thermostat is located in my particular apartment. However, I am unable to control it, because it’s protected by a clear plastic box that can only be opened with a key. And who has this key? I’ll give you a hint: She also has $50 of my money.

This arrangement would be fine, except that Landlady Peg 1) pays for our heat and 2) doesn’t live on the premises herself. So when the weather first turned cold, she had the thermostat set at 69 during the day and 65 at night — a bit chilly, really, considering internationally recognized Room Temperature is 72. A temperature of 65 makes for inhospitable conditions when it’s 3 a.m. and you want to scamper into the kitchen for a snack wearing nothing but your dainties.

About a month ago, Landlady Peg called me to ask if the heat had been working. She said another tenant had called her saying it wasn’t. I said, “Well, it’s working, but you have the thermostat set so low that it never actually comes on.”

“Oh, that’s how I have it at my house, too,” she said (which I’m sure is a big fat lie). “That’s how we like it. Besides, heat is expensive….”

Blah blah blah. She went on for a few minutes. She might have actually said “blah blah blah.” But nonetheless, she also said she would come by and turn the heat up a bit. She came by, all right, and when she left, the thermostat was set at … 68 during the day and 64 at night. One degree COLDER than it had been before. I maintain that this is neither understanding nor helpful.

I knew I couldn’t call Landlady Peg and ask her to turn the heat up “some more” or “again” — not because those terms don’t grammatically apply to someone who never turned up the heat in the first place, but because Landlady Peg doesn’t like me, and because she has already made her philosophy on heat very clear (i.e., she doesn’t like it).

So I took matters into my own hands. I thought: The heat comes on when the thermostat thinks the temperature has dropped below 68 (or 64 at night). It doesn’t have to actually BE 68 degrees in here; the thermostat just has to THINK it is. Now, what could I do to make a thermostat think it’s colder than it really is? Can I hypnotize a thermostat? Feed it Altoids? Drop an ice cube down its back?

A-ha! Ice cubes. I filled a plastic bag with ice cubes and put it on top of the clear plastic box that encases the thermostat. Sure enough, within a few minutes, the thermostat was thinking the apartment was 62 degrees, and the radiators were working at full capacity to bring it back up to 68. By the time the thermostat decided it was 68, it was actually a very balmy 74.

That’s now my standard practice. When I get up in the morning, I put the ice bag on, and by the time I’m out of the shower, the apartment is comfortable. When I get home in the evening, the ice goes on again for 15 minutes or so, and maybe again once more before I go to bed. The Man had been telling me how much heat I was allowed to have, and I think you know how I feel about The Man, especially when he’s a woman.

My neighbors, of course, probably just think Landlady Peg is a merciful property owner who has granted them a magnanimous amount of heat for the holiday season. They don’t realize that I am their benefactor, and that we are part of an invisible revolution of tenants.

That is fine with me. I’m content to remain an anonymous revolutionary, a cross between Che Guevara and Santa Claus, fetching snacks in my unmentionables in the middle of the night in comfort.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

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It’s ironic that “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” could brim with religious allegory, yet turn out to be just as soulless as its secular blockbuster counterparts. It’s gorgeous and amazing, sure — every penny of the $150 million they spent on this thing is there on the screen — but money can’t buy emotional connection, and that’s what it needs so badly.

Based on the first volume in C.S. Lewis’ acclaimed series of fantasy novels, “The Lion, the Witch and the Wardrobe” is about four children who find that the wardrobe in the countryside mansion they’re staying in is a portal to another land. The land is Narnia, and it has recently been in a state of everlasting winter — always winter but never Christmas, we’re told — due to the evil influence of the White Witch (Tilda Swinton), an ice-cold despot who has claimed unrighteous dominion over the land and turns to stone all who oppose her.

The first child to discover Narnia is little Lucy (Georgie Henley), who befriends a polite faun named Mr. Tumnus (James McAvoy). Lucy’s brother, a disobedient scowler named Edmund (Skandar Keynes), wanders into Narnia next and is enchanted by the White Witch, who promises him all manner of treats if he will do her the simple favor of bringing himself and his three siblings to her castle when next he returns. (So she can kill them. But she doesn’t tell him that.)

Their older siblings, Peter (William Moseley) and Susan (Anna Popplewell), function as the family’s parents while their father is fighting World War II and their mother is back in London enduring the Blitz. They are skeptical of a foreign land being located in the back of a closet, but kindly old Professor Kirke (Jim Broadbent), whose mansion it is, helps them see the wisdom in believing what Lucy has to tell them.

At any rate, all four are soon in Narnia, where a friendly pair of beavers (voices of Ray Winstone and Dawn French) fill them (and us) in on Narnia’s history. There’s all that business with the White Witch, sure, but there’s also the matter of Aslan, a righteous lion who is expected to arrive soon, dethrone the witch, and restore order and balance to Narnia.

Upon the first mention of Aslan’s name, the camera pans across the faces of the four children, all with beatific looks, like neophytes hearing about the miracles of Jesus for the first time. Why, just the NAME “Aslan” sounds magnificent to them.

Except for Edmund, that is. While Peter the good son is the very model of angelic Aryan wholesomeness — fair skin, light hair, blue eyes — Edmund the bad son has darker features and freckles. He is unimpressed when he hears of Aslan. His loyalties lie with the White Witch.

It eventually befalls all four to aid the creatures of Narnia — which include regular animals and mythical beasts like centaurs — in their fight against the White Witch’s armies. Aslan does arrive, of course, with the calming voice of Liam Neeson, and a series of events ensues that will seem familiar in its basic outline to all who have studied the New Testament.

The film was directed by Andrew Adamson, who has made an impressive jump from the computer-animated “Shrek” films to “Narnia,” which is a mix of live action and realistic-looking computer animation. (You can barely tell that Aslan is not, in fact, a real talking lion.) The screenplay adaptation is credited to Adamson and three others, and it is mostly faithful to Lewis’ book. (One interesting mistake: Edmund tells the White Witch that the beavers “said something about the Stone Table,” which is true — except that the beavers mentioned it after Edmund had already left. In the book, he was still present for that conversation.)

But the film fails to bring with it any emotional significance. Some of the action is exciting, but I never had the sensation of actually CARING about the people involved. Part of the problem is that the main characters are played by children, who are notoriously hard to get heartfelt performances from. It doesn’t help that Peter is painted as blandly saintly, Edmund is generically misguided, and Susan barely registers at all. Only Lucy elicits a response, and even that is just the “aww, how adorable!” you feel for ANY cute kid in a movie.

The film is over two hours, and most of that is devoted to plot. There are no scenes where the characters stop and reflect on their plight or their mission so far, and that’s a shame. In the “Lord of the Rings” films (to cite something similar to “Narnia”), those were the segments that helped bond the characters to each other, and us to them, thus giving the whole affair some weight and depth.

Rather awkwardly, the movie lurches to its finale, set on a battlefield where Peter and the White Witch clumsily swing swords that are obviously too heavy for them. (Realistic, I suppose, given her dainty frame and his inexperience with warfare, but kind of funny to watch.) Next thing you know, the kids are adults, and then they leave the wardrobe and they’re kids again, and it all makes sense in the book, but in the movie, what the H?

Also what the H: Santa Claus shows up? And gives everybody weapons?!

It may be possible to create a film version of “Narnia” worthy of the book’s reputation and belovedness. But this one isn’t it. This comes off as an uninspired fantasy bonanza, no more compelling than your average episode of “Xena: Warrior Princess.”

NOTE: “The Lion, the Witch and the Wardrobe” is indeed the first book in the “Chronicles of Narnia” series, in that it was written and published before the others. There are others in the series that take place before “The Lion, the Witch and the Wardrobe,” but “Lion” still came first. So to the people who keep e-mailing me to tell me I am mistaken when I call “Lion” the first book in the series: Stop. I do make mistakes, but this isn’t one of them.

Memoirs of a Geisha

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Geishas are not prostitutes! Don’t call them that, or they’ll get mad.

That is what I learned about the mysterious geisha lifestyle in the film “Memoirs of a Geisha,” a lengthy, soggy adaptation of a novel by Arthur Golden, a man who not only was never a geisha, but isn’t even Japanese! (Then again, neither is most of the cast.)

It is directed by Rob Marshall, a Broadway choreographer/director who earned an Oscar nomination for his dazzling adaptation of “Chicago.” How he has followed up that sure-handed work with such a dull, somber affair as this, I don’t know.

Set in the 1930s and ’40s in Japan, the film tells the story of a girl named Chiyo (Suzuka Ohgo) who is sold to a geisha house upon the death of her mother. The young girls are given basic geisha training in their early years — traditional dancing, singing, tea-serving, that sort of thing — and eventually hope to become apprentices to the real geishas, and then onto full geishahood themselves.

Chiyo, 9 years old and possessed of piercing blue eyes (an oddity that is not explained), runs afoul of Hatsumomo (Li Gong), who flouts the geisha rules and disobeys the house “Mother” (Kaori Momoi) but is kept around because she brings in good money. (But NOT for being a hooker! They don’t have sex with their clients! Unless they do. Which they sometimes do. But it’s not required!) She tries to make Chiyo one of her minions, but Chiyo is too strong-willed to be bullied by the likes of Hatsumomo.

Some years later, Chiyo is renamed Sayuri and starts being played by Ziyi Zhang (who’s as Japanese as I am). She’s taken under the tutelage of Mameha (Michelle Yeoh), Hatsumomo’s chief rival, and there is a good deal of cat-fighting and backbiting between the two geishas. Sayuri has always gotten along with Hatsumomo’s apprentice, Pumpkin (Youki Kudoh), but now they are pawns in the rivalry between their mentors.

Through it all, Sayuri has a crush on a man called the Chairman (Ken Watanabe), a businessman whose partner, Nobu (Koji Yakusho), takes a particular liking to Sayuri. Sayuri is thus caught between her duty to Nobu (her client) and her feelings for the Chairman. Geishas are instructed not to fall in love, ever. But what’s a girl to do?

The 1997 novel, which has been adapted by Robin Swicord (“Practical Magic”), underwent an arduous journey to the screen. At one point Steven Spielberg was set to direct it. Not to dwell on what might have been, but surely Spielberg would have introduced more heart and more intimacy into it than Marshall has done. Marshall has made a very sterile film, one where we spend a great deal of time with the characters without ever getting to know them — or, really, what the life of a geisha is all about.

The three leads — Michelle Yeoh, Ziyi Zhang and Li Gong — perform nobly, almost breathing life into the turgid screenplay. Certainly they are dressed beautifully, and the movie is often lovely to look at, if nothing else.

An older version of Sayuri opens the film by narrating, “A story like mine should never be told.” I think maybe she was right. If her story is going to be told, it should be told more passionately than this.

Brokeback Mountain

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“Brokeback Mountain” is the story of two people who fall in love with the person they least expected to. In that regard, it is no different from hundreds of other movies about mismatched couples and surprise romances. That the romance is doomed and tragic is not particularly uncommon, either. That it involves two men … OK, now we’re into somewhat less familiar territory. That it’s all of those things, plus powerful and moving enough to be one of the best films of the year, is extraordinary.

Ang Lee’s poetic, beautifully rendered version of E. Annie Proulx’s short story (adapted by “Lonesome Dove’s” Larry McMurtry and Diana Ossana) is elegant to behold and poignant to contemplate. It’s a mournful love story, fraught with unexpressed emotions, sad realities and terrible losses. But when I think about the movie, I smile. The story is told so masterfully, and the emotions evoked so completely, that I’m more overcome by what a good film it is than by how “sad” certain elements of it might be. Plus, there’s that final scene, which is so sweet and disarmingly tender….

It is 1963 when Jack Twist (Jake Gyllenhaal) and Ennis Del Mar (Heath Ledger) meet in Signal, Wyo. The two cowboys are hired by a rancher named Aguirre (Randy Quaid) to take care of his sheep up on Brokeback Mountain for the summer. This puts them in isolation for three months, no human but themselves around for miles.

Ennis is taciturn and stoic, the quintessential Marlboro Man cowboy, down to his guttural voice and squinty eyes. Jack is slightly more talkative and showy, having been a rodeo rider before he came to Wyoming. When Ennis tells Jack a story about his past, Jack says, “That’s more words than you’ve spoken in the last two weeks.” Ennis, not given to introspection but here realizing something about himself, smiles and says, “That’s more words than I’ve spoken in the last two years.”

It’s on a cold night in the tent that it happens. Jack is the instigator, but Ennis does not resist for more than a moment. They have fallen recklessly and violently — improbably and hopelessly — in love.

Yet the word “love” is not used. Neither, for that matter, is the word “sex,” not until very late in the film (and then it’s a synonym). As their relationship continues over the next two decades, parted by geography and their separate marriages and reunited a few times a year for “fishing trips,” all they ever call it is “this thing.” It IS love, and there is sex involved, but those aren’t the words they use to describe it. It’s simply “this thing.”

What’s notable about “Brokeback Mountain” is what’s NOT in it. Despite its reputation as a “gay cowboy” movie, there is but one sex scene between the two men, and it occurs fully clothed. Meanwhile, there are three boy-girl sex scenes, and altogether more female nudity than male.

There are also no sociopolitical messages. If the film is nothing more than propaganda for the “gay agenda,” as some have suggested, you’d expect there to be speeches where Ennis and Jack decry the current state of affairs and wistfully long for a day when they’ll be accepted in society. Yet there’s nothing of the kind. Quite the opposite, actually. They acknowledge that if they were to run off together, their living arrangement would be socially unwise and even physically dangerous, and neither of them says that things “ought” to be otherwise. They’re cowboys, after all, given to stoicism, not fantasizing or activism. “If you can’t fix it, you gotta stand it,” Ennis says, his point being that this particular situation cannot be fixed.

The two women in the film are Michelle Williams as Ennis’ wife Alma and Anne Hathaway as Jack’s wife Lureen. They never meet each other. Jack and Ennis only communicate via postcard, just enough for Jack to say, “Fishing trip in three weeks?” and Ennis to reply, “Sure.” Alma is suspicious of the arrangement but terrified to investigate it. Lureen is content to run rough-shod over her husband — she’s a rodeo-rider too — and to let her austere father do the same.

Gyllenhaal’s and Ledger’s performances are both subtly brilliant. Neither man’s character says much, so they make what dialogue there is rife with import. Body language and facial expressions speak volumes, too, particularly in the way they interact with each other. You can tell by watching them together what their backgrounds are and what roles they play in the relationship: Jack can’t please his father, has longings he can’t understand, and wishes he had someone he could talk to about it; Ennis is fiercely independent, doesn’t brood over his feelings, and often seems “above” the whole sloppy notion of being in love even though he is in fact very deeply in love.

Like all great films, this one finds universal themes in an unusual and specific story. Anyone who has been in love will see himself or herself in Jack or Ennis. Their story has many of the conventions of a typical troubled-relationship movie, translated into the language of two cowboys who are at a loss to explain what has happened to them.

Mrs Henderson Presents

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The Windmill Theatre in London’s West End was famous for two things. First, in the late 1930s, it was London’s first legitimate theater to feature nude women onstage. Second, during Germany’s Blitz of London during World War II, the Windmill was the only theater that never ceased operations.

If you find it difficult to work up a lump in your throat for the brave souls who made sure audiences still had a chance to look at naked ladies even though bombs were falling all around them, “Mrs Henderson Presents” will not do much to persuade you otherwise. The point is made by the film, and by the Mrs. Henderson of the title, that since the women are in tableau — i.e., just posing, motionless — gazing upon them is no different from viewing nude paintings in a museum.

Whether you buy that argument or not, “Mrs Henderson Presents” is a humorous, daft little film about a humorous, daft little lady. Played by Judi Dench, the wealthy Mrs. Henderson is widowed in 1937 and finds that, after a life of being a diplomat’s wife, she has no idea how the real world operates, much less what she should do in it. On a whim, she buys a boarded-up old theater. Why, when the blues have got you down, puttin’ on a show is just what the doctor ordered!

She hires a theater manager named Vivian Van Damm (Bob Hoskins), who is out of work (like much of London at the time) and eager to take control of a new project. This in itself is problematic: Van Damm and Mrs. Henderson both like to control things. Nonetheless, they reach a consensus on the show to be staged. They call it “Revudeville,” the title being a rather awkward combination of “revue” (a pastiche of song-and-dance numbers) and “vaudeville.” Comedy sketches, dance routines, corny jokes and plenty of music comprise the show.

As the first American-style vaudeville show in London — and partly owing to Mrs. Henderson’s unusual idea of having shows all day long instead of just one or two in the evening — it’s an instant hit. But soon everyone is doing vaudeville, and the Windmill is no longer a novelty. How to revive attendance? Mrs. Henderson and Van Damm come up with the same answer that countless showmen before and since have come up with: nudity.

It is local magistrate Lord Cromer (very amusingly played by Christopher Guest) who reluctantly agrees, thanks to Mrs. Henderson’s persuasion — a mix of matronly kindness and imperious don’t-mess-with-me attitude — that if the nude women don’t move, it’s nothing more than a living art exhibit. But they mustn’t move! If they move, the show becomes indecent.

The screenplay, by playwright Martin Sherman, gets plenty of mileage out of the juxtaposition between veddy proper English society and the inherently bawdy nature of Mrs. Henderson’s proposed show. (Sure, they’re calling it “art” to make it legal, but they know it will be soldiers on leave filling the seats, not museum patrons.) Mrs. Henderson, who can do the high British manners thing but prefers bluntness, has an amusingly candid conversation with Lord Cromer over the technicalities of what will be visible and what will be obscured by shadows. And during the auditions, the actresses stand there naked while Van Damm and his choreographer, the “otherwise inclined” Bertie (Will Young), discuss each girl’s, um, merits. (There is some controversy over whether a particular nipple is “British” enough, or whether it might be a little too Italian in appearance.)

The show is a hit, as you might expect, and one of the film’s subtle jokes is that Revudeville hasn’t changed; all they’ve done is add nude women to serve as set decorations. (You’re singing a song about America? Well, there’s a naked girl holding a torch.) The show that people were tired of before, all of a sudden they love it, now that there’s eye candy.

Meanwhile, Mrs. Henderson and Van Damm have a spat over something foolish, and the movie dwells on it far too long. When Harry and Ron had a dumb fight in the most recent Harry Potter movie, you can chalk it up to their being 14. But Mrs. Henderson and Van Damm are well beyond middle age. I expect them to have more intriguing arguments than her being jealous when she finds out he’s married. (Dench’s last film, “Ladies in Lavender,” also required her to have an unrequited crush on someone. I must say, a lovelorn Judi Dench is not one I care to see very often.)

Dench is a trouper from way back — she’s almost old enough to have been one of these Windmill girls, but not quite — and she’s game for all the silliness this film puts her through. (She wears a bear costume at one point.) Yet even when it seems Mrs. Henderson will become too eccentric, too “edgy,” too self-consciously “different,” Dench does something to bring her back down to earth and make her seem real again.

Director Stephen Frears (“High Fidelity,” “Dangerous Liaisons”) generally runs a well-oiled machine here, with Bob Hoskins delivering good work and even the pop-star-turned-actor Will Young doing better than expected as Van Damm’s assistant. Frears does let things get out of hand near the end, when Mrs. Henderson must (sigh) deliver a rousing speech outside the theater to convince the authorities to keep the Windmill open despite the Blitz; that’s probably the most cliché moment in the film.

Would it have been possible to make a film ABOUT nudity without actually featuring any nudity? Perhaps. But maybe that would have defeated part of the film’s point, which was to demonstrate that nudity is not the same thing as sexuality. Indeed, while nudity (mostly in the form of topless ladies) abounds here, there is no sex. Is it a “dirty movie” anyway? Depends on your point of view. Is it funny? Oh yes. Did I mention Judi Dench wears a bear costume?

Sad box office facts

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Quiz: What two things do the following films have in common?

“Doom”
“The Fog”
“Transporter 2”
“The Dukes of Hazzard”
“Fantastic Four”
“Monster-in-Law”
“The Amityville Horror”
“The Pacifier”
“Diary of a Mad Black Woman”
“Boogeyman”
“Are We There Yet?”

Answer: First, they’re all really bad.

Second, they were each the No. 1 film in the country for at least one weekend apiece.

That’s right, there was one weekend this year when people would rather watch “The Pacifier” than ANY OTHER MOVIE. Doesn’t that make you sorta ashamed? Especially considering that on that very same weekend, good movies like “Million Dollar Baby,” “Sideways,” “Finding Neverland,” “Hotel Rwanda” and “In Good Company” were also playing. Heck, even “The Incredibles” was still on a few hundred screens. And instead, everyone went to watch Vin Diesel being bit in the crotch by a duck.

There was a general bemoaning of Hollywood’s inferior product this year, just as there is most years. But as long as people keep going to watch the crap that comes out, why should Hollywood make anything different? If you paid money to see “Are We There Yet?,” let’s face it, you’re part of the problem, not part of the solution.

I’m looking at the films liable to make my Top 10 list for the year, and I see quite a few that were box office disappointments. Is it because they’re movies that only film critics like, and that regular audiences find boring? Yeah, a few of them. But most of them are accessible, regular ol’ crowd-pleasers — that is, they would be crowd-pleasers if they could attract a crowd to please.

The fact that “Monster-in-Law” grossed $82 million while “Kiss Kiss Bang Bang” has petered out around $4 million is a terrible injustice. (Maybe if Jennifer Lopez and Jane Fonda had kissed each other and then shot each other….)

God Rest Ye Southern Gentlemen

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Do you like making fun of Alabama? Sure, we all do. That’s why we have Alabama. That’s why they kept it intact when they were making America. You know how there’s one person in every group whom the others mock when he’s not around? That’s Alabama. His 49 friends secretly think he’s a moron. (OK, not secretly.)

Our latest example of Alabama’s down-home way of embarrassing itself is in State Rep. Steve Hurst’s filing of a bill that would require all Alabama license plates to bear the phrase “God Bless America.” This would replace Alabama’s current slogan, which is “The South wil Rize Agin!”**

No, I kid. “God Bless America” would actually appear on the license plate IN ADDITION to the things already on there, which include the words “Stars Fell on Alabama” and the phrase “Heart of Dixie,” which is actually required by STATE LAW to appear on all Alabama license plates — as in, if someone tried to have a license plate that didn’t say “Heart of Dixie,” they would be breaking the law. Somewhere in there, I guess there’s also a place for the license plate number.

Rep. Hurst wants to add “God Bless America” to all of this, and on its face, it’s not a completely absurd idea. Where he’s going to lose a lot of people is in the way he talks about it, as quoted in an Associated Press article of Nov. 26.

Having seen a “God Bless America” decal on a specialty prisoner of war license plate, Hurst thought it would be good to put the same thing on all of Alabama’s plates. “That will let all the people in America know that we are a Bible Belt state,” he said.

Now, first of all … I’m pretty sure all the people in America already know that. I don’t think there’s any question about where Alabama stands vis-a-vis the Bible, i.e., they like it.

Second, does Alabama really want to be so closely associated with a book when 25 percent of Alabama’s adults are illiterate? (They’re a Bible Belt state, you see, just not in the sense of actually being able to read it.)

Hurst probably should have gone with “In God We Trust” for his proposal. That phrase already appears on U.S. currency and in other official government places, so he’d be able to make a fairly strong case for putting it on license plates, too. But “God Bless America” is just the name of a song by Irving Berlin (Irving Berlin the JEW — has Alabama considered THAT?). It has the word “God” in it, which means it’s sorta religious, which means it’s going to be problematic getting it on the license plates.

Hurst told the Associated Press, “Here we are in the times of 9/11, times of war and terrorists. It’s a time for the nation to pull together and I think this is something that reflects how the majority of Alabamians feel.”

Again, two points.

1. Did Hurst just wake up from a four-year coma? “The times of 9/11”? “Time for the nation to pull together”? That is so September 2001.

2. Just because something “reflects how the majority of Alabamians feel” doesn’t mean it ought to be put on government-issued paraphernalia. Until recently, most Alabamians didn’t feel black people should be allowed to drink from the same drinking fountains as white people, but you didn’t hear anyone suggesting they put THAT on the license plates.

More to the point, while we live in a democracy, that doesn’t mean just ANYTHING the majority agrees on can be made official. Eighty percent of Americans identify themselves as Christian, but that doesn’t mean a law could be passed making Christianity the official religion of the United States. Why not? Because of the other 20 percent, who don’t constitute a majority but who are still entitled to equal status under the law.

Something like 90 percent of Alabamians are Christians. (By comparison, only around 80 percent of Israelis are Jewish.) The other 10 percent are Jewish, Buddhist, Muslim, Hindu, Unitarian, agnostic, atheist or simply “no religion.” I’m guessing it’s more of the latter; somehow I can’t picture a lot of Hindus or atheists living in Alabama. (Actually, I CAN picture it, and it’s really funny.)

I guess the license plate thing just seems unnecessary, and not because a quarter of Alabama’s residents wouldn’t be able to read it anyway. If the vast majority of Alabamians believe in God, and if most of those presumably want God to bless America … well, then why put it on a license plate? Hurst says it’s to unify everyone, but it sounds like most of his constituents already ARE unified. Are they trying to convert the people who don’t believe in God over to their side? Are they trying to frighten the terrorists into thinking they can’t win against a nation that God is blessing? He says it’s to let everyone know what Alabama thinks, but I can assure you, the rest of the country doesn’t care what Alabama thinks. We just like watchin’ ’em.

** Alternate jokes for Alabama’s current slogan:

“Alabama: Who Farted?”
A picture of a pig sitting in a rocking chair
“You Can Call Me Al”
“Death Before Literacy”
A drawing of two dogs doin’ it
“Alabama: We Don’t Need Your Kind ‘Round Here”

Angry Letter: ‘Rent’

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A fellow named Chris (Reallyniceguy888@yahoo.com) e-mailed me recently in response to my review of the film “Rent.” He writes:

ITS A [swear word] MUSICAL U RETARD! [I believe that was actually the original advertising slogan.] Oops here’s another song? What did you think it was gonna be like. If there weren’t songs you would’ve said..”I didnt like this movie..it wasnt so much a musical as it was a regular movie.” And hey did u watch La Bohem? [No, but I did manage to catch “La Boheme.”] The main illness was teberculosis…the AIDS of that time. [We’ll ignore the medical incongruities between tuberculosis and AIDS and just point out that while TB is indeed the ailment of choice in “La Boheme,” only one character suffers from it.] The main characters are drug addicts, sluts, strippers, and homo-sexuals…all prone to….guess what…AIDS!!! The people that dont have AIDS are…here’s a shocker…you ready??? Mark…momma’s boy who doesnt do drugs, Maureen…dated momma’s boy, wouldn’t let her do drugs…and the up-tight lawyer Joanne…who…well…the description is pretty much says it. The peopel that did have AIDS…druggie, druggie, stripper druggie, and two gay guys…hmmm…pattern? My opinion…if you dont get the movie, don’t make dumb biast comments on it.

That an e-mail so riddled with grammatical, spelling, logical and factual errors should call MY comments “dumb” — and it happens all the time with angry-letter writers — is one of the genuine delights of my job.

For the record, my actual complaint in the review was not that the film had too many songs, but that the songs didn’t feel connected, like they were part of a unified whole. In fact, the movie didn’t have ENOUGH songs — by cutting out a lot of the singing that connected the numbers in the stage version, the movie got that disjointed feeling I complained about. ITS A [swear word] REVIEW U RETARD! TRY READING IT!!

Aeon Flux

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As happens so often with sci-fi films, the ideas in “Aeon Flux” are more interesting than the movie they’re trapped in. It touches on politics, human genetics, the nature of personality and the purpose of government, and it features a woman who has an additional pair of hands where her feet should be. The fact that a movie containing all of those elements could be as sterile and monotonous as this one is a wonder in itself.

It’s set in: THE FUTURE!! 2415, specifically. It’s 400 years after a virus wiped out all but 5 million of the Earth’s inhabitants. (Bird flu, I assume.) The descendants of those survivors now live in a utopian city called Bregna, governed and protected by Trevor Goodchild (Marton Csokas), whose forebear discovered the vaccine that stopped the virus and whose family has ruled ever since.

Things are good in Bregna, but the government is intrusive and surveillance-happy, and sometimes people disappear for no reason. A group of rebels has sprung up whose goal is to bring down the Goodchild dynasty and introduce, I don’t know, democracy or something. These rebels are called Monicans, for obvious reasons. (They love Courteney Cox, duh!)

One of these Monicans is named Aeon Flux (Charlize Theron), and she becomes quite keen on killing Trevor Goodchild after her sister is murdered by the Goodchild government. Aeon takes orders from a woman played by Frances McDormand who lives in her head. Well, she doesn’t really live there, but when Aeon wants to talk to her, that’s where she goes. The camera whizzes through Aeon’s face and into her brain, where there’s a room where Frances McDormand is hanging out, and Aeon can talk to her. It’s like when Mork would call Orson, sort of.

Anywhich, Aeon gets the order to sneak into Goodchild headquarters and kill Trevor, but as it turns out, Trevor is having second thoughts about his system of government anyway. Not so his Machiavellian brother Oren (Jonny Lee Miller), who likes being the king’s brother and might like to be king himself someday, if you catch my drift. Aeon eventually learns all of Bregna’s secrets from Trevor, including the mystery of why there is a medium-sized blimp floating around the city’s outer wall at all times (apart from the obvious reason, which is that it’s an homage to “The Prisoner”).

Oscar-winner Charlize Theron made an interesting choice in the way she plays Aeon, i.e., she speaks in a flat, emotionless drone. Director Karyn Kusama, of the beloved indie flick “Girlfight,” probably thought Theron sounded hyper-cool rather than boring. But then, Kusama last worked with the mannish and monotoned Michelle Rodriguez in the beloved indie flick “Girlfight,” so maybe it’s just what she’s used to. Maybe she thinks that’s what all tough women are supposed to sound like.

The characters come by way of MTV’s 1990s animated series, which was created by Peter Chung and which (from what I gather) bears only superficial resemblance to the movie. The film isn’t as bad as you’d expect knowing Paramount refused to pre-screen it for critics, but it’s certainly not as good as its source material seems to have been. It feels cold and impersonal, as if it hopes its story alone will entice you into liking it even though the characters mean nothing to you.

Transamerica

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A man who wishes to become a woman — who has already undergone all of the necessary procedures except for The Big One — learns, on the eve of the operation, that he fathered a child 18 years ago, and that this child is now trying to find him. The child is unaware, of course, that his long-lost father is about to become his mother.

Neil Simon could make a merry farce of such a scenario. But “Transamerica” is a much more down-to-earth comedy, one with heart and soul. It wants us to laugh at its witty dialogue, but it doesn’t want us to laugh at its protagonist or her situation.

“Transamerica” isn’t the best film of the year, but it certainly contains one of the best performances: Felicity Huffman, recently an Emmy-winner for “Desperate Housewives,” now deserving of more nominations for playing Bree Osbourne. Bree was raised as a man but now, as she approaches 40, is about to become a woman. She has already been living as one for some time, taking hormones, working on pitching her voice higher, undergoing electrolysis and other small-scale surgeries to take the man out of her. All that remains is a certain crucial procedure and then she will officially be a lady.

I’m already calling her “she,” even though she is technically still a man — or, in the correct terms, a pre-operative male-to-female transsexual. “She” is the easier pronoun to use, partly because she is played by a woman, and partly because that’s the term Bree herself would prefer. In fact, most people she encounters don’t realize she still has boy parts.

I haven’t even begun to tell you the plot, but I have to stop to tell you about how brilliantly cast Huffman is. I don’t know if she’ll take this as a compliment, but the role of a pre-op MTF tranny is the part she was born to play. A woman who was supermodel-gorgeous couldn’t have played Bree; you wouldn’t have believed she had ever been a man. But Huffman, while good-looking, has facial features that are not “petite” or “girlish.” With the right wig and makeup, they take on a certain masculine quality. Between that and her voice, which she alters to sound higher than a man’s but lower than a woman’s, she honest-to-goodness passes for someone who has just walked down Male Avenue and is rounding the corner onto Woman Boulevard. When we catch an unfortunate glimpse of Bree’s soon-to-be-inverted apparatus (courtesy of prosthetics), you forget for a second that Felicity Huffman doesn’t actually have a penis.

(Oh please oh please oh please let them quote that last sentence in the ads!)

But back to the story. A week before the operation in Los Angeles, Bree learns that her one heterosexual dalliance in college produced a son, who is now 17 and in jail in New York. His mother is dead. He wants to find his father. Bree isn’t ready to accept that she has a son, in large part because he will serve as a reminder of her former life. But her psychiatrist, Margaret (Elizabeth Peña), insists that Bree deal with this bit of baggage before she make the final move into womanhood.

Bree finds the kid in New York. His name is Toby (Kevin Zegers), and he has been living on the streets working as a gay hustler, though whether he’s actually gay remains to be seen. Toby and the people at the correctional facility assume Bree is one of the local church ladies who go around rescuing lost young people, and Bree lets them think that.

Because Toby wants to get to L.A. to find a job in the film industry, and because Bree has to get back there anyway, they take a cross-country road trip. I don’t buy this, exactly — it would have been much cheaper to simply buy Toby a plane ticket — but it gives them plenty of time to get to know each other, learn each other’s secrets, and develop a bond.

Bree is well-educated and speaks with impeccable grammar and vocabulary. (On learning that Toby makes his living as a prostitute, she asks, “How much money did you make per … assignation?”) Toby comports himself with a slouchy casualness befitting a street urchin, and when they run out of cash, he knows how to make a quick hundred bucks at a truck stop. They are Oscar and Felix for the new century.

Huffman gives the character more dignity and grace than most films would, and though writer/director Duncan Tucker acknowledges Bree’s freakishness, he doesn’t hold her up to ridicule. He doesn’t make her out to be a saint or martyr, either, which is nice; she’s simply human, like the rest of us.

A turning point for Toby’s perception of her, after he’s figured out that “she” is only partially correct as a pronoun to describe her, is when they meet a man named Calvin (Graham Greene) at a roadside diner. Calvin is a gentleman with cowboy manners, tipping his hat and opening doors for Bree. It’s the first time she’s been treated like a lady. Toby takes Calvin aside and tells him Bree has secrets. Calvin says, “Every woman’s entitled to a little mystery.” He’s not perfect either, he points out.

There is an encounter with Bree’s parents (Fionnula Flanagan and Burt Young) that brings together the film’s greatest strengths but also introduces its chief flaw: The sequence is funny and emotionally dynamic, but it’s also over the top. Flanagan’s version of Bree’s histrionic, conflicted mother suggests real crises of emotion that have been overplayed into big, silly tantrums.

The rest of the film, though, is surprisingly centered and calm, neither exploiting the story’s sensational aspects nor ignoring them. It finds comedy and drama in the same places, often at the same time, and it very ably makes Bree — so far-removed from most of us in many ways — seem like someone you might have known once.

First Descent (documentary)

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Duuude! You have to check out this new flick called “First Descent”! It’s got, like, the history of snowboarding, and some board pros totally go up to, like, Alaska or whatever and totally cut lines down these sweet mountains! It’s so gnarly. Catch ya later, brah!

(Will I be the only critic to begin his review like that? No. I can only hope to be among the first hundred.)

Anyway, brah, “First Descent” is to snowboarding what “Dogtown and Z-Boys” was to skateboarding and “Riding Giants” was to surfing — or at least it tries to be. Rather than using new interviews and old footage to tell the history of the sport, “First Descent” features an awkward mix of those elements and a newly shot, just-for-the-film document of a team of current pros on an Alaskan snowboarding expedition.

Much of this footage is gnarly indeed, and beautifully filmed (by first-time directors Kemp Curly and Kevin Harrison) in the breathtaking back country of our 49th state. But if you want nifty x-treme sports footage, there are dozens of videos you can rent.

The Alaska crew includes 18-year-old Shaun White, a Carrot Top lookalike who is evidently all the rage on the pro boarding circuit these days (and, like many of his colleagues, no slouch on the skateboard, either). His is a youth-oriented sport, but men like 40-year-old Shawn Farmer have excelled in the past and continue to be active (though some of the more ridiculous Alaska stunts are too much for him).

Also along are 18-year-old Hannah Teter, Scandinavian sensation Terje Haakonsen, and Nick Perata, who has spent enough time in Alaska to make him quite valuable to the rest of the team. (“The biggest thing that would bum me out would be if someone got hurt or killed here in my own backyard,” he says casually). A few minutes are spent on each character’s back story, and then it’s to the slopes!

Intercut with all this are interviews with other snowboarding pioneers and footage of their early work. A story emerges that is similar to what we heard in the films previously mentioned: We weren’t trying to invent a new sport, we were just kids having fun, etc. Still, it’s interesting to see the evolution from despised thrashers of ski runs to mainstream athletes competing in the Winter Olympics. (Naturally, a few of them worry whether such acceptance is “selling out,” as if getting paid for what you were doing anyway somehow means the thing isn’t worth doing anymore.)

It’s all enjoyable as far as it goes, but at 110 minutes, the film is liable to tax the patience of all but the most devoted of aficionados. It needs more focus and cohesion — more fascinating history and trivia, less footage of the Alaska trip. Because honestly, with all due respect to Alaska, one guy zipping down a mountain on a snowboard looks about the same as any other, regardless of what state he’s in.

Cedar Hills and self-righteousness

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I recently began a thread on my message board (aka “The Online Village of Nerds”) desiring to know people’s opinions about the recent vote in Cedar Hills, Utah. An initiative had been proposed that, if passed, would require all businesses within the city to be closed on Sundays, and would ban the sale of beer completely, seven days a week.

Though a vast majority of the town’s residents are Mormon and don’t personally buy beer or shop on Sundays, there was some question over whether such personal choices should be turned into laws. Others countered that the laws would be better for the community, and that since nearly everyone in town followed those principles anyway, a law wouldn’t be disrupting anyone’s life.

In the end, the initiative was voted down, 60 percent to 40 percent.

But I was curious what others thought of it, so I posed a brief description of it, and then we enjoyed a (mostly) civil discussion weighing the pros and cons of it. Most of the people who spoke up said they would not have favored such an initiative, but several regular members of the message board community voiced opinions supporting it, too.

Then someone joined the board (you have to register a user name first) JUST to tell us how wrong we were. His user name was JonBird. He was heavily in favor of the initiative. He posted four messages in rapid succession replying to, disagreeing with, and piously mocking those who had said they were against it.

He said: “Surprised to see how many LDS in this nerd villiage got this issue wrong.”

When someone said, “The fact that you think there is a ‘wrong’ or ‘right’ here indicates you are either naive or ignorant. Feel free to disagree with me if you want to but don’t tell me I’m wrong. I won’t tell you you’re wrong either,” he responded: “I guess you are not person of faith because religious faith is all about what is right and wrong and proclaiming as such.”

When someone said, “Is there no room for different opinions in the LDS Church, even when the doctrine isn’t completely clear-cut?,” he responded: “There is room when the doctrine is not clear. But this is as clear as it gets. Are you unfamiliar with the Word of Wisdom or Sabbath day teachings?”

People would counter his arguments with questions, or point out logical fallacies, and he would respond to some while ignoring others (presumably the ones he couldn’t think of answers for).

Feel free to browse the thread to read more. (He shows up on page 3.)

The issue, of course, was not that he was in favor of an initiative that many others had spoken out against. Disagreeing is perfectly acceptable. There’s no right or wrong answer on an issue like this. It was the smarmy, self-righteous way he talked about it that was off-putting.

The surprising thing, and the point of this blog entry, was this: When someone asked who he was and why he had suddenly appeared on the message board, he said:

I’m a really long time fan of Eric’s from his Daily Universe days when we were both students. Long time reader of the boards. Usually i think the LDS on this board play it safe and error on the side of righteousness, but not today.

How can someone as self-righteous as this guy be a fan of mine since all the way back in the BYU days? Didn’t I used to make fun of self-righteous people, like, every week? Did he not realize I meant him, too?

On the subject of movie spoilers

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My old pal Scott Renshaw at Salt Lake City Weekly has written an excellent article about how critics have become so afraid of giving away “spoilers” that they can no longer adequately discuss some films. It’s thought-provoking, and it only has spoilers for “The Crying Game” and “The Sixth Sense.”

Read it here.

Beans and Cornbread

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In the past, I have been very bad about getting to know my neighbors. It’s not because I’m reclusive or timid, but because there’s seldom any reason to interact with them. We Americans lead pretty independent lives nowadays. It’s not like I need to run next door to ask old Mr. McGillicuddy to help me get the livestock inside when there’s a twister a-comin’, or to get my mule out of a ditch after a carting mishap. Even the proverbial cup of sugar is no longer passed between neighbors, what with the fact that no one bakes anymore, and that “sugar” could be a code word that undercover cops use for drugs.

When I lived in a condo in Orem, Utah, I had neighbors who I never met but whose voices I recognized because I frequently heard them through the wall when they were engaged in marital relations. One time their relations were so clamorous, they woke me up. But I never met these people in person.

Next, when I lived in an apartment building in Salt Lake City, I knew my neighbors across the hall were from Mexico and that they were not afraid to hold very festive fiestas until the wee hours of the morning. I also knew that the people directly above me let their kids stay up really late, and that the woman whose bedroom was above mine communicated mostly by shouting. But again, I never met any of these people.

So now that I’ve moved again, to an apartment in a “quaint” (i.e., dilapidated) eight-plex in Portland, I’m trying to be different and actually get to know my neighbors. I always lived in such big complexes before, but now there are only seven units besides mine. I should be able to manage that.

My first effort came not long after I moved in, when I wanted to make burritos for dinner and found I lacked a can opener with which to free the frijoles from their tin prison. This struck me as odd. Not the bizarre terminology I just used, but the fact that I didn’t have a can opener. I know I had one when I lived in Salt Lake. I specifically recall using it to open cans on a number of occasions. Why hadn’t it made the trip with me to Portland? Had I intentionally left it behind or thrown it out while packing, perhaps in an attempt to lighten my load, perhaps thinking I would never need to open a can again? If that was my reasoning, it was extremely short-sighted, for here I was, not a week into my new location and already in need of a can opener. I suppose next you’ll tell me I shouldn’t have thrown away all my socks, either.

Anyway, I really had a hankering for those burritos, so I went over to apartment No. 5, where there appeared to be someone home. A Hispanic man in his early 20s answered the door. I told him I was the new guy in No. 8 and briefly summarized my plight for him. He retreated straightaway to the kitchen to fetch me a can opener; I used it on the spot, having brought the beans with me. Then we had this conversation:

ME: Thank you very much. So, do you like living here?
HIM: Yeah, it’s OK.
ME: Cool. I’m Eric, by the way.
HIM: I’m [I don’t remember what he said his name was].
ME: Nice to meet you.
HIM: You too.

So you can see that already I am doing better in my attempt to befriend the neighbors.

The people in No. 7, right next to me, made it easy to be friendly. They were a couple in their early 20s, and the woman was a heavy smoker, which meant she was outside a lot, because Landlady Peg won’t let tenants smoke inside (which is unfair, because the way Landlady Peg controls the heat, sometimes lighting a cigarette would be the only way to stay warm). When I’d been here a few days, the woman saw me one afternoon and introduced herself. (Tonia? Tawny? Something like that.) She said she lived there with her boyfriend, J—- (Jason, I think, possibly Jeremy), and that they were from New Jersey. How they managed to be from New Jersey, I don’t know. They were both artist hippie vegetarian Macintosh types who listen to jazz music and don’t own a TV. I was surprised they weren’t born in the actual forests of Oregon, having sprung up from the earth itself with Mother Nature and Father Hemp as their parents.

Anyway, Tammy (?) was very friendly and chatty and said if I ever needed anything I should come over, and if their music was ever too loud I should let them know, and that I should stop by sometime for some cornbread, and that they liked to be good neighbors, and wait a minute, did she just say to stop by for some cornbread? But the conversation had moved on before I could say anything.

Cornbread? Usually you’d say stop by for a drink, or for a snack, or to watch the game, or something. But cornbread? She wasn’t from the South. Do people from New Jersey even MAKE cornbread? Does she always have a pan of it lying around, in case company drops in? Some people have a candy dish or a bowl of fruit. Maybe she has a plate of cornbread.

I spent the rest of the evening trying to figure out what she might have said that I had mis-heard as “cornbread.” But not very many words sound like “cornbread,” or at least not ones that make sense in this context. “Stop by for some corporate” isn’t a complete thought. “Stop by for some cord wood” is even more baffling. “Stop by for some porn; bed” is a logical statement, albeit an indecent one, but there had been no semicolon in her voice, I’m sure of that. I was forced to conclude that she had, in fact, offered me cornbread.

Alas, I was never to take advantage of her hospitality, because she and J. moved out a week later. It was a shame, because I really like cornbread.

The Libertine

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John Wilmot, the Earl of Rochester, portrayed with the usual playful dementia by Johnny Depp, speaks directly to the camera in the first scene of “The Libertine.” He says that in the story of his life that is about to be presented, “You will not like me.” How right he is.

A film with an unlikable protagonist — and John is a complete rotter, not just a philanderer but an abusive jerk and mean-spirited alcoholic — has an uphill battle to begin with, and “The Libertine” is saddled with an additional burden: It doesn’t have a point, either.

It tells John’s story, beginning in 1675 under the jolly reign of good King Charles II (John Malkovich), with a certain sly charm and vulgar whimsy, but with no central purpose. Episodes from John’s ribald life are recounted; he eventually catches an especially ugly case of syphilis and almost literally falls apart; he dies. At the end, when he asks us, “Do you like me now?,” his tune has changed, and now he seems to hope we do. Yet the film has given us no reason to. We certainly don’t feel sorry for a bastard like him, flesh-eating syphilis or not. (This makes two films in a row for Johnny Depp where he reminds us of Michael Jackson.)

John was a real person, a bawdy poet and playwright who was alternately a friend to, and thorn in the side of, King Charles II. Wikipedia tells me he is credited with being the author of the first piece of pornography ever produced on a printing press, which I guess is like being the first person to post dirty pictures on the Internet in that he probably had no idea how well the idea would take off. He ran with a merry crew of debauchers, many of them fellow writers, and was the life of any party, especially if that party had sex and alcohol (and honestly, what good party doesn’t?).

All of this is conveyed quite vividly in the film, directed by first-timer Laurence Dunmore from Stephen Jeffreys’ play (which Jeffreys himself adapted). John has a wealthy wife, Elizabeth (Rosamund Pike), whom he leaves in the country most of the time so he can cat around London with his many mistresses, misters and whores. He takes an actress named Mrs. Barry (Samantha Morton) under his wing and coaches her to stardom, while also carrying on an intimate personal relationship with her. Who does he get syphilis from? Open the phone book and pick a name at random.

Depp specializes in odd-duck roles, of course, and you can see why he picked this one. The Earl of Rochester is an eccentric bon vivant who eventually becomes pustulant and prone to ineffective bladder control. He’s as devil-may-care as Capt. Jack Sparrow, and as licentious as Hunter S. Thompson. That Depp has not played John Wilmot before now is just an accident of fate.

What he can’t help is the film’s vulgar uselessness. John’s character arc is scant and rather precipitously realized (think death-bed conversion), and no one else’s persona is given more than a passing glance. Everyone seems to love John Wilmot, but darned if I can figure out why. Maybe they see something I don’t, or that the movie fails to show us.

Down to the Bone

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A film like “Down to the Bone,” about the stark reality of drug addiction, couldn’t be set in spring or summer. To get the full impact, you need the desolation of winter: the barren trees, the bleak skies, the grayish slush on the sidewalks.

I feel chilly after watching the film, and not (just) because the heat in my apartment is erratic. It’s set in the dark winter months in New York state, a time when even an optimist might find himself feeling a little hopeless. Directed by Debra Granik and written by Granik and Richard Lieske, the movie boasts a fantastic performance by Vera Farmiga and an exceedingly unhappy storyline. It’s a movie you “appreciate” more than you “enjoy.”

Farmiga plays Irene, a drab housewife and grocery store clerk who, when the film begins, is already deep in the throes of a cocaine addiction. Her husband, Steve (Clint Jordan), enables her and parties with her sometimes, though his addiction doesn’t seem as powerful as hers. Their two little boys are either unaware of Mom’s illness or consider it normal.

Less than 20 minutes into the film, Irene enters rehab. She befriends a male nurse there, Bob (Hugh Dillon), who’s a recovering addict himself. After she gets cleaned up, they attend Narcotics Anonymous meetings together. They have more in common than Irene and her husband do, if only because Irene’s husband isn’t trying to go straight.

Though I can’t directly empathize, I suspect the film gets the details of addiction and post-addiction recovery just about right. The way junkies lie to each other and themselves, the way simple things like the smell of Windex can ignite old cravings, the way addicts will get off dope and become hooked on cigarettes or sex instead, just trading one addiction for another, it’s all here in the film, shot in the verite shaky-camera style that is typical of this genre.

It’s ultimately not a new or different film. It follows the general pattern of most addiction dramas, including the backslide that occurs at the 60-minute mark. What makes it work is Farmiga’s realistic performance. Without grandstanding or overacting, she conveys Irene’s addiction believably while keeping all the conflicting emotions — love for her children, physical cravings for the drug — in check. A lesser actress would have made the thing maudlin or (considering its slow-moving plot) boring. It’s worth watching if only just for her.

Eric’s Sack of Mail: Harry Potter; ‘The Ark’

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Though you wouldn’t know it from reading my blog, not all the e-mails I get are stupid and/or angry. Many of them come from calm people who have interesting things to say or ask. So from time to time, I’d like to open Eric’s Sack of Mail to share some of them with you.

First, Cameron writes in regards to the A- grade I gave “Harry Potter and the Goblet of Fire”:

I was just curious what, in your opinion, stops this movie from being an “A?” I have not seen the movie, nor am I a huge fan (haven’t read the books, but have enjoyed the movies), so I’m in no position to judge yet, but your review was pretty positive. Was it the lack of meaning in the spat with Ron, or did it just lack an “A” caliber?

Good question. My personal philosophy on “A” grades (and this has evolved over the last few years) is that an “A” should be for instant classics — movies that will be just as good or almost as good on repeat viewings. Of course, having watched a movie only once, it’s hard to know whether it will stand up to a second viewing, so I have to guess. I try to err on the side of caution: If I’m not quite sure it’s an instant classic, I’ll go with A-. In this particular case, there are a few details (the spat with Ron being one) that aren’t quite successful in the way they’re conveyed. Not a lot, but just enough to make me think that the movie is juuuuuust shy of being A-worthy. Still a great movie, though!

If you browse the archives, you might find I was not always so conservative with my A’s. I used to hand them out like Halloween candy, to films that really deserved A-minuses or B-pluses. Now I am older and wiser, however.

Our next e-mail comes from Sarah. She writes:

ust an amusing (or sad, if you prefer) anecdote I saw on Meridian Magazine today. Apparently Michael McLean and Co. have opened a musical on Broadway (The Ark) which is getting negative reviews by the New York theater critics. McLean has actually had the audacity to write an article to Meridian begging people to come see his show. He accuses the critics (with a slightly doctored quote from the New York Times) that they don’t like the show because it promotes family values and has a religious context. Having read the original review, I think he’s upset because the Times critic wrote that his show was kitschy, overacted and that the lyrics were “banal.” Granted, I haven’t actually seen the production, but given McLean’s output in the past, I’m inclined to agree with the critic. Sound familar?

Links to the articles:
McLean’s response

New York Times review

I always enjoy your site, even when I don’t agree with you. Glad to see you are still working after all these years.

Thanks, Sarah! Me too! (See, everybody? I told you I was working.)

I’ll add another review to yours, from Variety.

Also, let me clarify that “The Ark” is NOT playing on Broadway, but rather Off-Broadway. Off-Broadway doesn’t just mean it’s playing somewhere but not Broadway; there’s an official league of theaters specifically known as Off-Broadway. It’s sort of like playing in the minor leagues in baseball: pretty high up, but not quite the top.

When you say “Sound familiar?,” I assume you’re referring to your subject line: “The ‘It’s Popular, So It Must Be Good!’ People Strike Again.” And yes, I heard that line of reasoning (“If it’s such a bad show, then how come it’s selling out every night? Huh?!”) a lot when I was a theater critic, and occasionally as a movie critic, too. McLean does seem to be employing it in his article in Meridian (an online and print magazine about Mormon culture).

It’s a little surprising. I would think that after 25 years in the business, he would be better at taking criticism. But I know he’s been working on this project for most of those 25 years, and I’m sure it’s very personal to him. I might be defensive if something I’d worked on for that long got slammed by critics, too.

But still. His response is a little irrational. The Times review, while not positive, was not negative for the reasons McLean has dreamed up (i.e., because the Times is liberal and hates families). He writes:

“Though the producers of the show never anticipated this show being a favorite of the cynical New York press, they were not prepared for the intensity of the attacks on the show, its writers, their religion and their ‘particular set of family values.'”

This is ridiculous. The Times review is NOT an attack on the writers, their religion, or their values. All it says about such things is that for some audience members, those elements may be more important than the show’s actual theatricality quality, which is mediocre. It doesn’t say the writers, their religion or their values are bad; merely that the show they have created is not very good.

Also, if audiences love it so much, and they’re still coming to see it, then what’s the problem? Why the Call to Action? Have the reviews caused sales to drop off? Or is he just afraid they will?

Also, I think it’s funny how he mentioned directing Jimmy Stewart in “Mr. Krueger’s Christmas” even though that fact had NOTHING TO DO with what he was saying, i.e., that he likes “It’s a Wonderful Life.”

Also, this line — “The only way for evil to flourish is for good men and women to do nothing” — is obnoxious to the extreme. Is he saying that if “The Ark” were to fail, that would be “evil”? Is he saying that critics who don’t think the show is worth seeing are “evil”? And if the show’s failure would be an “evil” thing, then the show itself must be a “righteous” thing, right? So anyone who loves goodness and righteousness needs to come see “The Ark,” is that it? And anyone who doesn’t buy a ticket must be wicked? Am I following you correctly, Michael? Wow.

(I reviewed “The Ark” twice, once in 1999, once in 2002. Luckily, I liked it both times, so Michael McLean didn’t have to write an article decrying my liberalism.)

Just Friends

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Somewhere in “Just Friends” is a pile of honest emotions, stuck under a bed or maybe lost behind the couch. The movie, a rather funny comedy, sets up all these characters who ought to have them, and who seem to think they DO have them, yet who don’t behave the way people with real emotions behave.

This is a problem for a comedy that centers a romantic relationship. When the focus is on other things, emotions don’t matter so much, and oh, what a fun time we have. But then we come back around to the real plot, and nothing about these people’s emotions seems real.

Ten years after he graduated from high school a fat loser whose true love only wanted to be his friend, Chris Brander (Ryan Reynolds) is now a thin, handsome record-label executive whose smarmy, womanizing ways go over like gangbusters in shallow L.A. (Reynolds is a pro at this kind of oiliness, telling a female coworker, “That’s a great color! It brings out your legs.”)

Just before Christmas, he’s given an assignment: Meet with Samantha James (Anna Faris), the skanky Paris Hilton-type socialite who’s now recording an album, and convince her to sign with them. Chris once slept with Samantha and believes her to be insane (which she is) and slutty (which she also is), but he has no choice. He’ll have to shmooze her a little to get this contract.

While en route to Europe, their private plane breaks down in New Jersey, and Chris and Samantha — who’s druggy and stupid enough to think she and Chris are a “couple” again now — wind up in Chris’ hometown, where he hasn’t set foot in 10 years. And guess who’s also back in town: Jamie (Amy Smart), his high school best friend and still the object of his affection. Will she see him differently now that time has passed and he’s no longer chubby? Or will she wonder what happened to the sensitive, nice guy she used to adore?

Reynolds, in his third film this year (he has five scheduled for 2006), can carry a comedy when the material is solid. He has impeccable timing and a devilish delivery, and both skills are put to good use here, in a witty screenplay by first-timer Adam Davis. His interactions with his teenage brother Mike (Chris Marquette) are particularly funny; they seem to communicate primarily by slapping each other. (Their mother is played by Julie Hagerty in a wonderfully dotty performance.)

And let’s hear it for Anna Faris! The under-appreciated star of the “Scary Movie” series and a scene-stealer in “Lost in Translation” (she was the ditzy American movie star), Faris plays broad, loopy comedy more wickedly than almost any other actress in the movies. “Just Friends” takes a serious downturn when she isn’t around as the manically self-centered idiot Samantha James, barking orders at Chris, yapping at fans, and being an all-around pain.

But back to Chris and Jamie. Ultimately, you have to ask yourself, “Do I care about the relationship between these people?” For me, the answer is no. Jamie’s character is ill-defined and mercurial — I’m never sure who, if anyone, she’s actually in love with — and Chris, while plenty funny, doesn’t register as a real guy with real feelings. Director Roger Kumble (“Cruel Intentions,” “The Sweetest Thing”) also indulges in too much comedy-by-mayhem, especially in the last act, where Christmas decorations are set afire and men are having fistfights in churches.

Despite these flaws, the movie comes out ahead, more funny than not. Reynolds’ arrogant persona will probably grow old soon, as will Faris’ ditzy shtick. But that day hasn’t yet arrived. Heck, why didn’t THEIR characters wind up together?

Syriana

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I’m no dummy. I hold a college degree. I read the newspaper every day. I passed a “Jeopardy!” audition, for crying out loud. Yet I watched every single minute of “Syriana” and came out of it with nothing more than a foggy notion of what it was about.

Oh, I know what it’s “about,” I guess. It’s about the oil industry. But the plot is so labyrinthine, the characters so numerous, the connections so fleetingly explained, that constant vigilance is required if one expects to have even a basic grasp of what’s going on. You go out for popcorn and you’re doomed. This movie shouldn’t come with a rating, it should come with a syllabus.

Is this a flaw? Not necessarily. In chatting with others who saw the film the same time I did, I find that it IS possible to understand exactly what’s going on, because some of my colleagues did. So apparently it’s not the movie’s fault that I couldn’t follow it; it’s mine.

It was written and directed by Stephan Gaghan, who won an Oscar for his screenplay for “Traffic,” a film to which “Syriana” is easily compared. Where “Traffic” examines the war on drugs from a variety of angles, “Syriana” does the same with the oil industry. “Syriana” offers no exposition. We are dropped into each scene cold and expected to catch up by paying attention. We are given brief glimpses of a few characters’ personal lives — sometimes so brief and obligatory they are laughable — but mostly the focus is on their work. In fact, I can offer the same criticism of “Syriana” that I had for “Traffic”: There is no reason to feel attached or relate to any of these people. It all feels so impersonal.

At the center are two American oil companies, Connex and Killen, that wish to merge. The deal is being overseen by the U.S. Attorney’s office, represented by Bennett Holiday (Jeffrey Wright). There seems to be something fishy about the merger, but corruption, we are told, is standard in the oil industry.

The spokes on the story’s hub include Matt Damon as an energy analyst named Bryan Woodman who lives in Switzerland and has a working relationship with Iran’s Prince Nasir (Alexander Siddig), who may one day be the emir; George Clooney as a CIA operative who does a good deal of top-secret and shady work for the U.S. government; Chris Cooper as the head of Killen; and Christopher Plummer as Bennett Holiday’s superior. For good measure, there are Pakistani working-class men who lose their jobs because of Connex and subsequently turn to radical Islam fundamentalism.

The central question is whether the Connex/Killen merger is illegal — the resulting company would be the 23rd largest economy in the world — and whether it matters if it is. The film is a political thriller, and a thick, beefy one at that, but it’s hard to be thrilled when you don’t understand why anything is happening.

I’m giving the film a “recommended” grade because it’s well-shot and convincingly acted, and because I think there are things lurking in it that would emerge with a second viewing. Those who have lavished great praise on the film either were among my colleagues who managed to grasp it all on the first try, or else they’re pretending to get it because they don’t want to look stupid. Me, I have no problem looking stupid: I have no idea what’s going on in this movie.

Yours, Mine & Ours

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You know that remake you asked for? The re-do of the 1968 Lucille Ball/Henry Fonda comedy “Yours, Mine and Ours”? Well, it just came in. But I’m sorry, there must have been a mistake at the factory, because this remake looks exactly like the “Cheaper by the Dozen” remake from a couple years ago. I apologize for that. We’ll give it to you half-price, what do you say?

The major advantage that “Yours, Mine & Ours” (the remake uses the time-saving ampersand) has over the “Cheaper by the Dozen” sequel due out four weeks from now is that it’s coming out first. There is an audience for PG-rated movies about families with a dozen-plus children, of course, but I doubt anyone wants to see two such movies within the space of a month. I know I don’t. And I liked “Cheaper by the Dozen”!

And I like “Yours, Mine & Ours,” too, or at least certain elements of it. It has a certain hapless charm, and while too much of its humor relies on Dennis Quaid falling face-first into puddles of things, it also has some clever riffs on the Red state/Blue state rivalry that exists within the film’s central household.

You see, Frank Beardsley (Quaid), an admiral in the Coast Guard and a widower, runs a tight ship. His eight children, ranging in age from 4-ish to 17-ish, exhibit personalities much like his, the ones in high school being cheerleaders and student body presidents. Everyone gets good grades. The youngest kids call their father “admiral.” There is not a rebel in the bunch.

Having just relocated the family to his hometown of New London, Conn., Frank runs into his high school sweetheart Helen North (Rene Russo), a daft designer of handbags who is also recently widowed. She has 10 kids (four “hers” and six adopted), and their house is a chaotic melting pot. Like the Beardsleys, the Norths have taken on their parent’s personality as their own — musicians, artists, poets, and so forth. They’re the kind of people who spray-paint a rosebush and call it art.

Frank and Helen are each hesitant to mention how large their broods are, for fear it will scare the other off. It has the opposite effect, though: Their first kiss in 30 years comes immediately after they reveal how many children they have. Big families are an aphrodisiac!

They are soon married and the two clans move into an old lighthouse, the only building in New London that can hold them all (short of a hotel, I guess). While the parents are in post-honeymoon bliss, oblivious to the powder keg they’ve created, the two groups of children hate each other. (“Mom gets married, we get drafted,” says one of the North children of the Admiral’s strict way of governing his affairs.)

But there is a brief truce in the war of preppies vs. hippies, long enough for the factions to join forces. In a sort of reverse “Parent Trap,” the children plot to break their parents up so that the families can go back to their separate lives. Frank and Helen have thus far let their love blind them to their differences. The kids’ plan is to force them to notice how opposite they are.

Some of these children, you’ll recall, are in high school. It seems unlikely that kids of that age would enact such a plan so calculatingly. (Teenagers usually do stupid things spur-of-the-moment, not after careful planning.) And the kids under 6 would probably get along just fine, don’t you think? The new family just means more kids your own age to play with, doesn’t it?

Anyway, their ideas for driving a wedge between Mom and Dad range from the tedious (they start a big paint fight while refurbishing the house) to the inspired (having two of the youngest boys walk around wearing dresses while they discuss having a tea party is sure to raise Coast Guard Dad’s eyebrows). Some of their methods show more insight into the differences between liberals and conservatives than do some movies that are actually ABOUT that conflict (like “Rent,” for example).

It all ends well, of course, with the kids finding they like each other after all and Frank and Helen realizing their differences don’t matter, and there is an abundance of hugging in the final scenes, a la TV’s “Full House” (which also would have been a good name for this movie).

The kids are so numerous that some of them don’t even get personalities — someone mentions in passing that two of the adopted sisters are from New Delhi, and that’s all we ever know of them — but the parents, played with such charisma by Quaid and Russo (much less frosty than usual), carry the thing and have a good time, too.

Films that promote a traditional two-parent, multi-kid family as sweetly and proudly as this one does are rare enough that, if you espouse those values yourself, it’s worth seeing the movie just to support the idea of it, even if it’s not exactly a brilliant piece of work. Activist groups decry Hollywood’s ignoring of what they say is the “real” America. Well, here’s a movie that embraces that segment of society — the old-fashioned, no-sex-before-marriage, let’s-raise-a-big-family types — without mocking them or even suggesting any alternatives.

For myself, I’m interested in movies that are good, regardless of whether I agree with their social views. Besides, I see most of them for free, so voting with my pocketbook isn’t really an option. But if that kind of thing matters to you, and if you view your movie-going choices as a way of making a statement, then here’s one of those films you’ve been asking for: clean and pro-family.

Note: The director is Raja Gosnell, whose previous credits will be noted when the U.N. tries him for crimes against humanity: “Home Alone 3,” “Never Been Kissed,” “Big Momma’s House” and two “Scooby-Doo” movies. The writers, Ron Burch and David Kidd, previously paired up on the Freddie Prinze Jr. debacle “Head over Heels.” That “Yours, Mine & Ours” is so innocuous and even funny is proof that people can change.

The Ice Harvest

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There is a constituency that is eager to see “The Ice Harvest” because it’s a return to form for director Harold Ramis, whose previous R-rated comedic efforts have included “Caddyshack,” “National Lampoon’s Vacation” and “Analyze This.” (“Analyze That,” too, but why remind a man of his mistakes?)

But “The Ice Harvest,” while filthy as all get-out, has little in common with those well-regarded ’80s films, much less the recent Billy Crystal farces. It’s more like “Bad Santa” — or, if we’re comparing it only to other Ramis films, the PG-tame “Groundhog Day,” in that it depicts a man trapped in a small town with no apparent means of escape. In other words, the fact that Harold Ramis is doing something R-rated is not, in itself, reason to be enthusiastic.

Set on Christmas Eve for no reason other than to be iconoclastic — strippers juxtaposed with yuletide cheer? What’s more outrageous than that?! — “The Ice Harvest” is a very dark crime comedy about an amateur thief who realizes thieving is harder than he thought it was. He is Charlie Arglist, a Wichita lawyer whose clients are all mobsters — but Charlie is played by John Cusack, so you know there’s some good in him. Charlie has a frigid ex-wife who is now married to Charlie’s drunken friend Pete (Oliver Platt), who now wishes he’d had the good sense to let the woman stay married to Charlie.

As the film begins, Charlie has just stolen $2.1 million from Bill Gerard, a mobster who employs Charlie to oversee some of his strip clubs in Wichita (a city depicted as nothing but one strip club after another). Charlie’s partner in the crime is Vic, a man with far more experience in this sort of thing; he’s played by Billy Bob Thornton, so you know there’s no good in him.

Charlie and Vic planned to get out of town as soon as they had the money, but now an ice storm has hit and the roads are virtually impassable. If they can duck Gerard’s enforcer Roy Gelles (Mike Starr) and lie low until morning, all will be well. I do not need to tell you, I’m sure, that all does not wind up being well.

The screenplay, based on Scott Phillips’ novel and written by Richard Russo and Hollywood veteran Robert Benton (“Bonnie & Clyde,” “Kramer vs. Kramer”), makes use of its rainy, dreary setting with dialogue and characters reminiscent of Hollywood film noir, including Connie Nielsen as a smoky-voiced femme fatale named Renata. She is the object of Charlie’s affection and a possible traveling partner, if she can escape from the Gerard-owned strip club that she runs.

But is it funny? Yes, for a while. Thornton has played the shockingly vulgar vagabond many times, including in the aforementioned “Bad Santa,” and his persona is well-honed. Besides, his co-star is John Cusack. The film could be nothing more than 90 minutes of John Cusack murdering your mother and you’d still like him.

Problem is, the sacrilege and dysfunction wear thin after about an hour, leaving us with only the plot, which is (by design) composed of just the basic twists and double-crosses of an bloody crime caper. Like so many films based on “outrageous” ideas, it loses steam once the novelty of it has worn off. On the other hand, it does impart some valuable information along the way on the body-storage capacity of a Mercedes. Turns out it’s a lot more than you’d think.

Rent

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While it’s not wise to be slavishly devoted to your source material when making a movie out of a book or play, it’s worth noting that most of what’s wrong with the film version of “Rent” is because they made unnecessary changes.

Here’s an easy one to get us started: While the play is set in the present (i.e., 1996, when it premiered), the movie is set in 1989. There are cultural reasons why this is a mistake that I’ll get into later, but for now I’ll just say that if you’re going to set your film in 1989, you’d probably better take out the reference to “Thelma & Louise,” which didn’t come out until 1991. I’m just sayin’.

The film version of Jonathan Larson’s Tony- and Pulitzer Prize-winning rock musical, which opened on Broadway in April 1996 and is still running, has been years in the making. With each passing year, the film has become less and less of a good idea. What felt revolutionary in 1996 now feels square, even precious. The rockin’ parts of the score sound dated. Most of the original cast members reprise their roles for the film, and while you could sympathize with the characters when they were 25-year-old bohemians trying to find themselves, it’s hard to extend such compassion to people being played by 35-year-old actors. Standing on a table at an all-night cafe and singing about how The Man won’t get you down is cute when you’re just out of college. When you look 35, you need to stop whining and get a job.

The story is loosely based on the opera “La Boheme” and tells of a cluster of underemployed artist types in New York’s East Village. Mark (Anthony Rapp), our vaguely asexual narrator, wants to make films. His best friend Roger (Adam Pascal) is a singer/songwriter who has been in a funk for a year, since finding out his girlfriend gave him AIDS. (Whoops.) Their pal Collins (Jesse L. Martin) is gay and also HIV-positive; at the film’s beginning, he meets Angel (Wilson Jermaine Heredia), a drag queen who, yep, has AIDS too.

The women in their circle are lesbians, though one of them, Maureen (Idina Menzel), used to date Mark. Now she’s partnered with the uptight Joanne (Tracie Thoms), who is nervous about Maureen’s flirtatious, wanton ways.

Beginning on Christmas Eve and eventually spanning a year, the story covers the group’s lives and loves, particularly Roger’s stormy relationship with Mimi (Rosario Dawson), a nightclub dancer who lives downstairs, is addicted to heroin, and hey, why not, has AIDS.

I don’t remember finding it funny, when I saw the stage version of “Rent,” that nearly every character has AIDS. Yet the film makes it seem so contrived, so artificial. In fact, of the major characters, only Mark and perhaps Joanne ever feel exactly “real.” (Their song about Maureen’s treacherous ways is a high point.) Roger sings all his songs with a growly rock ‘n’ roll voice, yet his facial expression seldom matches it; Angel is a caricature; their enemy Benny (Taye Diggs), a former slacker who now has money and property, is a cartoon; everyone else is a two-dimensional stereotype. When Maureen does her big “performance art” protest concert, she looks like every other neo-hippie liberal-arts graduate you ever met.

Now let us examine the music. The stage version is almost entirely sung. When a song begins only 10 seconds after the last one ended, it flows smoothly because the space between them is filled with underscore or semi-sung dialogue. The effect is that the whole piece feels unified and connected.

The film, however, replaces nearly all of the between-songs singing with music-free dialogue. A song ends, 10 seconds pass, and an entirely different song starts. The unintended effect? Laughter. (“Another song already?! Didn’t we just HAVE one?!”) It feels not like a story but like a concert: Here’s a song about this; here’s a different song about something else; now here’s a third song on yet another topic.

The film’s most curious misstep is moving the story to 1989-90. Why not set it in 1996, when it was written, and when it was intended to be set? America changed a lot between 1989 and 1996, just as it has changed a lot between 1996 and 2005. AIDS had been on the scene only a few years in 1989; by 1996, it was much more likely that you’d have so many people in a small group afflicted with it, and that the community around them would be so understanding and supportive. It’s also unlikely (to the point of being preposterous) that in 1989 a well-to-do conservative couple like Joanne’s parents would have thrown their lesbian daughter a commitment-ceremony party at their swanky country club. (The play has no such scene, and in fact has Joanne’s father telling her to come to an upcoming event “alone,” i.e., without Maureen. Why the film would move the timeline BACKWARDS yet move characters’ attitudes FORWARD is beyond me.)

The thing about idealistic young rebels is that they usually wind up turning into regular citizens as they age. The hippies get jobs and buy houses, the revolutionaries become part of the Establishment, the people who once hated The Man become The Man themselves. And “Rent,” which wanted to fight the power and give voice to a new generation in 1996, is now one of the longest-running shows on Broadway — the most conservative, non-radical district in all of theater — and has its own capitalist cottage industry behind it. The show that wanted to be different now feels as quaint as “The Sound of Music.”

Furthermore, the film is directed generically by Chris Columbus, whose career is the very definition of safe, unassuming filmmaking (“Mrs. Doubtfire,” “Stepmom,” the first two Harry Potter films). Watching it, you get the sense that not a single person involved has any remembrance of what it’s like to be a penniless, starving artist, if indeed they ever knew. Jonathan Larson wrote “Rent” from a passion he had, because he burned with ideas he wanted to express. (He died, not of AIDS, weeks before the show opened.) The movie was made for exactly the opposite reason: Someone thought it would be a cash cow. The characters in the play who fret over the prospect of “selling out”? Imagine how they’d feel if they’d written a groundbreaking musical that got turned into a mediocre Hollywood movie.

Swanks for the Memories

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Last week there was a special screening here in Portland for “Walk the Line,” the new film that tells the story of country music legend Johnny Cash. Now, when I call Johnny Cash a “legend,” I just mean that he was a big deal, not that he was legendary, like Paul Bunyan or something. I mean, he really existed. (Johnny Cash did, not Paul Bunyan.)

Now that we have our facts straight, we can proceed. This special screening was held in the Whitsell Auditorium at the Portland Art Museum — a swanky locale, as it turns out, which I didn’t know beforehand. I knew the Whitsell Auditorium was somewhere NEAR the museum; I didn’t realize it was actually IN it. I also did not realize that the event itself would be swanky, with swanky invited guests in attendance. So I felt a little out of place when I showed up in my jeans and button-up shirt with everyone else wearing slacks and blazers, especially considering my jeans were the ones with the zipper that keeps unzipping itself. (My weekend jeans, I call them.) If I walk around, or even just stand, down the zipper goes. It can be annoying, trying to focus on other things when every two minutes you have to nonchalantly move a hand past your zipper to make sure it’s still in place.

You may wonder why I even continue to own a pair of pants with a defective zipper. Sometimes I wonder, too. But doesn’t everyone have an article of clothing like that? Something that’s neither comfortable nor flattering but that you make yourself wear anyway simply because it’s fashionable and/or convenient? I see teenage girls wearing belly shirts and low-rise jeans all the time, even when, like 99.8 percent of the population, the girls don’t have bodies that are flattered by such exhibition. My recalcitrant zipper is hardly any different from that.

Anyway, the screening was preceded by a reception for the swanky invited guests, and I was told this reception would have food. In keeping with the Johnny Cash theme, the food was: chips and salsa. Oh, and beer. That’s it. I had forgotten that swanky people don’t eat food. They graze on nutritionless artifacts and stand around looking swanky. Chips and salsa are more of a Southwest thing than a country thing, and they don’t seem like a Johnny Cash thing at all, but maybe the organizers thought grits and a bucket of amphetamines wouldn’t do well in a buffet environment.

At any rate, chips and salsa are what we got. But because it was a swanky affair, you weren’t allowed to just grab a handful of chips and drop them onto your plate. You had to use tongs. Which means you’re picking up about one chip per scoop and breaking the other chips in the bowl in the process. Oh, and the plates themselves were tiny, capable of holding about seven chips maximum. Everything about it suggested they didn’t want us actually eating anything.

I should point out that the table was festooned with four black cowboy hats, too. Cowboy hats, we can afford. Food? Sorry. All we could come up with is chips and salsa.

I mentioned there was beer. (There was also fruit punch, for people like me who don’t drink beer, or who don’t think it’s a good idea to get tipsy before watching a movie in a museum.) It was high-class beer from a local microbrewery, and it was served by a well-dressed bartender who stood behind a table. The bottles were displayed on ice, but you weren’t allowed to just grab one. Instead, you had to tell the server which kind you wanted and he would pull a bottle from the display, wipe the condensation off it, and uncap it for you. This was to reproduce the swanky people’s home settings, where they have domestics to engage in those menial tasks.

When you were done drinking your beer, or when you had finished your miniscule plate of chips and salsa, there were no wastebaskets or garbage cans. Those things are decidedly non-swanky. Instead, there was a woman dressed like the bartender who wandered around the room carrying a tray on which you could set your debris. When you did this, she would smile and say “thank you,” which struck me as odd. I compiled a mental list of things she might be thanking you for:

– For letting her carry your trash around.
– For not just dropping your trash on the floor, because it would have been her job to clean it up.
– For giving the museum a reason to employ her.

At last it was time to mosey into the auditorium to watch the movie. Portland’s museum is a beautiful edifice that houses priceless works of art. But like most museums, its auditorium feels like an afterthought: “Oh yeah. We might have to show a movie sometime. Quick, tack on a large room with uncomfortable chairs and poor sight lines. Anyone watching a film in a museum is probably swanky and therefore accustomed to being uncomfortable.” (If you got lost there, those were the directions to the architect.)

The whole affair made me reflect on swankiness. Most of us like the idea of being financially well-off, but then you see gatherings of such people and you think: This doesn’t look like fun at all. Wearing clothes that are too nice to do anything in, being denied food and drink, being shoehorned into poorly designed rows of torturous chairs to watch a 136-minute movie, after which you are expected to stick around and lavish praise on the screenwriter (a Portland resident who is in attendance) — no thank you. Give me stadium seating, a 32-ounce Dr Pepper and a big bag of Three Musketeers Pop’ables any day. I like regular folks, not high-falutin’ ones. For that matter, I think Johnny Cash liked regular folks, too. Especially regular folks with pills they could give him. But I digress.

Harry Potter and the Goblet of Fire

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Do the parents of the wizarding world know that when they send their children to Hogwarts, there is a chance little Johnny or Susie will be eaten by a dragon as part of an intermural sport? Just thinking of all the permission slips and liability waivers necessary to hold the Tri-Wizard Tournament gives me a headache.

But I’m ahead of myself already. The Tri-Wizard Tournament, in which Hogwarts hosts two other schools for a year-long competition, gives “Harry Potter and the Goblet of Fire” its basic framework, but it’s the side plots and set pieces that flesh it out into a fully realized film. It’s nearly as epic in its scope and deep in its philosophy as the “Lord of the Rings” films were — the first film in this series to even approach such heights.

And what fun it is, too! In his fourth year at Hogwarts, Harry Potter (Daniel Radcliffe) finds himself entered, against his wishes, as a champion in the Tri-Wizard Tournament, competing against fellow Hogwarts stalwart Cedric Diggory (Robert Pattinson), Slavic brooder Viktor Krum (Stanislav Ianevski) and French lovely Fleur Delacour (Clemence Poesy). Daily classes take a backseat — a lot of elements of the Harry Potter universe take a backseat in this film, adapted as it was (by screenwriter Steve Kloves) from J.K. Rowling’s massive 734-page novel — so that attention may be paid to the tournament’s three stages, which occur a few months apart over the course of the school year.

Harry is a reluctant hero, as usual, and he barely has time to strategize before each competition, what with the day-to-day pressures of having a crush on Cho Chang (Katie Leung) and having to ask someone to the yule ball. He has a spat with his best pal Ron (Rupert Grint), too, though it’s not clear what it’s about or why it lasts so long. No time to explain everything; we gotta keep things moving here. We only have 2 1/2 hours to cover 734 pages of material! (Poor Hermione, played by Emma Watson, has so little to do here, her subplot about helping liberate the house elves having been eliminated. She does have a few smashing moments at the ball, though, as the date of Viktor Krum.)

The usual villains of Malfoy (Tom Felton) and Snape (Alan Rickman) fade into the background in this episode, barely giving Harry a moment’s trouble. Our attention is turned, as usual, to the guest stars, in particular Brendan Gleeson as three-quarters-crazy Mad Eye Moody, the new Dark Arts instructor. Gleeson gives the character, who is a good guy with fanatical tendencies, an intense, over-the-top spin, so unpredictable in his behavior as to be both funny and scary. (At one point, Prof. McGonagal is obliged to remind him that “we never use Transfiguration as a punishment.”)

The sharply thrilling action scenes, mostly centered around the tournament, are first-rate, as raucously executed as anything we’ve seen in the series. But director Mike Newell (“Four Weddings and a Funeral,” “Donnie Brasco”) wisely avoids letting the darkness of the tournament and the impending doom suggested by Lord Voldemort’s imminent return overtake the film completely. In the middle, there’s the yule ball, which comprises several scenes dealing with nothing more than typical teen angst, no magic required. These are light and funny, a perfect palate-cleanser before we head back into the fray.

It is a fray, make no mistake; this is the darkest, most unsettling episode yet, and it’s only getting more frightening from here. As Harry grows, the stories around him mature. “Goblet of Fire” makes the point, for the first time, that all the peril Harry regularly encounters can actually kill someone. “Dark and difficult times lie ahead,” says Dumbledore (Michael Gambon). The fact that he says it at the END of the movie — after dragons, ritual bloodlettings and death have been used to great effect for 144 minutes — makes you wonder what could “lie ahead” that could be any worse.

It’s a scary, exciting good time, never gruesome or gratuitous, always with one mad eye focused on entertaining an eager audience. The film bursts with ceaseless magic and fantastical images — a feast for the eyes as well as the mind — and reminds us at every turn of two things: that this is supposed to be fun, and that adding layers of depth to it increases our enjoyment of it. The series is on a roll.

Walk the Line

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All that separates “Walk the Line,” the Johnny Cash biopic, from “Ray,” the Ray Charles biopic, is that the subjects were of different races and played different styles of music. Both films start in the poverty-stricken South with the death of the protagonist’s brother, an event which haunts him forever. Both films focus on the heroes succumbing to the temptations of fame, particularly drugs and adultery, and both films have scenes where the singers’ personal lives work their way into their music. Eventually, both men overcome their obstacles to become preeminent artisans in their respective genres.

The question with “Walk the Line,” as with “Ray,” is how much you already admire the main character. “Ray” made me appreciate a musician I had previously paid little attention to; “Walk the Line” does nothing to increase or diminish my esteem for Johnny Cash, which was already considerable. Someone who’s never given Cash a second thought probably would not give him a third thought after watching the movie.

That said, it’s a pretty good biopic for those of us who already like the guy. Joaquin Phoenix, as has become the trend these days, doesn’t impersonate Cash so much as he channels him, from his distinctive way of holding a guitar to his iconic singing voice. (Phoenix does his own singing, which is impressive by itself.) Seeing Cash’s life (or at least the years between 1950 and 1968) reenacted can be thrilling for fans. Look, there’s Jerry Lee Lewis! Hey, it’s Elvis, introducing Johnny to recreational pharmaceuticals!

And then there’s June Carter. The film, written by Gill Dennis and James Mangold and directed by Mangold (“Girl, Interrupted”), frames its story around Johnny’s lifelong love for June (Reese Witherspoon). She grew up in a show-business family and is a consummate professional — quite the opposite of Johnny, who comes by his fame after years of shiftlessness and does not adjust to it well. She and Johnny are married to other people while touring the country with a group of musicians, and while adultery is fine for him (his wife, stuck at home, goes through the usual biopic histrionics about how he loves his music more than he loves her), June is not that kind of girl.

Witherspoon is able to give June just enough depth to make her a viable character, even outside the lens of Johnny’s affection for her. (A scene where a stranger confronts her over her divorce is especially telling.) I noticed that when June is onstage, she ratchets up her Southern twang a couple notches, thus increasing her cachet as a down-home gal the audience can relate to. Whether the real June Carter did this, I don’t know, but it’s a nice touch either way.

Oddly, while Johnny’s struggles occupy the bulk of the film, not much attention is paid to what he’s actually thinking. We know he’s tormented by the death of his more-favored brother, that his father (Robert Patrick) wishes Johnny had died instead, that he’s addicted to pills through much of the 1960s. But his inner demons are not demonstrated so much as implied. If his addiction weren’t a fact of history, it would seem like a perfunctory, obligatory movie subplot. (“Well, of COURSE the famous musician is a drug addict. What else?”)

His love for June is more thoroughly examined, though, and it ties in directly with his other love, music. He has loved one almost as long as the other. He listened to June on the radio when they were both children, and as an adult, his songs reflect his relationship with her. June famously wrote “Ring of Fire” about her burning, painful love for Johnny, but Johnny sang it with a cowboy stoicism that barely hid its deeper meaning. To Johnny, June and music are inseparable. When he says, “I want to tour with you again,” he means it literally — but he also means he wants to spend more time with her.

Phoenix and Witherspoon’s performances are the film’s greatest strengths, accurate, honest and affecting. But there’s the music, too, that distinctive, locomotive style that Cash played so well and that Phoenix imitates with uncanny precision. It feels plaintive and emotional, the simple expression of a man who has a few things on his mind that he’d like to share. I don’t know if non-Cash fans will be converted, but people already in his camp will find that it walks the line quite nicely.

Bee Season

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There is a lot of smug mysticism masquerading as universal truth in “Bee Season.” It’s about a family in which each member is having a spiritual crisis of some kind, and instead of resolution, what we get is some weird-so-it-must-be-deep symbolism, a condescending pat on the head, and the sense that we ought to feel really, really enlightened now.

But I’m not enlightened. I feel like I’ve watched a movie so confident it’s being meaningful that it forgot to include any actual meaning.

It sure LOOKS like it ought to be important, though, with the ambiguous story and the wise face of Richard Gere front and center. Gere plays Saul, father of the Naumann family and professor at a Bay Area university. He oversees his classes and his family with the same sagacious paternity, equal parts academic instruction and gentle, guru-like guidance. He treats his teenage son Aaron (Max Minghella) like a buddy, his 11-year-old daughter Eliza (Flora Cross) like a pet, and his bored wife Miriam (Juliette Binoche) like a housekeeper.

Saul and Aaron play Bach string duets for fun, even when little Eliza is in bed trying to sleep, even when Miriam could use help with the dishes. Eliza thinks her dad doesn’t care that she has become her school district’s spelling bee champion, but once he learns of it, he ditches Aaron and starts spending all his time with Eliza, helping her practice for the regionals. She’s like a new toy, this fun daughter he’d forgotten he had. Where was she all this time? Living right here in the house with us?! Well, I’ll be.

Eliza seems mildly uncomfortable with all the attention at first, and not without reason: When Saul invites her into his study to practice her spelling, we get the impression she has never set foot in the room before. But soon she warms up to it. What little girl wouldn’t love to have her daddy spend so much time with her? (Flora Cross plays the role with real wisdom, by the way; she seems like one of those “old souls” you hear about.)

Now, the way Saul helps Eliza practice is not the way you or I would. He doesn’t start by reading words and letting her spell them. Instead, he says, “Open your mind to all the words in the universe that contain the letter ‘e.'” That Eliza reacts to this as if it were normal speaks volumes about what life in the Naumann house is like.

Aaron, feeling a little jilted by his father’s sudden focus on Eliza, embarks on a religious quest. The family is Jewish, but Aaron reads a book on Buddhism and, after meeting a Hare Krishna adherent named Chali (Kate Bosworth), gives that sect a spin, orange pajamas and all.

And Mom? Oh, Mom’s just going a little crazy, that’s all. She is obsessed with something: Is she having an affair? Does she have a skeleton in her closet? Her movements are furtive but clearly Meaningful — though what, exactly, they are supposed to mean, we don’t know for a very long time. (And even once we know what’s going on, we still don’t know why.)

Everyone is trying to connect with God in some way, or at least with “Light,” however you choose to define that. But their stories, from Myla Goldberg’s novel and adapted by Naomi Foner Gyllenhaal (Jake and Maggie’s mother), come off as impersonal and unfathomable when filtered through the arthouse minds of directors Scott McGehee and David Siegel (“The Deep End”). There is the sense, in the end, that each of the characters has learned something, but we don’t know what or how. The film tries to jump to the final step — the audience feels satisfied — without filling in the important steps that come before it.

Breakfast on Pluto

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Here is the story of an Irish transvestite named Kitten, who might be the son of a priest, who flounces through the early 1970s seeking only the fluffiest things in life, trying to ignore the IRA bombings and other turbulent events that surround him. Here is a story told in chapters, occasionally somewhat out of order, eloquently narrated in a purring whisper by Kitten himself and set to such period tunes as “Sugar Baby Love” and Bobby Goldsboro’s “Honey.” Here is a story where two robins (yes, the birds) sometimes observe and comment on the action.

Here is “Breakfast on Pluto,” an affectionately free-spirited film from Irish director Neil Jordan (“The Crying Game,” “Interview with the Vampire”), whose 1997 film “The Butcher Boy” was, like this one, based on a novel by Patrick McCabe. The story is a merry one, and Jordan and McCabe tell it creatively, with an infectious zest for life. It does one of the best things a movie can do: It makes you feel good.

As a baby, Patrick “Kitten” Braden (Cillian Murphy) was left on the doorstep of Father Bernard (Liam Neeson) in a small Irish town, and subsequently raised by a family that didn’t know what to make of him. As the lad grew up, he wanted to find his real mother — he’s told she looked like Mitzi Gaynor — and, for some reason, to dress like a woman himself. After being kicked out of Catholic school for a variety of shenanigans (including writing a steamy narrative about his conception and handing it in as a class assignment), he heads to London in search of his mum, not having realized yet that “family” can be wherever you find it.

Patrick wants life to be a never-ending cabaret of giggles and good times, and is bothered by the fact that so many people around him keep talking about how “serious” things are. Somehow he gets involved with the Irish Republican Army, as well as with a glam-rock band called Billy Hatchet and the Mohawks (he dresses as their on-stage squaw). He is accused of planting a bomb that destroys a London nightclub, though of course he had nothing to do with it. He semi-accidentally almost becomes a prostitute.

Yet none of these things seem to have much impact on him. He remains blithe and graceful, intent on enjoying life. He tells a friend that he likes to pretend life is just a story, that it’s not real. “Otherwise I might cry and never stop,” he says, in that lilting Irish brogue of his that makes everything sound like poetry.

Cillian Murphy’s performance is a non-stop delight, and a tightrope-walk, too. How do you stay grounded in reality while playing someone so surreal? Murphy manages it: Patrick may be a loon, but he’s a lovable one. That’s three surprisingly good performances from Murphy in 2005 — the Scarecrow in “Batman Begins,” the bad guy in “Red Eye,” and now this. Kitten Braden himself would be impressed by such range.

Nosferatu: Ever heard of it?

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I received this e-mail:

Hey, I was reading your column here:

[He or she cites this column, where one of the participants in a chat room is called “Nursferatu.”]

…and I thought I realized almost immediately the name “Nursferatu,” or something. (I’m too lazy to press the back button; bear with me.)Then you connected it to Mystery Science Theatre 3000, (or “theater,” never seen the show, and don’t wanna press the back button) although I had another source I thought of almost instantly. Ever hear of “Nosferatu,” that old black-and-white vampire movie? I’m just sayin’. (Yes, I’ve picked up your talking habits, at least through writing, I know.) …Just thought I’d point that out.

Whoever wrote this e-mail did not sign his or her name, nor provide a return e-mail address. Thus, I am forced to respond publicly, in the hopes that he or she will read this blog entry and receive his or her reply:

Of course I’ve heard of “Nosferatu.” The variation “Nursferatu” (to refer to a creepy-looking nurse) wouldn’t have been funny otherwise, would it? Thank you for your concern.

Ask Eric Stuff 21

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It’s that time of the month again! No, not THAT time. The other time! The time when it’s time for “Ask Eric Stuff,” the astoundingly popular worldwide phenomenon of a feature wherein people ask Eric stuff and he answers them. How can you get Eric to answer YOUR question? By going to this page and submitting one, silly face! It couldn’t be easier! Well, in theory Eric could come to your house and you could ask him your question directly; that would be easier. But then he’d probably hang around and want to be fed and entertained. Trust us, this is better.

And now, the questions!

Dear Eric: I’m almost finished with my B.S. in mathematics. What should I study for my M.S.? — Going to Graduate School
Dear Grad: The book “Living a Celibate Life.” You’ll need it.

Dear Eric: What’s the point Eric? Why am I still going from day to day? — Riles in Rochester
Dear Rochy: Funny you should ask, because your friends and family have been wondering the same thing.

Dear Eric: Why do people still think they can drink and drive without it hurting anyone? — Flabbergasted in Fallon
Dear Flabby: People still think forwarding an e-mail to all their friends will result in Microsoft giving them money, too. This is because people are stupid.

Dear Eric: Which do you prefer? Cable or a dish? — TV Hog
Dear Hoggy: Depends on what I’m doing. For installing a stereo system, I prefer cable. For eating dinner, I prefer a dish. For watching TV, I prefer a set of rabbit-ear antennae that sit on top of the set and bring in fuzzy, black-and-white images.

Dear Eric: I hate shaving my legs. How much do guys care that girls shave their legs, anyway? — Hairy
Dear Single: Ha! Quit shaving them and find out.

Dear Eric: Are the wisespread natural disasters, like the December tsunami and Hurricane Katrina, earthquakes in various countries, the AIDS epidemic and other biological problems, signs that the end of the world is near? — Revelations Reader
Dear Revvy: Yes, and add to the list the fact that Britney Spears’ husband Kevin Federline is about to release his own album. I mean, honestly.

Dear Eric: How come guys never want to go out with chubby girls? — Chubby Chica
Dear Chica: Um, maybe because they’re chubby? Hello?!

Dear Eric: How can I get my dog to come when I call him? — Training in Toledo
Dear Trainy: Every time he responds correctly, give him a treat. Every time he does not respond correctly, take him to the pound. (Don’t go inside; just drive past and let him see the place. He’ll get the picture.)

Dear Eric: I have a friend who has really bad breath. What is the best way to tell him? — Suffering Susan
Dear Suffragette: Skywriting.

Dear Eric: What is the best way to get rid of acne? — Mottled Molly
Dear Motley: Stop being a teenager. Seriously! CUT IT OUT!

Dear Eric: How do I go about teaching my new dog not to pee in my shoes? — Dog Lover
Dear Doggy: Well, for starters, quit wearing the shoes that look like fire hydrants.

Dear Eric: The man who is to be my fiance’s best man at our wedding cut his hair and dyed it on a dare. Our wedding is in two weeks, and this best man will look awful in the pictures! Should I ask my fiance to ask his best man to re-cut and dye his hair before the wedding? — Wedding Woes
Dear Woeful: Well, why not? He needs to get used to you micromanaging every single detail in his life sooner or later.

Dear Eric: I will be looking for my first real job after I graduate from college in June. Do you have any advice on getting a job? — Scared Student
Dear Stud: Yes. Make sure they know you can’t work Sundays, or else they’ll be calling you every week, bein’ like, “Hey! The pizza ain’t gonna deliver itself!” I hate those guys.

Derailed

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Mikael Hafstrom is Swedish, but it’s Alfred Hitchcock, not Ingmar Bergman, that he’d like you to think of while watching “Derailed.” It’s the director’s first English-language film, and it’s a ridiculous little thriller, the sort of movie that is worth seeing but not worth discussing afterward.

Recalling some of Hitch’s falsely-accused-innocent-man capers, “Derailed” begins, appropriately enough, with two strangers on a train — the commuter train into Chicago, specifically. Charles Schine (Clive Owen) is in advertising and he has forgotten to buy a ticket before boarding; his benefactor when the fare inspector comes along is Lucinda Harris (Jennifer Aniston), a big-shot investment banker. Being a gentleman, he thanks her for paying his fare and promises to repay her the next day. They chat. She has a husband she never sees. He has a wife (Melissa George) whom he sees but who thinks he works too much and who needs help caring for their daughter, Amy (Addison Timlin), who suffers from Type 1 diabetes.

It seems that an affair is brewing, and sure enough, one rainy night Charles and Lucinda check into a seedy hotel. They are punished for their attempted misdeeds, however, when a thug named Laroche (Vincent Cassel) bursts into the room, beats Charles, and rapes Lucinda. He takes their money and subsequently blackmails them for more. They can’t tell anyone what happened, of course, because anyone they tell will want to know why they were in that hotel room to begin with. This Laroche character has happened upon two perfect marks: both well-to-do and terrified of going to the police.

But Charles can’t give all his savings to Laroche, as young Amy needs it for her diabetes treatment and medication. Thus Charles becomes a desperate man, an ordinary fellow trying to outsmart a career criminal, all while keeping his family safe and his secrets hidden.

I mentioned that the director is no Hitchcock, and it’s certainly true that the screenplay (by “Collateral’s” Stuart Beattie, adapted from James Siegel’s novel) is no great shakes either. Clive Owen, though — there’s a guy who could have starred in a Hitchcock thriller. He has a hard, handsome face, a cool exterior and a wrathful streak that emerges when he’s ruffled. He is inherently a Good Guy, but he’s capable of making mistakes. He has a dark side.

We know less about Lucinda, but early on she banters with Charles like she just walked out of a Hepburn-Tracy comedy. It’s a shame her savvy, playful side is soon swallowed up in the drama of the nightmare that has befallen her and Charles.

So what’s wrong with the movie, then? Only that it is unoriginal and its “surprises” do not deserve to be called such. (In an Entertainment Weekly interview with Aniston and Owen, the reporter fawns over the movie and mentions how he didn’t see the end coming. If that is true, then I have a bridge in Brooklyn I’d like to sell him.) The story’s central problem is admirably devious, but the characters’ solution to it is pedestrian, exactly the sort of plan that movie characters always come up with when faced with fiendish schemes — i.e., they do something just as fiendish. Yawn. How about a thriller where the good guys win by doing something nice?

Zathura

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A decade after “Jumanji” introduced rhinoceroses to America’s living rooms comes “Zathura,” also about a board game that becomes real, and also based on a book by Chris Van Allsburg.

Van Allsburg didn’t wander far from “Jumanji” when he wrote “Zathura,” which has been directed by Jon Favreau (his family-friendly follow-up to 2003’s “Elf”). Two squabbling brothers, 10-year-old Walter (Josh Hutcherson) and 6-year-old Danny (Jonah Bobo), are left home under the supervision of their older sister Lisa (Kristen Stewart), a surly, sleeping teenager. The boys find an old board game in the basement and commence playing it. Like its cousin Jumanji, the game of Zathura is literal. It’s set in outer space, and before you know it, the boys’ house is orbiting Saturn, basement and all. When they draw a card that reads, “You are visited by Zorgons,” sure enough, Zorgons come a-knockin’. (Hint: They are not friendly.) The only way to get home — or, rather, to get their home back to Earth — is to keep playing.

The game presents a variety of adventurous challenges, all of which are embarked upon from the confines of the boys’ echoey old house. (It’s not like they can ride their bikes down the street, now that “the street” is an asteroid belt.) A giant killer robot shows up, as do the aforementioned Zorgons, and so does a lost but helpful astronaut (Dax Shepard), who tries to stop the boys from fighting and keep them focused on the task at hand.

The screenplay is by John Kamps (“The Borrowers”) and the very reliable David Koepp (“Spider-Man,” “Panic Room,” “Jurassic Park”), who might be the best action-adventure writer currently working. “Zathura” zips along with speed and confidence, and though I’d never have guessed it, goofy Jon Favreau can direct a pretty exciting action scene.

The dialogue between the brothers perfectly captures the love-hate relationship that often exists between siblings, and there are two or three sly jokes for grownups that will go over the kids’ heads.

The theme of children having parent-free adventures has always been a favorite for young viewers. We like to see our parents absent in movies, not because we don’t love or need them, but because it’s fun to fantasize about how we’d manage without them. (The kids always emerge victorious in such stories, of course, with no adults necessary.) “Zathura” plays into this desire astonishingly well, giving young boys exactly what they want to see: giant robots, an astronaut, dinosaur-looking monsters, and an inattentive babysitter. Ask any 8-year-old and he’ll tell you those are four of his favorite things.

Pride & Prejudice

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My, how the marketing for the sumptuous new production of “Pride & Prejudice” fibs! Focus Features describes the film on its Web site as “the first movie version of the story in 65 years,” which is blatantly untrue. Clearly they are trying to make us think we haven’t seen this story over and over again when really we have.

In fact, this is the third movie version of the story just in the past two years. There was a Bollywood version called “Bride & Prejudice,” and another version that retained the title but moved the story to modern-day Utah. There have also been five BBC-produced incarnations (TV movies or mini-series), in 1952, 1958, 1967, 1980 and 1995.

It’s the 1995 production that Focus would most like us to forget, of course. That’s the one with Colin Firth as Mr. Darcy, the five-hour mini-series that has made countless women swoon and inspired two Bridget Jones novels and movies. To many, Firth’s Mr. Darcy is the epitome of a classical English romantic figure, the standard by which all other suitors must be measured. Many is the man who has been deemed unworthy by a woman for failing to be as dreamy as Colin Firth’s Mr. Darcy.

Do not underestimate the importance of that performance! Obviously Focus Features has not, given their vain attempt to make us overlook it. (For the record, a more accurate statement would have been: “The first theatrical film version in 65 years to retain the original title and setting.”)

I’ve never had to watch the Colin Firth version, and I’m no lady, but I can tell you that the new Joe Wright-directed version is splendid, a handsome and romantic retelling of the 1813 Austen novel and a reasonably faithful one, too. If one is willing, one can be utterly swept away by the performances of Keira Knightley and Matthew MacFadyen, who play Elizabeth Bennet and Mr. Darcy with no apparent fear of being unable to fill previously worn shoes.

For those unfamiliar with the tale, it is set in England at a time when society was at its most prim and when the most essential thing — indeed, the only reasonable thing — a woman could do was to get married. Her husband was her life: In “Pride & Prejudice,” Mrs. Bennet (Brenda Blethyn) calls her husband (Donald Sutherland) “Mr. Bennet,” yet does so lovingly, not out of coldness or obligation.

The Bennets have five daughters, of which only two, Jane (Rosamund Pike) and Elizabeth, are of marriageable age, but that does not stop the three younger ones from becoming just as excited when a bachelor named Mr. Bingley (Simon Woods) moves into the village. Bingley, a smiling, decent fellow, takes an interest in Jane, while Elizabeth and Bingley’s friend Mr. Darcy have a conversation and instantly clash. An aristocrat, he finds her middle-class family (and indeed the entire town) beneath him, while she finds his elitism repellant. Which can mean only one thing: By film’s end, they will be in each other’s arms.

In the meantime, there is an abundance of chaste, respectable romance in the impossibly lush English countryside, which is gorgeously photographed by cinematographer Roman Osin. The beautiful costumes and production design add a flavor of authenticity, too. You could fall in love with the film based solely on its looks.

Ah, but then you’d be missing the very delightful performances and the film’s twee, pleasant humor. Donald Sutherland and Brenda Blethyn are a perfectly charming pair of Bennet parents, with Mister bemused by his daughters’ man-hungry exuberance and Missus utterly caught up in it. And Judi Dench has a wicked turn as the imperious snob Lady Catherine. She is the sort of character you want to see hit in the face with a pie, though sadly such does not occur in the film.

And what of Elizabeth and Darcy? Matthew MacFadyen seems smoldering and romantic enough, though I highly doubt he will make the ladies weak at the knees the way Colin Firth did, if for no other reason than Firth had five hours to do it while MacFadyen only has two. But he pulls a neat trick, acting-wise: Early on, he is sullen and aloof enough to inspire genuine dislike — a great risk, considering we are eventually supposed to love him. Yet sure enough, when the time comes for him to profess his love to Elizabeth, his stoic demeanor gives way, slightly but perceptibly, and it is possible to see why Elizabeth might love him in return.

As for Keira Knightley, I confess to having mostly disregarded her in the past, but now I am officially onboard as an admirer. Her Elizabeth is a marvelously likable heroine — strong, good-natured and vulnerable, with a toothsome smile that is positively bewitching. It is not hard at all to see why Mr. Darcy loves her. When all the obstacles between them are eventually removed, you’d have to be stone dead not to have your heart melt at least a little bit.

Kiss Kiss Bang Bang

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Shane Black is back! Remember Shane Black? OK, I didn’t either, but I’ve seen his work. He wrote “Lethal Weapon,” “The Last Boy Scout,” “Last Action Hero” and “The Long Kiss Goodnight,” huge, noisy films, all of them, with ludicrous plots and over-the-top action sequences. In fact, “Lethal Weapon,” his first produced screenplay, helped define many of the cliches that now permeate most buddy-cop films.

So why be excited for Black’s return? Because with “Kiss Kiss Bang Bang,” his directorial debut, he skewers the genre that was once his bread and butter. The film’s narrator openly mocks the conventions of action films, and even mocks “Kiss Kiss Bang Bang” for using some of them. In addition, the central characters have a rapport that is 10 times funnier than Danny Glover and Mel Gibson ever HOPED theirs was.

With “Kiss Kiss,” Black takes the action genre back to its roots: the pulpy detective stories once written by Raymond Chandler and made into movies starring Humphrey Bogart. (In fact, each of the film’s onscreen chapter titles is also the name of a Chandler story.) Harry Lockhart (Robert Downey Jr.) is the convivial narrator, often so scatterbrained that he stops the film mid-scene to tell us something he forgot to mention earlier. Harry is a small-time thief who, while fleeing cops in New York, stumbles into an acting audition and is cast, lickety-split, as a private detective in an upcoming film.

Whisked off to Hollywood, he is paired with a real P.I., Gay Perry (Val Kilmer) — so called because he happens to be gay — in order to learn the basics of detective work and research the role. While on a routine surveillance job, Harry and Perry witness the disposal of a body. When the body later turns up in Harry’s hotel room, it becomes apparent that someone knows what they saw and intends to keep them quiet about it.

Meanwhile, Harry runs into Harmony (Michelle Monaghan), a girl from his Indiana hometown who is in L.A. trying to become an actress. As a child, she adored the Jonny Gossamer private detective novels (think Sam Spade) and dreamed of a better life for her and her abused sister. Now she finds herself in the middle of a story worthy of Jonny Gossamer himself: Her sister follows her to L.A. and immediately winds up dead. Is her death connected to the seemingly unrelated story of the mysterious body in Harry’s hotel room? Any P.I. worth two bits’ll tell you yeah. Keep snoopin’ and see what turns up.

But never mind the story. It has layer upon layer of twists and intrigue, and except for the gay detective and one of the major clues being a pair of women’s panties, it could have been a dime novel published in the ’40s. It’s fun, but it’s not the point.

The point is how screwy it all is, with Black playing fast and loose with the “rules” of action movies. Downey’s narration as Harry plays a major part in this, and the movie is self-referential the way “Adaptation” was: Harry mentions how action movies always end with the hero shooting 16 guys as if he were a professional marksman, and sure enough, several scenes later, that’s how the film ends.

And don’t you hate how there’s always the scene at the very end where the good guy you thought had died turns out to have survived his injuries? So does Harry. But here’s one of those scenes anyway. “Why not bring EVERYONE back?!” he says sarcastically, as all the other people who died in the film (plus, inexplicably, Abraham Lincoln) wander back into the frame.

As for the dialogue, I won’t repeat some of the more amusing lines that pass between Harry and Perry, in part because they often feature naughty words, but also because they’ll be funnier if you discover them yourself. The boys correct each other’s grammar, they utilize wordplay, they bicker like idiots but not like movie characters, and they toss off snappy one-liners the way you and I slough off dead skin cells. It’s the most fun either Downey or Kilmer has seemed to have in a movie in a long time. (In fact, you’d have to go back to “Top Secret!” or “Real Genius” to see Kilmer enjoying himself this much.)

What’s interesting is that Black tried this sort of thing once before, too — in his screenplay for “Last Action Hero,” the 1993 Arnold Schwarzenegger vehicle that flopped legendarily (and, I might add, unfairly). That film also parodied Hollywood blockbusters by calling attention to their contrivances, yet it didn’t come off nearly so well. Maybe the problem was that Black didn’t get to direct it himself; certainly John McTiernan, he of “Die Hard” and “Predator,” was not a master of witty filmmaking.

Whatever the problem was, Black has overcome it with “Kiss Kiss Bang Bang,” writing and directing it almost to giddy perfection. It’s set during the Christmas season, too, which qualifies it as a holiday movie. ‘Tis the season for over-the-top violence and delightfully absurdist humor!

Sarah Silverman: Jesus Is Magic

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Sarah Silverman’s hilarious new concert film “Jesus Is Magic” is just the balm I needed after seeing Margaret Cho’s self-indulgent “Assassin.” (I happened to see them within 24 hours of each other. It was a strange weekend.) Silverman is everything Cho used to be (and thinks she still is): socially observant, wickedly funny, and genuinely unafraid of being politically incorrect.

Cho spends so much time bragging about how fearless she is that you start to wonder if she’s trying to convince herself. Silverman seems legitimately apathetic.

“I don’t care if you think I’m racist,” she says. “I just want you to think I’m thin.”

“Jesus Is Magic” has a few backstage skits and musical numbers of varying quality interspersed, but mostly it’s a filmed record of her standup act, in which the pixie-ish girl with the sweet voice and adorable face waxes scathing on the usual comic subjects of sex, politics, war and race.

All humor relies on the element of surprise, but Silverman’s more than most. A majority of her jokes begin with a setup that sounds serious, both in word choice and delivery, and then she twists it into something funny at the end. After a while you start trying to predict what the joke will be while she’s setting it up, but I was never able to. Her mind is sharp and her delivery is absolutely perfect. She goes places I wouldn’t have expected, but always for a laugh, never just for the shock, or out of anger, or out of political outrage.

Many of her jokes involve race (blacks are a particular target), but I doubt she’s actually racist. She’s too self-aware for that. The jokes are more like ironic twists on racism. Actual racists wouldn’t laugh; the jokes aren’t basic enough to amuse them. But people who know that racism is ignorant and that racial humor is taboo will laugh.

“Everybody blames the Jews for killing Christ,” she says. “And then the Jews try to pass it off on the Romans. I’m one of the few people who believe it was the blacks.”

Her own ethnic group is fodder, too. “I was raped by a doctor,” she says early in the film. “Which is so bittersweet for a Jewish girl.”

Most pleasingly, she mocks the idea of “edginess” in comedians, offering a savage commentary on the modern humorists who are more interested in being shocking than in crafting a good joke. (“Nazis are a-holes, and I’ll be the first to say it,” she says, imitating such comedians. “Because I’m EDGY!”) Of course she has fashioned her own humor to be surprising, and of course she knows many will be offended. The point is that none of that design shows onstage. You see only her creation, her perky, adorably foul-mouthed persona, not the skill and craftsmanship that make it work.

Get Rich or Die Tryin’

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If you like movies that are too long and have characters you can’t understand, you’ll love “Get Rich or Die Tryin'”! It’s the marble-mouthed feel-good film of the season!

The first indication that something is seriously wrong here is that 50 Cent (nee Curtis Jackson, aka Fiddy Cent) is not only the main character, but also the narrator. If you’ve ever heard Fiddy speak, you know that it is not his strong suit. He has a flat monotone (even when he’s rapping), and his manner of speech is so lazy as to be indecipherable. It’s sometimes literally impossible to make out what he’s saying.

That is something of a liability in a movie as talky and heavily narrated as this one. Add to that a generic, slapped-together screenplay and haphazard direction, and you’ve got yourself big pile of dawg crap, yo.

“Get Rich or Die Tryin'” invites comparisons to Eminem’s “8 Mile.” The similarities are striking. Both tell loosely fictionalized versions of how America’s current rap star rose from poverty to prominence. Both sound like nothing more than cynical attempts to make money while the artist is in vogue, except that both are also helmed by well-respected directors (Curtis Hanson in “8 Mile,” Jim Sheridan here).

“8 Mile” turned out to be a fine film while “Get Rich” is a dud — but then, Hanson had more to work with. Eminem, love him or hate him, is a clever creator of intricately rhymed, often parodic rap lyrics, and as a white kid who became America’s biggest rap sensation, his story is inherently interesting. Much of his public persona is an act, and playing it up for so long turned him into something of a natural actor.

Fiddy, on the other hand, is more famous for having been shot nine times than for anything he’s said in any of his raps, which are of average quality for their genre. And not to put too fine a point on it, but the story of a black man who becomes a successful rapper does not immediately grab one’s attention.

Fiddy plays an inner-city kid named Marcus, the child of a skanky drug dealer who gets herself killed early in the film, leaving Marcus to be raised by his grandparents. He finds a little refuge in rapping, but not much; performing is not a priority for him until quite late in the film.

In the meantime, he turns to the family business of dealing drugs. Crack is all the rage, which suggests the film is set in the ’80s, though a colleague of mine points out that the film also references the death of Tupac Shakur, which occurred in 1996. And in 1996, nobody was excited about crack cocaine, because it had already been in all major American cities for well over a decade. So my point is, I don’t know WHEN this movie is set.

Anyway, Marcus’ career leads him to prison, where his new friend Bama (Terrence Howard) pledges to become his manager when they are both released. He’s true to his word, though Marcus continues working the drug angle in addition to rapping, much to the consternation of Majestic (Adewale Akinnuoye-Agbaje), a fellow drug dealer who dabbles in rapping. (I guess you can’t really do one without the other.)

The film has a chance to explore the mindset of a criminal-turned-musician. What motivates someone to get involved in crime, and to cling so tightly to it even when other opportunities arise? (“I’m a gangster, Grandpa, and I’m proud of it!” Marcus tells his grandfather earnestly.) Considering dealing drugs is how his mother died, why would Marcus embrace that lifestyle so readily?

But the movie, written by Terence Winter (a frequent “Sopranos” writer), is not interested in things like “motivation” or “character development.” It seeks only to give 50 Cent’s biography, which it must do hastily, while he’s still hot. You waste another year hammering out a quality screenplay and teaching Fiddy to act, and by then no one will care. Besides, most of his fans are more interested in his nine bullet wounds than anything else. (My question is: Why only nine bullets? If I started shooting 50 Cent, I don’t think I’d ever stop.)

Terrence Howard is the film’s bright spot, obviously better than all the actors around him as Marcus’ savvy prison friend. This is particularly true when he’s next to Mumbly McSlurryspeech, 50 Cent, who always sounds like he just came from the dentist and whose facial expressions can be counted on one finger. Thank goodness the movie, unlike its star, was only shot once.

Nerd Auditions

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When I heard “Jeopardy!” was holding a contestant search in my area, I knew my moment had finally arrived. Why, even ugly people can win big money on “Jeopardy!”! This is not true of other game shows, nor of contest-based reality shows. On those programs, having a dull personality or zero enthusiasm is a death sentence. On “Jeopardy!,” it is a one-way ticket to Ken Jenningsville.

You see, the cruel irony of my life is that while I have always loved game shows, having spent my childhood watching at least 11 hours of them per day, my chances of ever appearing on one are limited by the fact that I do not hoot and cheer every time I do something right.

COMPUTER: You have successfully logged in to your Paypal account.
ME: GOOD ANSWER, GOOD ANSWER! WOOOOOOOOO!!

If I were suddenly awarded a huge cash prize, I would be excited — make no mistake, I would be thrilled. But would I jump up and down? Would I pump my fist in the air? I should say not. And this puts me out of the running for most game shows.

But “Jeopardy!” favors people who are smart, regardless of how chubby, unattractive or foreign they are. It is one of the few institutions in this world that actually reward nerdery. And since I do pretty well when I watch the show at home, I figured I had a decent chance of making it on as a contestant. It was worth a try, right?

Having registered for the contestant search, to be held at a conference center in Seattle, I arrived at 8:30 a.m. to find the lobby filled with a lot of people who looked like “Jeopardy!” contestants. There were two or three smart-looking men wearing dark blazers and sporting graying, close-trimmed beards. Turn on “Jeopardy!” any day of the week and you’ll see a guy who looks like that.

They had told us to dress the way we would if we were appearing on the show, and right away I could tell who belonged and who didn’t. Not to turn the meritocratic “Jeopardy!” into a shallow beauty contest like everything else, but if you’re a fat guy, don’t wear a polo shirt that you have unsuccessfully tucked into your pants, sans belt. In fact, don’t do that at all, no matter who you are. Of course they’re not going to let you on “Jeopardy!” if that’s how you show up to the audition! How do they know you won’t wear the same outfit on taping day? I mean, come on.

Everyone sat around chatting nervously, reading newspapers, drinking coffee. Some people were doing a last-minute review of lists of facts they’d been cramming. Having already mastered my lists of U.S. Presidents, Scandinavian Rivers and Things That Start with “R,” I glanced at the list of World Capitals I’d printed off. Sure, the capital of Djibouti is a city called Djibouti. But that formula doesn’t hold true in every case!

It occurred to me that this was one of the few times in my life that I was actually one of the coolest people in the room.

At 9, a man in a turtleneck shirt that was too tight and accentuated his nipples welcomed us into the conference room. There were 57 of us. The nipply man, whose name was Patrick, said he had been with “Jeopardy!” for 19 years and that he loved doing contestant searches. He had an energetic patter that was friendly and full of well-honed, well-practiced jokes that have been getting laughs from groups of would-be “Jeopardy!” contestants for nearly two decades. I could tell that some people were laughing harder than they ought to, perhaps trying to seem more effervescent and game show-worthy. This isn’t “Wheel of Fortune,” people, I thought. No one ever laughs on “Jeopardy!”

Patrick was accompanied by two men who operated the technical side of the audition. We were each given a sheet of paper on which to write our answers, a cheap “Jeopardy!” pen, and a piece of stiff cardboard to serve as a writing surface. Patrick showed us a DVD in which Alex Trebek and the show’s “Clue Crew” (those dorky men and women who pop up “on location” in some clues) explained how the written portion of the tryout was going to work. And then we began!

It was fast and efficient and, once again, pre-recorded on DVD. There were 50 clues, each appearing on the screen and read aloud by “Jeopardy!” announcer Johnny Gilbert. (Why not have Alex read them? I’m guessing Johnny works cheaper.) You have the time it takes him to read the clue, plus eight seconds after that, to write down your answer (which did not have to be in the form of a question, thank goodness). You can skip one and come back to it if you want, but with no lag between clues, there’s not really any time for that. There’s also no time to cheat by looking at other people’s answer sheets, as I learned when I tried to cheat by looking at other people’s answer sheets.

We were warned that these 50 questions would be a little harder than what’s normally on the show, to make sure they really get the cream of the geek crop. To pass, we had to get a certain number of them right. They wouldn’t tell us what that number was, however, nor would they tell us, when it was all over, what the right answers were. I believe this was just to annoy us.

The questions ran the gamut of typical “Jeopardy!” categories, though I noticed there were no sports questions and only a few science questions. Most of them dealt with history, geography, entertainment and literature. There were a few of the show’s jokey categories, too, like “Before & After”: “Mr. Romano’s TV show that was also the author of the Philip Marlowe stories.” (“Everybody Loves Raymond Chandler,” of course.)

Of the 50 questions, I left five of them blank because I had NO CLUE what the right answer might be, not even a wild guess. Considering how much TV I watch, I was embarrassed that one of these was a TV question: They wanted the name of Noah Wyle’s character on “ER.” Having never watched “ER,” I didn’t know that it was Dr. Carter. I also didn’t know the name of Lebanese-born author Kahlil Gibran’s book of poetry (“The Prophet”), nor the name of the book that brought Norman Mailer to prominence in the 1940s (“The Naked and the Dead”). In my world, Norman Mailer STILL hasn’t been brought to prominence.

Beyond the five that I didn’t know at all, there were maybe 10 where I had an idea but was uncertain, clues I probably would not have rung in on had I been a contestant on the show unless I had a commanding lead and a wrong answer wouldn’t hurt me much, or unless I had been drinking heavily. On the remaining 35 questions, I felt extremely confident, sometimes even positive, that I knew the answer. But still: Would 35 out of 50 be good enough?

When it was over, we handed in our papers, and Patrick and one of the other men exited to grade them. While they were gone, the third guy showed us a DVD of behind-the-scenes “Jeopardy!” shenanigans, but no one watched it. We were all busy asking each other the answers to the ones that had stumped us. (“‘The Prophet’? I’ve never even HEARD of that!” “Who watches ‘ER’ anymore?” “Wait, there are FIFTY states now?!”) And then we were very excited when Kelly, the newest member of the Clue Crew, appeared live and in person to take our questions and to distract us with her supernaturally bubbly persona!

My goodness is Kelly ever perky! She is three liters of perky in a one-gallon container. She told us her background was in customer service for Nordstrom (of course it was), and that she got her “Jeopardy!” job at an open audition. Now she travels the world most of the time, appearing in exotic locations to add a little variety to the show’s clues. For example, a clue like “This river is the longest in Europe” might be boring by itself. But if there’s video of a Clue Crew member standing next to the river in question (the Volga, of course) saying, “This river — THAT I AM STANDING NEXT TO RIGHT NOW — is the longest in Europe,” well, now you’ve got something. It would be the most useless job on TV, except that Vanna White is still alive.

Not 20 minutes after they’d departed, Patrick and the other guy returned with our graded tests. Kelly had the honor of reading the names of those who would be going on to the next level. Anyone whose name was not read had not passed the test and had to leave in shame for being too stupid. They made a big show of telling us that the questions were extra-hard and that we shouldn’t feel bad, but I knew what the subtext was: Get out of here, loser. Go peddle your idiocy to “The Price Is Right.”

Kelly read only eight names out of the 57. There was no maximum number of winners; in theory, all 57 of us could have done well enough on the test to proceed. But only eight of us did.

And I was one of them.

Holy crap is right! I was stunned, especially when I realized I only had seven fellow graduates. Usually when I do something noteworthy, there are hundreds of other people who do it too, like the time I committed suicide by drinking poisoned Kool-Aid in Jonestown in 1978. Yet here I was in a small, elite group!

The other 49 people graciously congratulated us as they filed out the door, where they were issued dunce caps and sent out into the freezing rain, urged never to darken the “Jeopardy!” doorway again. We eight giggled and chatted excitedly amongst ourselves, like we’d all just been chosen prom king or something. There were five men and three women. Two of the men were two of those blazer-wearing bearded guys I’d noticed earlier. One of the women was a portly, friendly gal with fashionable eyeglasses and a hipster look about her. She and the blazer guys will almost certainly appear on the show.

Once we eight were the only ones left in the room, Patrick had us take turns playing a mock version of the game, mainly to see how we did in an actual game setting. Someone might score well on the written test but turn out to be a total retard when you put him behind a podium and start firing questions at him. They also said they want people who will be somewhat interesting to watch on TV. I assumed they were joking about this, because have you SEEN “Jeopardy!”? The woman who’s been winning the past several days, the monotone-voiced Latin teacher named Maria — she has the personality of an extension cord, yet there she is, soaking up money day after day. If she can be on TV, so can I. After all, we both passed the 50-question written test. You expect me to be believe she watches “ER”? Please.

So my name goes into a pool for 12 months, and I might get a call sometime during that period inviting me to be on the show. Until that day arrives, I will continue to watch the show, memorize trivia, and pray to Ken Jennings, the patron saints of nerdy Mormons. Djibouti!

Raven-Symone’s e-mail address

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Oh, you Raven-Symone fans. You’re so very smart. You Google the words “raven symone e-mail” and what comes up? Two of my blog entries (found here and here), where I talk about the fact that I DO NOT HAVE RAVEN-SYMONE’S E-MAIL ADDRESS. So what do you do? You e-mail me to ask for her e-mail address. You saw the words “raven symone” and “e-mail address” in the same article, and you concluded that I must be in possession of said address.

How could anyone do that? How could you find not one, but TWO articles in which I very clearly state my lack of information in regards to Raven-Symone’s e-mail address, yet still ask me if I have it? I don’t know how, but I still get about one e-mail per month from someone asking for it.

You are in luck, however, you Raven-Symone fans. Your persistence has paid off. Raven-Symone herself has found my Web site, presumably by Googling herself to find out her own e-mail address, and has supplied it to me. It is:

symone.raven@gmail.com

Please pass it along to all of your fellow fans and tell them to quit bugging me.

Now, one thing you should know: That is not really her e-mail address. It’s a Gmail address that I registered. The e-mails will be read by me, and if anyone answers them, it will be me, pretending to be Raven-Symone. I’m including this paragraph to see if people ignore it (or fail to understand it) and use the address anyway. I will report my findings to the smart people who read this blog (of whom I assume there must be a few).

The Dying Gaul

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A fantastic premise is squandered in “The Dying Gaul,” only to be saved by a riveting final act. The film starts with lemonade, trades them in for lemons, and then makes lemonade out of them. Kind of a waste, but I suppose all’s well that ends well.

This is what you’d call an emotional suspense thriller, where it’s not physical danger you’re worried about (though it is a possibility), but rather the potential heartbreak, anguish and jealousy that the characters seem destined to suffer. The only question is who will be devastated by what, and when. Craig Lucas, directing his own script (which he adapted from his play), uses three characters to set up a delicate web of relationships that can only end badly, and he uses three excellent actors giving some of the best performances of their respective careers to do it: Peter Sarsgaard, Campbell Scott and Patricia Clarkson.

It’s set in sunny Hollywood in 1995, where would-be screenwriter Robert Sandrich (Sarsgaard) is still reeling from the recent AIDS death of his lover. He has written a deeply autobiographical movie about the subject, called “The Dying Gaul” (it refers to an ancient Roman statue), and pitched it to a movie executive named Jeffrey (Scott). Jeffrey, a sincere, genuinely interesting man, loves the script and offers Robert $1 million for it, but with one condition: In order to make the film more marketable, Robert needs to change his boyfriend to a girlfriend.

There’s your fantastic premise. Robert is stuck in a horrible position, of either taking $1 million but betraying his boyfriend’s memory, or refusing the money and not getting his story told at all. He agrees to do it, but then finds there is no easy way. It’s more than just changing the character’s name; he would have to rewrite the entire screenplay.

He confers with Jeffrey and his wife Elaine (Clarkson), becoming friends with the couple and a regular guest at their fabulous Malibu home. Elaine, a former screenwriter who is now a stay-at-home mom, sympathizes with Robert’s plight — but it is remarkable how Campbell Scott plays Jeffrey so that we see his point of view, too. He’s not a typically shallow Hollywood exec who wants to put explosions and naked women in Robert’s downbeat drama. He genuinely loves the script and would do it as-is if the financial realities of Hollywood didn’t prevent it.

But unfortunately, this whole dilemma of how to rewrite Robert’s screenplay becomes all but forgotten when Robert and Jeffrey — a happily married man, you’ll recall — begin an affair. We’re laughing at what a quirky character Jeffrey is, seeming to flirt with Robert … and then, whoops, turns out he was serious, and now we have to follow THIS plot line. Sigh.

They sure do a fantastic job with it all, though, these actors. Campbell Scott is an extraordinary performer — see him particularly in “The Spanish Prisoner,” “Roger Dodger” and “The Secret Lives of Dentists” — and never more so than in “The Dying Gaul,” where his character is compelling and fascinating, every moment a surprise.

Witness also Peter Sarsgaard, another reliably interesting actor — his best work includes “Kinsey” and “Shattered Glass” — here trudging through an impressive range of emotions as Robert feels guilty for “cheating on” his dead lover by sleeping with Jeffrey, but euphoric at having made a connection with someone. There is a scene in which Robert breaks down and cries at a particularly vulnerable moment, and it is so real and honest as to be difficult to watch.

Then we come to Patricia Clarkson. (See: “The Station Agent,” “Pieces of April” and “Far from Heaven.”) As Elaine, her role is secondary — until she begins chatting online with Robert and slowly realizes her husband is having an affair with him. Her subsequent course of action is controversial, to say the least, and I admire Clarkson for making it believable, and for remaining a sympathetic character in the meantime.

How impressive is Lucas as a director? There’s an intense sequence where Robert is on the phone with Jeffrey while chatting online with Elaine, who is in the same house as Jeffrey, all of them keeping their activities secret from one another — and it’s wholly captivating. The general rule is that scenes of people typing at computers are not good “action” scenes, but Lucas defies convention in this case.

Eventually, as I said, the movie finds a way to be compelling again, and its final 20 minutes are absolutely spellbinding. Certain characters discover certain things, and because we are thoroughly involved in their lives now, we’re dying to know what they’re going to do with the information. I do wish Lucas had kept with the initial story about rewriting the screenplay, but where he winds up taking us is worthwhile, too.

Shopgirl

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The problem facing “Shopgirl” is that many viewers will expect it to be as wild and crazy as Steve Martin, who wrote it and co-stars in it. Those people will be disappointed. It has funny moments, but Martin’s novella and this film adaptation of it are more interested in examining human nature than in cracking jokes. I remember noting when I read the book a few years ago how beautiful the language was. And now I’m just as struck by the loveliness of the film.

Like most of Martin’s stories, it’s set in Los Angeles, where we meet Mirabelle Buttersfield (Claire Danes), a lonely, sad woman in her early 20s who moved to L.A. from Vermont some time ago and seems to have met almost no one since she got there. She works at the glove counter at Saks Fifth Avenue, where she fades into the background while the women at the more heavily trafficked makeup and perfume counters are showered with attention. At night she goes home to her average apartment, which she shares with a cat. She takes prescription anti-depressants. I am sad just remembering her.

She meets two men at around the same time. One is Jeremy Kraft (Jason Schwartzman), an artist with a scattered brain and a tendency toward obliviousness, the kind of man who can forget to open his date’s door for her, say, “Whoops, next time,” and sincerely believe that makes up for it. He is sweet but odd, completely wrapped up in his own weirdness — inconsiderate, technically, but not in an inconsiderate way. You know the type.

The other man Mirabelle meets is a much older gentleman named Ray Porter (Steve Martin). Some kind of career involving computers (he has a second home in Seattle) has made him wealthy, and he is generous with gifts. As thoughtless as Jeremy is, Ray is the opposite. At first his intentions toward Mirabelle — the extravagant gifts, the doting affection — seem creepy and untoward, given he is twice her age. (In real life, Martin is 60 and Danes is 26.) But then Mirabelle reciprocates, and their interaction feels more comfortable. The problem is that she begins to fall for him while he believes their relationship is merely casual.

What follows is a yearning, wistful drama about nothing less than the very nature of love itself — heady stuff for a movie written by Steve Martin, but readers of his books (I especially recommend “The Pleasure of My Company”) know he has a profound mind.

The film benefits from smooth direction by Anand Tucker (“Hilary and Jackie”), and perhaps even more from its moving musical score by Barrington Pheloung. It’s rare that a film’s underscoring has such impact, but Pheloung’s piano-and-strings compositions powerfully convey emotions in scenes that might otherwise be obscure. The music feels as much a character in the film as Mirabelle, an omnipresent, benevolent force that empathizes with her every feeling.

At one point Jimmy Fallon was slated to play Jeremy Kraft; I cannot imagine a worse mistake in all the history of the world. The role calls for depth, which is not Fallon’s strong suit. Schwartzman feels legitimate in the role, not like a daft movie character in a romantic comedy, but like a realistically flighty young man who has not yet figured out how to interact with young ladies. Martin, who must have had himself in mind when he wrote the novella, and who is a wealthy older man himself, plays a wealthy older man the way you would expect him to: with sincerity and just a touch of smarminess.

And at the center of this little universe is Claire Danes. She has generally played serious characters during her career, but her performance here is especially tender, with a vulnerability that instantly wins a viewer’s heart. “Mirabelle” is a perfect name for her, with Latin and Spanish roots that suggest “beautiful to look at.” She is, and so is the movie.

Chicken Little

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Its relationship with Pixar on the rocks, Disney is using “Chicken Little” as an experiment to see whether it can create successful computer-animated films on its own, without the geniuses behind “Toy Story” and “The Incredibles” doing it for them.

All of this is beside the point, of course. No one cares whether a movie was hand-drawn or computer-animated. Children — and children are these films’ primary audience, though adults often love them, too — want a good story with fun characters. They couldn’t care less whether those characters were made on computers, traced from stencils, or drawn by monkeys.

But for the record, “Chicken Little” is a wonky, whacked-out, energetic comedy that fills its 77 minutes with more merriment than most films manage in 100. Does it have the heart, the depth, or the sheer genius of a Pixar film? No, not even close. It was directed by Mark Dindal, whose “Emperor’s New Groove” made me think the same thing: This is fun, but it’s not something people will still be watching in 10 years.

But it is fun! It’s set in the small town of Oakey Oaks, inhabited by anthropomorphic animals (I notice that the china shop is owned by a bull) and as quaint and peaceful as you please. One day, Chicken Little (voice of Zach Braff) was conked in the head by a piece of the sky, causing him to declare, naturally, that the sky was falling. The ensuing panic turned to anger when Chicken Little couldn’t find the piece of sky that had fallen on him, and everyone concluded it had been a false alarm.

Now, a year later, Chicken Little is still a laughingstock for his behavior that fateful fall day. “Crazy Little Chicken: The Movie” is about to be released; people already have everything from bumper stickers to commemorative plates reminding them of what a fool Chicken Little is. The kids at school, of course, tease him relentlessly. When the gym teacher announces that the game is dodgeball and everyone should “divide into two teams: popular and unpopular,” Chicken Little knows which side he belongs on.

He’s joined by Abby Mallard, aka Ugly Duckling (Joan Cusack) and Runt (Steve Zahn), an enormous pig who is, in a subversive joke that will go over the kiddies’ heads, destined for gayness when he reaches maturity. A fourth member of their group, Fish, has his head in a fishbowl and doesn’t speak in any recognizable way. Their chief tormentor is Foxy Loxy (Amy Sedaris), the head Mean Girl whose henchman is Goosy Lucy, an insane gosling who speaks only in honks.

Like 98 percent of Disney cartoon heroes, Chicken Little has only one parent, Buck (Garry Marshall), an easy-going fellow who loves his boy but who was pretty embarrassed by the whole “sky is falling” thing last year. Eager to please his dad, Chicken Little joins the school’s baseball team, hoping he’ll do something spectacular to make Dad and everyone else forget what happened.

Then one night another piece of the sky falls on Chicken Little. He realizes it’s part of an alien spaceship, and with the help of Abby, Runt and Fish, he concludes that an invasion is imminent! He must warn the town! But will they believe the boy who once cried wolf? Or is it unfair to bring the Boy Who Cried Wolf into a story about Chicken Little?

The screenplay, by the “Brother Bear” duo of Steve Bencich and Ron J. Friedman, is brimming with goofiness, much of it more silly than laugh-out-loud funny (though there are a lot of laughs, too). At its center, it’s really about the fractured relationship between Chicken Little and his dad, a very familiar father/son scenario in which both parties love each other but seldom discuss their true feelings. Why get all mushy when you could throw a baseball around instead, you know?

Zach Braff, Joan Cusack and Steve Zahn are all perfect as the trio of friends (Disney, like Pixar, has always excelled at cartoon casting). And what a treat to hear Don Knotts as Turkey Lurkey, the town’s spineless mayor! Or, late in the film, Fred Willard and Catherine O’Hara as an alien couple! How about Patrick Stewart as a wooly ram who teaches Mutton class (i.e., the class where you learn to speak the language of sheep)? Or Harry Shearer, the voice of “The Simpsons'” Kent Brockman, as a Kent Brockman-like newscaster?

Does the film engage in one too many musical montages? No; it engages in at least two too many. And does it fall short of being as heartfelt as it is funny, which was always one of Pixar’s strengths? Yes, it falls short. But it IS heartfelt, and it IS funny, and it is a movie full of delights. The world still needs Pixar, but Disney might be able to survive without it.

Jarhead

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War changes people. That fact is evident in real life, yet rarely expressed in movies until the 1970s, when films about Vietnam began to emerge. The perceived unrighteousness of that war made the fact that it screwed up its veterans all the more poignant: At least, Hollywood seemed to say, the soldiers who were scarred and damaged in World War II had been fighting for a just cause.

The Persian Gulf War of 1990 was neither lengthy, devastating nor controversial enough to inspire films the way Vietnam did, and it came at a time when a new attitude was sweeping the nation: ironic detachment. Hence films like “Three Kings,” and now “Jarhead,” a humor-tinged but ultimately haunting drama that examines the psychology of a Gulf War veteran as carefully and insightfully as any film has done.

Based on LCpl. Anthony Swofford’s autobiography detailing his stint in the Gulf, “Jarhead” stars Jake Gyllenhaal as Swofford, depicted as a directionless but highly intelligent 20-year-old from a broken home who joins the Marines in 1989 because he has nothing else to do. The military is in Swofford’s blood, perhaps literally: He was conceived in 1969 while his Marine father was on a weekend pass in Hawaii.

Swofford is recruited to a team of snipers, led by Staff Sgt. Siek (Jamie Foxx) as a raucous band of brothers who participate in the usual ultra-macho boys-will-be-boys jackassery while learning how to kill their enemies.

When Saddam invades Kuwait and the troops are sent to the Middle East to see what happens next, Swofford and his fellow soldiers are itching to fight, bursting with equal parts testosterone and patriotism. One soldier, a cynical Texan troublemaker named Kruger (Lucas Black), says the war is all about oil and that the U.S. gave Saddam his weapons in the first place. Kruger is shouted down and the matter isn’t discussed again. (Indeed, modern viewers looking for “Jarhead” to make comments on the current situation in Iraq will be stymied: This is an intentionally non-political film.)

The soldiers follow the line of thinking promoted by Lt. Col. Kazinski (Chris Cooper), who rallies them with talk of kicking some Iraqi behind. These are men who, in one scene, watch “Apocalypse Now” the way some people watch “Rocky Horror Picture Show,” reciting the lines and singing along with “Ride of the Valkyries.”

The Vietnam War plays a major part in the way these men think. Swofford’s father was a veteran, and while we don’t know the parentage of the other snipers, we know they were born at a time when Vietnam overshadowed most of American life. Movies like “Apocalypse Now” have shown them how thrilling war can be (which means they kind of missed the point), and now it’s their chance to create their own history. When a helicopter flies over their heads blasting music by The Doors, Swofford says bitterly, “That’s Vietnam music. Can’t we get our own [expletive] music?”

The answer is no. Even when, after 175 days of idling, Desert Storm begins, it’s over quickly, and ground troops like Swofford’s crew play a comparatively small part. Most of their days are spent training, sitting around and, um, pleasuring themselves — a clear metaphor for these soldiers’ military experience: putting forth a lot of effort without actually accomplishing anything.

The kicker is that, even though most of the danger he faces is in the form of “friendly fire” (i.e., stupid accidents), Swofford, along with his embittered sniping partner Troy (Peter Sarsgaard), winds up with a psyche almost as scarred as if he’d seen heavy action. Played by Jake Gyllenhaal in his first truly grown-up, completely three-dimensional role, Swofford sees pointlessness and futility at every turn, always training but never getting to experience the catharsis of putting his training to work. He warms the bench for the whole game, yet winds up bruised as if he’d played.

This is director Sam Mendes’ third film, after “American Beauty” and “Road to Perdition,” two films also marked by grace and introspection amid depressing, deadly circumstances. It’s noteworthy that Swofford’s post-war life gets almost no screen time, yet his wartime experience is portrayed so vividly and efficiently — not a scene wasted in William Broyles Jr.’s screenplay — that we know just how it’s going to be when he gets home. He’ll be a changed man, and he’ll being asking himself why.

States of Grace (aka God’s Army 2)

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Nearly two dozen examples of Mormon Cinema — movies made by, for and about Mormons — have been released since Richard Dutcher began the trend with “God’s Army” in 2000. They have run the gamut from great to awful, from comic to tragic, from admirable to laughable, but with the possible exception of Ryan Little’s “Saints and Soldiers,” they have not been innovative. The genre, though prolific, is only five years old. Writers and directors are still finding out what works.

So it’s fitting that the man who started it would return, after a four-year absence (since “Brigham City”), to take Mormon Cinema to a new level. “States of Grace” is as accomplished a film as the movement has seen. It’s a veritable epic of spiritual drama in which every character is well-drawn and well-played, multiple storylines are juggled, and things like camera movement and editing are used as tools of art, not just tools of mechanics.

It’s been incorrectly termed a sequel to “God’s Army,” but “States of Grace” shares only two minor characters with that film. It has the same setting and situation: Mormon missionaries in Santa Monica. But where “God’s Army” focused on several missionaries and had a here’s-what-it’s-like, “day in the life” feel to it, “States of Grace” focuses on one pair of elders and has stories that are intentionally atypical. The characters don’t feel like prototypes (the Obedient Elder, the Slacker Elder, etc.), but like fully realized, three-dimensional people.

The missionaries are Elder Farrell (Lucas Fleischer) and Elder Lozano (Ignacio Serricchio). Farrell is non-athletic and perhaps nerdy, a stickler for rules but a nice, happy person. He’s the sort of missionary who seems never to have existed before he was ordained; we have no idea where’s he from or what he was like before he turned 19.

Lozano, on the other hand, rolled with Latino gangs before his conversion a few years back and still bears the tattoos and scars from that life. Yet in his own words, “I was a better convert than a missionary.” He goes home in three weeks, but he’s been slacking off for months. He’s the senior companion, but it’s Farrell who makes the appointments.

Lozano is roused into a new state of ambition, however, when he and Farrell are caught in the crossfire of a drive-by shooting, after which Lozano helps save the life of one of the victims, an African American gangbanger named Carl (Lamont Stephens). When he recovers, Carl seeks out the missionaries — well, Lozano; he wonders why “that white boy” is always following him around — to gain assistance in setting his life in order. Carl has realized that life is short; Lozano now realizes that his time as a missionary is far spent, too. They are in a position to do each other much good.

In his new-found Christian fervor, Lozano convinces Farrell to let them bring an ailing homeless preacher named Louis (Jo-sei Ikeda) into their apartment for a few days. Would it make more sense to take him to a shelter, despite his protests? Yes, of course. I’m inclined to accept this unlikely turn of events, however, because of the flavor Louis adds to the film. He has his own story of spiritual woe, and it’s noteworthy that his decidedly non-Mormon expressions of faith (he’s Pentecostal) are treated with acceptance. This is the first Mormon Cinema film to exist in a truly multi-cultural, multi-religious world without making a big deal out of it.

The elders’ neighbor is a young woman named Holly (Rachel Emmers), a struggling actress who takes a friendly shine to the missionaries and cooks dinner for them and their new houseguest. To avoid breaking the rules about having single young ladies in their home, all the dinners after the first one are conducted on the roof of their apartment building. While Lozano’s thoughts are preoccupied with Carl, Farrell sees that Holly is a lost soul, too, which Rachel Emmers conveys in a poignant and sublime monologue that runs fully six minutes.

There are frequent allusions in the film to the temptations of the flesh; working in Santa Monica so close to the beach, pretty young things in swimsuits are part of the landscape. After a pair of particularly fetching women pass them on the sidewalk, Farrell quickly suggests an antidote: “When you have a dirty thought, sing a hymn.”

Lozano is reluctant. “My bishop used to tell me that,” he says. “Now every time they sing a hymn in church, I have a dirty thought.”

Back to Carl. Though he takes the missionary discussions quickly and is eager to be baptized, he has a hard time forsaking his lifestyle of revenge and street justice. He was nearly killed by a rival gang, you’ll recall. Surely he can’t be expected to just let that go.

All of these stories intermingle and are eventually given some closure, though I don’t want to say much more about them for fear of getting into “spoiler” territory. (It is unfortunate that Louis’ story reaches its conclusion in a brief post-finale scene that ruins the mood set by the actual finale.) Suffice it to say that the movie kicks the legs out from under us more than once, not with “shocking” surprises but with developments that arise naturally from what has already happened.

Through it all, Dutcher directs with his eye affixed on conveying the themes of his story, never being distracted from that goal even when he takes a chance and tries something stylish in the way he tells it. In one memorable sequence, he intercuts between two scenes: one in which a man is being confirmed in church, the other in which someone is being murdered on a street. (The fact that this is an homage to the baptism/mob hit sequence in “The Godfather” is evidence enough that “States of Grace” has lofty influences.) One character opens his eyes as the other closes his; one’s new life is beginning while the other’s is ending. Then we cut to overhead shots: the men standing in a circle around the man they have just confirmed, and the men on the street standing in a circle around the person they have just killed.

Maybe a stunt like this draws too much attention to itself, and maybe it even pulls you out of the scene a little bit — but my goodness, at least Dutcher is TRYING something! At this still-early stage in the Mormon Cinema movement, I’m thrilled to see a director attempting any kind of visual symbolism, regardless of whether it works or not (and the example I cited mostly does).

I mentioned the story’s surprises. At one turn of events, I can honestly say I was devastated, to the point of disbelief; I figured I had somehow misread the scene. Surely what I thought had happened had NOT actually happened! That’s not the way this story was supposed to go! Which is what the character must have felt, too, and it’s a credit to Dutcher and to the talent of his actors (Serricchio and Fleischer in the leads, especially) that an audience can be made to empathize as deeply as we do here.

What is most extraordinary about the film is that it addresses mature spiritual themes with such astonishing depth, creating a world where every character is at or near a crossroads in his or her path to God. It has the audacity to suggest that there is life after sin, that even good, decent people transgress, sometimes quite seriously, and that EVERYONE needs redemption.

The heartache of sin is succinctly conveyed when a lost soul bewails his sorrow for his mistakes and is told, “It’s going to be all right.” His piteous, momentarily disbelieving response is: “How?”

What he soon remembers, in a truly beautiful final sequence, is that Jesus Christ is the way, and that while some sins seem irreparable, such is not the case. “States of Grace” is unabashedly Christian in its message, and it’s the most faith-affirming, uplifting film I have seen in a long time.

Nation of the Dead

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My fellow Americans, it is with great humility that I address you today, Halloween, this holiest of holy holidays. It was almost exactly one year ago that I, Roger Hunsaker, was elected to be America’s first zombie president.

It was a hard-fought victory, as those of you who were alive at the time recall. The political battle was bloody, as was the battle between the groups of zombies who lived on the outskirts of America’s major cities and the U.S. military. But at the end of the day, when the ballots were cast, most of those that were not illegible due to being covered in the blood of the non-zombie voters were for me. And the ones that were not for me — the votes cast by brave, decent, hard-working Americans who favored George Bush or John Kerry for president instead of a zombie — well, those brave, decent, hard-working Americans were systematically hunted down and interrogated by my staff, so that their minds could be changed. Or, if not changed, then at least eaten.

Many did not believe a zombie, one of the walking undead, could adequately serve the needs of this country as its president. Their words were hurtful to me and my fellow Zombie-Americans, and though I personally ate the delicious brains of many humans who said such things, I was unable to eradicate the problem of anti-zombism entirely.

I am pleased to say, however, that anti-zombie bias has decreased since the election. Several Hollywood films depicting us favorably have helped with that, including the excellent documentary “Land of the Dead.” Our public image is changing. Americans no longer view zombies as monsters who devour humans, but as monsters who will devour THEM, personally, if they speak out against us.

It is also encouraging to note how many Republicans and Democrats have switched to the Zombie Party since my election. Actually becoming a zombie helps, of course, but it is not a given that being bitten by the undead, dying, and returning to life as a horrific, flesh-eating zombie means you will automatically switch parties. No, even among zombies, there are Republicans and Democrats, the one side favoring tax cuts for wealthy zombies, the other side favoring increased spending for zombie welfare.

Some non-zombie Americans have accused me of ignoring their needs. During the recent natural disaster in the Southern states, when help was slow to arrive, we heard things like, “Roger Hunsaker doesn’t care about living people!” My friends, this hurt. Of course help was slow to arrive: We’re zombies! You’ve seen the movies; we move slowly. You’d be sluggish, too, if you’d just crawled out from your own grave, newly invigorated with a hellish perversion of “life.”

It is well-documented that the instant I learned of the devastation in the South, I dispatched some of my top zombies to the afflicted region to rescue those stranded on rooftops and in convention centers by biting and/or devouring them.

Now, it is true that some members of my administration have been plagued by scandal, as well as by actual plague, which is always a risk when your body is decomposing. I asked my vice president to resign after he tore the leg off a visiting Chinese diplomat this summer. While I take an actively anti-communist stance, I do not approve of such drastic measures, particularly not when there are news cameras present.

And I’d be lying if I said I wasn’t embarrassed when a staff member was indicted last week for leaking sensitive information to the press. The fact that the leak was a literal one, and that the information seeped out of an open sore on the staff member’s neck, made it all the more embarrassing. Even with one of us as president, we zombies are never going to be fully accepted if we behave so indecorously. And I assure you, once that staff member has been dealt with by the law, he will be dealt with by me, and by dealt with I mean devoured.

But in many respects, it has been a good year, too. While zombie marriage was once opposed by a majority of U.S. citizens, that tide has turned, and it is now opposed only by the minority of U.S. citizens who are not zombies themselves. Zombie marriages are now being performed everywhere: in ruined churches, in destroyed synagogues, in demolished mosques, all across this great, scorched land of ours.

All over America, average citizens are speaking out. They are coming out of their bomb shelters, climbing up out of the post-apocalyptic rubble to demand change. They want health-care reform. They want a new Social Security plan. They want to leave their bunkers or caves without fear of being torn asunder by marauding bands of the undead.

My friends, I can’t stand here and tell you that all of these changes will come today or tomorrow. We have a long road ahead of us. There is much work to be done. Many avenues must be explored. Many nutritious brains must be eaten. Many sentences must be written in the passive voice. And all of this will require the joint efforts of all Americans, both living and undead. Together, we can make America great again.

The history of this blog, and some links to others

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Today marks the second anniversary of this blog, a project I began on a whim at the behest of some readers. Blogs were just becoming the rage in those days, and since I was no longer writing a weekly column, it seemed like a good outlet for my thoughts that didn’t fit in movie reviews.

In February 2004, however, I began writing “Snide Remarks” again, publishing it online for subscribers only. I immediately became wary of the blog: Why write something funny and put it in the blog for free when I could save it for “Snide Remarks” and get paid for it? Blog entries became sparse as I was less and less inclined to “waste” my efforts on it. I mean, I only get a few good ideas a month. If they’re all going into the blog, what’s left for the column?

To alleviate this problem, I briefly toyed with making the blog a perk for “Snide Remarks” subscribers, available only to them. With the blog viewed as an extension of the “Snide Remarks” experience, there was no longer a dilemma over where to publish whatever humorous content I managed to come up with. In the blog or in the column, it was now essentially the same thing.

However, the response to this move was so negative that I feared I would be pursued by townspeople bearing torches and pitchforks. I expected the non-subscribers to hate it, of course, and I didn’t really care what they thought. But even some of the subscribers were opposed. Some felt it was presumptuous to think anyone would pay to access a blog. I countered that they were paying for “Snide Remarks” and the blog was simply a freebie that came along with it, and that besides, it’s kinda presumptuous to think anyone would want to read your blog anyway, free or not.

But I got the sense that I had taken the name of “blog” in vain, that a blog, by definition, must be free, open and accessible to all, and viva la blog! I considered changing it from a “blog” to a “web journal,” to see if the name really did make such a difference, but the damage was already done. I made the blog public again and went back to my previous policy of simply never posting in it for fear of squandering my few “Snide Remarks”-worthy good ideas on it.

Eventually, as I settled into a comfortable rhythm with “Snide Remarks,” I was able to easily discern which items should be saved for that feature and which I could put in the blog without stealing from myself. The blog has also been a useful place to post my daily entries from the Sundance Film Festival, to make announcements about upcoming shows, to talk about new TV series, and to publish angry letters and e-mail exchanges with illiterate people.

Sometimes people ask what blogs I read. The answer is that I really only read those written by people I know. I’m sure that many strangers write blogs that would also amuse me, but I’m afraid of finding any more ways of spending time on the Internet than I already have. (It’s why I’ve avoided watching “Commander-in-Chief”: I hear it’s good, and the last thing I need is another TV show to watch.)

Hypocritically, then, here are some blogs of people you don’t know, but who I know, that I find very entertaining. It’s possible that if you don’t know them, you won’t find their writings funny. But maybe you will. Anyway, here are a few of the ones that are updated frequently and have a lot of good general, not-just-for-friends content.

The Jolly Porter, written by my friend Chris (aka Monty, father of notorious “Snide Remarks” characters Miles and Owen). Chris is well-known in some circles for being a master storyteller. And because the gods of comedy respect his talent, they are always seeing to it that things happen to him that will make good stories. Some event will befall him, and we’ll think, “Of course that would happen to Chris. It would be wasted on someone else.” Anyway, he’s also a good writer, and his blog’s archives are full of amusing anecdotes and observations.

The Craig Report, by my friend Ken Craig, known in “Snide Remarks” as Pants. (I don’t know why.) For October, he has shared several spooky stories of things that happened to him. Like Chris, he is great with a story and has several classics in his repertoire. I’ve known Ken longer than anyone else I’m currently friends with, going back to my freshman year at BYU, when he was in the original Garrens Comedy Troupe cast with me. When we get together, we usually talk about movies for a while, and then we remind each other of Garrens stories, like the time we were all at church together and Jason fell asleep and slumped over and looked really funny. (You had to be there.)

Downstage Left comes from California and my friend Emmie, who is such a close friend that I don’t even remember what her last name is now that she’s married. Perhaps I am in denial of the fact. She is a fine actress, and she also writes exceptionally well, as her blog demonstrates.

Hailey Track, by my friend Hailey Smith. Like Emmie, she is a lovely, talented and married actress, and also a fun blog-writer. It is also lots of fun to watch “Lost” and “Alias” with Hailey and Brett over at Lisa’s house on Wednesday nights, especially if you have a box of little chocolate donuts from Wal-Mart on hand. Then I moved to Portland, and “Alias” moved to Thursdays, and now life isn’t the same. So sad.

New York Doll (documentary)

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Many fine documentaries are made chronicling the rise and fall of rock bands, the tragic character flaws and fantastic excess often making for enjoyable cinema. But “New York Doll” is not one of those films. It is not the story of an influential rock band, but of one of the band’s members — and 30 years after the band broke up. And it’s one of the best documentaries of the year.

The New York Dolls, now known primarily only to rock historians and punk buffs, were THE proto-punk band in the first half of the 1970s. In states of semi-cross-dress and gaudy makeup, the Dolls performed raucous shows of grungy energy and anarchic rock ‘n’ roll. Groups like The Clash, the Sex Pistols and the Smiths cited the Dolls specifically as influences, and countless other groups can trace their DNA to the band, which burned brightly from 1971 to 1975 before flaming out in the usual trainwreck of drugs and jealousy.

The bass player was one Arthur “Killer” Kane, a laconic, highly focused player known for standing stock-still on stage while banging out ferocious bass riffs. During the late ’70s and early ’80s, he bottomed out on drugs, ended his marriage and constantly tried to resurrect his short-lived musical career. In 1989, he saw a TV commercial for the Book of Mormon. In a spirit of “why not?,” he sent for it. But as he put it later, “They don’t send it, they bring it”: Two missionaries arrived on his doorstep. Shortly thereafter, he was baptized, the bass player for one of the most important rock bands in history now a member of The Church of Jesus Christ of Latter-day Saints.

Documentarian Greg Whiteley, also a Mormon, begins the film in 2004, when Arthur is a simple, contented — some might say nerdy — 55-year-old man living in Los Angeles. He takes the bus every day to the Mormon temple, where he volunteers at the Family History Center. He loves his religion and is doted on by the elderly ladies who work alongside him at the genealogy library. He is light years away from the rock star he used to be, and he doesn’t seem to miss it. And yet….

He does miss it, of course, or at least parts of it. He doesn’t drink or smoke anymore, nor indulge in many of the other trappings of the rock-star lifestyle, but he still loves the music. He wishes the experience had lasted longer before it imploded.

As he has done for so many of us, Morrissey comes to the rescue. The former lead singer of the Smiths and one-time president of the New York Dolls Fan Club is putting together a London concert called the Meltdown Festival. He says he wants nothing more than for the New York Dolls to reunite on his stage.

Arthur is thrilled. Only three of the original six band members are still alive, but they are the main ones — Arthur, lead singer David Johansen and guitarist Sylvain Sylvain. The three have not spoken in years, and in fact Arthur and David are technically still feuding. Differences must be put aside. And above all, the Dolls must learn to play together again, and to play well, to overcome the very strong possibility that the reunion will be an embarrassing disaster.

I won’t tell you what happens at the concert, or what happens when Arthur must thereafter return to his ordinary, unglamorous life. Devotees of this sort of thing might already know from reading about it when it happened, but I suspect most people do not, and I want you to enjoy the surprises unspoiled.

Like all great documentaries that focus on one person, “New York Doll” benefits from a central figure who is immediately likable. This uncool, dotty man, who marvels at the fine accommodations in his London hotel room, who (badly) plays Mormon hymns on the harmonica for his friends, who had to pawn his guitars to pay his bills — this man’s heart is completely pure, his intentions innocent. His most important reason for playing the Meltdown Festival is not to regain fame and glory, but to make amends with David and to be with friends again. The applause is nice, but he just likes playing the bass with his buddies. You want this guy to get everything he ever desired, and his guileless attitude toward life makes you want to protect him while he attempts it.

The result is a straightforward rockumentary that is as heartwarming as it is rockin’. Whiteley’s warmth for his subject comes through without reducing his objectivity. He knows he doesn’t have to stack the deck to make us love Arthur “Killer” Kane. All he has to do is show him to us.

The Legend of Zorro

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Show of hands: Who remembers any details from 1998’s “The Mask of Zorro”? No one? Whew. So it’s not just me.

Smartly, the not-awaited sequel, “The Legend of Zorro,” is self-contained and requires no foreknowledge of the story. It is good fun, but not great fun, and it’s much longer than it ought to be (though, I note, still seven minutes shorter than its predecessor, which I saw but have no memory of). It has a plot that is elaborate and silly, and everyone seems to be having a good time enacting it.

The year is 1850, the place is California, where the citizens are about to vote on whether or not to ratify statehood. (I’ll save you the suspense: They do.) Our caped, masked friend Zorro (Antonio Banderas) is still defending his village’s helpless against injustice and what-have-you, but his wife Elena (Catherine Zeta-Jones) wants him to quit buckling the swash and settle into his life as Don Alejandro de la Vega, wealthy nobleman. Their little boy Joaquin (Adrian Alonso) idolizes Zorro and has no idea his dad — whom he doesn’t see much of — is the very man he adores.

Elena and Don Alejandro have such a fight about his Zorro-ing that she throws him out of the house and subsequently divorces him. Three months later, she has taken up with Armand (Rufus Sewell), a wealthy French ponce who has acquired ownership of a winery and has sinister intentions. (Remember: If only one character in a movie has a European accent, he is the bad guy.)

So Zorro pines for Elena while trying to figure out what Armand and his cohorts are scheming, all while two mysterious outsiders in suits are lurking around acting like FBI agents, all while young Joaquin keeps almost discovering his father’s secret identity. ¡Dios mio! Who can keep up with this?

Not director Martin Campbell (“The Mask of Zorro,” “GoldenEye”), who lets Roberto Orci and Alex Kurtzman’s jam-packed screenplay nearly overwhelm him. The lengthy fight sequence set aboard a moving train feels like Campbell left it running while he went to run some errands (“Shoot! Was this thing on the whole time?!”), and the numerous reversals, setbacks and twists start to seem obligatory by the end, like they’re just trying to see how many false conflicts they can have before the film reaches its REAL climax.

It’s a little tiring, but it’s a pleasant, upbeat film with happy endings and a lot of amusing banter between Banderas and Zeta-Jones, and Banderas and the little boy, and Banderas and his horse. (There’s a joke about the horse not understanding commands unless they’re in Spanish.) It’s easy to overlook a film like this in a crowded marketplace, and I suspect that’s what most viewers will do. Except, of course, for that cache of hardcore Zorro fans who have been waiting eagerly since 1998. Their day, at last, has come.

Prime

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“Prime” is about a woman who starts dating her psychiatrist’s son, and none of the three people involved realize it. How that can happen is a marvel of screenwriting: The writer has to be very careful about what these three people say to each other, lest everything be revealed sooner than he wants it to be. The son can’t mention to his mom what his new girlfriend’s name is, and the woman can’t tell her psychiatrist the full name of the man she’s dating. Oh, and the psychiatrist and her son need to have different last names.

I think Ben Younger, who wrote and directed the film, has all his bases covered. Which isn’t to say that the whole scenario is plausible, merely that it’s possible. Even when the truth does come out, there is still plenty of time left to deal with the aftermath. Younger keeps the focus on the characters as people, not just as pawns in a silly movie plot. I like that a movie with such a farcical premise can be so upscale and witty.

Uma Thurman plays the woman, Rafi, 37 years old and recently divorced. She meets David (Bryan Greenberg) through a mutual friend and begins dating him, recognizing that he’s younger but not knowing how much younger until she finally asks: He’s 23. Yikes. They both think the age difference is substantial, but they both know they like each other, too.

Meryl Streep plays Rafi’s psychiatrist, Lisa, a very Jewish woman who, like all New York psychiatrists (at least the ones in movies), wears big goofy necklaces, out-of-date eyeglasses and a frumpy hairstyle. She’s delighted that Rafi’s dating someone, and since Rafi tells her that the man is 27 — she’s too embarrassed to mention his real age — Lisa doesn’t realize that Rafi’s David is HER David.

Meanwhile, Lisa is berating David for dating a girl who, by his description, is not Jewish. Mom is insistent that there’s no point in dating someone you have no intention of marrying, and if he plans to marry a shiksa, he’ll do it over her dead body. David doesn’t argue the point; he’s just dating for fun right now. He’s young and carefree, so why not?

So we know more about the characters than they do, and there is much humor in seeing them discover it, one at a time, slowly but surely. Lisa is pleased to hear Rafi talk about her sexual exploits with David; you can imagine how that changes once she figures out who David is. Even simple things like Rafi’s discovery that her too-young boyfriend lives with his grandparents (he had to get out from under his mom’s thumb) can be hilarious.

You gotta love Meryl Streep, and you gotta love Meryl Streep doing comedy (see “Adaptation”), proving that a great dramatic actress can be funny, too, by employing the same rules: Be real and be honest. She’s paired here with Uma Thurman, who’s also not famous for being funny, but who is perfectly capable of it. I like the dynamic between Lisa and Rafi more than the one between Rafi and David, actually, and it’s reassuring to see that the movie winds up placing as much emphasis on the two women as it does on the romance. (Bryan Greenberg, the likable fellow who plays David, is understandably overshadowed by Streep and Thurman.)

The romance runs into snags because of the age difference: David is youthful and irresponsible, while Rafi has already passed that phase of her life. There is the suggestion that maybe love doesn’t always conquer all — but then again, maybe it does. Or maybe it doesn’t. Maybe this movie has too many scenes where Rafi and David break up, reunite, and break up again. Maybe it should give it a rest.

It’s enough of a romantic-comedy to satisfy fans of that genre, but different enough from the usual template to be worth recommending to regular people, too. It’s also a good reminder not to lie to your shrink.

Saw II

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What “Saw” had going for it were its ideas. If it was occasionally too ugly for its own good, its stylishness and clever storytelling techniques made up for it.

“Saw II,” by comparison, has a lot of blood but almost no ideas. The maniac with a God complex who punishes people for their sins wasn’t exactly original with “Saw,” and it’s even less original in the sequel, where it’s the same killer with the same agenda.

This time, instead of two people locked in a room, Jigsaw (Tobin Bell) has eight people locked in a house. He can monitor them by closed-circuit cameras, but there’s no need to. The place has been elaborately booby-trapped, and notes and cassette tapes provide the victims with clues as to why they’ve been chosen and what torturous things they must do to get out. It would seem that Jigsaw wants them to endure the trials and emerge better people, more grateful to be alive — but it could also be that Jigsaw really likes it when people fail his tests and die. It’s hard to tell with these serial-killer types.

Among the eight captives, the two least attractive ones die quickly and we’re left with six. They’re told via tape recorder that in two hours, they will die from the toxic gas they’ve been breathing, but that an antidote is in the safe in the middle of the room. The combination to the safe is for them to figure out based on the clues Jigsaw gives them.

But rather than work on that, the six people choose to scream at and bicker with each other for the next 90 minutes, to the point where not all of the film’s deaths are Jigsaw’s fault, if you catch my meaning.

See all the Saws:

“Saw” (2004) B+
“Saw II” (2005) C
“Saw III” (2006) B-
“Saw IV” (2007) C-
“Saw V” (2008) D
“Saw VI” (2009) C
“Saw 3D” (2010) C-
“Jigsaw” (2017) B-

Among the six are Amanda (Shawnee Smith), one of Jigsaw’s previous victims and one of the few alive to tell about it; Daniel (Erik Knudsen), a tough-acting teenager whose dad (Donnie Wahlberg) is the cop working the Jigsaw case; and Xavier (Franky G), an overly muscled drug dealer. These three play key roles in figuring out what Jigsaw is up to, with varying degrees of success at outsmarting him.

The first film benefited from James Wan’s David Fincher-style directing, but Wan has not returned for “Saw II.” The director this time is Darren Lynn Bousman, a young filmmaker whose style is best described as that of someone who watched “Saw” a few times and remembered some of its tricks.

More importantly, his screenplay, co-written with “Saw” scribe Leigh Whannell, lacks the sick imagination of the first film, the demented audacity of its twisted scenarios. It goes without saying that all of Jigsaw’s victims will have some connection to each other; what’s disappointing is how lame that connection turns out to be. (I’ll give the finale points, though, for effectively misdirecting our attention enough to deliver a couple of small surprises.)

My general impression is that people who hated the first film — and there were many — did so because of its brutality and gruesomeness. The sequel still has those traits, though perhaps not quite as vividly; what it lacks is the devious reasoning behind them. If you thought the violence in “Saw” was senseless, wait’ll you see it now.

The Weather Man

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Gore Verbinski’s career as a director has been all over the place, from the slapsticky (“Mouse Hunt”) to the quirky (“The Mexican”), from the terrifying (“The Ring”) to the swashbuckling (“Pirates of the Caribbean”). My admiration for “The Mexican,” an overlooked gem from 2001 starring Brad Pitt and Julia Roberts, makes me especially glad to see “The Weather Man,” which shares its strange sense of humor and its unusually adept mix of laughs and sentiment. I’d like to see another horror movie from Verbinski, but in the meantime, another satisfying comedy is a treat.

This is a movie about a depressed man, which means it will be low-key and without a lot of bold, flashy humor, except when it wants to shock us. It’s similar in that regard to “About Schmidt,” which was also about a man who didn’t know what to do with himself. In “The Weather Man,” we have David Spritz (Nicolas Cage), who performs the title function for a Chicago TV station but has his eye on a national gig on “Hello, America” (hosted by Bryant Gumbel, who has a cameo).

In fact, he’s counting on getting that job: He thinks it will repair his heavily damaged life. He and his wife Noreen (Hope Davis) have split up, and he desperately hopes for reconciliation. She regards him with pity, however, as the inconsiderate loser he is. A workshop they attend that is meant to strengthen trust between squabbling partners is a particular disaster.

Their children, who live with Noreen, are 12-year-old Shelly (Gemmenne de la Peña) and 15-year-old Mike (Nicholas Hoult). Shelly is overweight, morose, and as bored with life as her dad is. Mike has had problems with marijuana and now has a problem with his drug counselor (Gil Bellows), who has taken an unseemly interest in him. Mike is aimless, too.

The only happy one is David’s father, Pulitzer Prize-winning author Robert Spritzer (Michael Caine), a great man, a great father and a great grandfather. He should be disappointed in his strangely ineffectual son, but he’s too good a man to cast aspersions on anyone. Early in the film, he learns he has lymphoma.

Passersby occasionally throw things at David, partly because he’s wrong about the weather, partly because his TV catchphrases annoy them, partly because they know he has a six-figure income and a ridiculously easy job. In short, nothing in his life is what he expected it to be. He didn’t plan to be separated from his wife, he didn’t plan for his father to be dying, and he didn’t plan to be pelted with McNuggets on a regular basis.

Steve Conrad’s screenplay lays bare many of mankind’s neuroses and quirks — the desire to be alone conflicting with the desire to feel needed, for example — to demonstrate the futility of David’s existence. In narration, David confides in us the way he would a therapist: How did I get so screwed up? How can I fix my life?

Yet despite David’s depression, this is not a depressing movie — quite the opposite, actually. Verbinski uses the dreary Chicago winter to reinforce the gray tone of David’s life, and he maintains what you’d call a “deliberate” pace — but he also uses blunt humor (occasionally in the form of creative swearing and name-calling, at which Nicolas Cage excels) to paint a picture of a man who can’t seem to succeed no matter how hard he tries, a situation that is funny if you think about it, unless it’s happening to you.

I always enjoy Cage more in comedic roles than serious ones, and he’s in fine form here. He actually tones the performance down a bit, giving us a character who is funny without being ridiculous (which is where many of his action-movie characters wind up), and even sentimentally effective in some of the key emotional scenes.

His supporting cast is extremely useful, too: the reliable Hope Davis and Michael Caine are true to form, and Nicholas Hoult (grown up since “About a Boy”) and Gemmenne de la Peña are wonderfully odd as his children, one naive and the other sullen.

The film’s ultimate point has to do with David’s epiphany, and it’s a funny, tortuous path that takes us there. You can’t really predict how your life is going to turn out any better than you can predict, say, the weather. All you can do is take guess and hope for the best — and it’s the hoping that makes it fun.

Three … Extremes (Chinese/Japanese/Korean)

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What’s that you say? You’d like to see work from a few Asian horror directors, but don’t have time to watch three separate movies? Then “Three … Extremes” is the sampler platter you’re looking for!

We have “Dumplings,” from Hong Kong’s Fruit Chan; Japan’s Takashi Miike (“Audition,” “Ichi the Killer”) gives us “Box”; and our man in South Korea, Chan-wook Park (“Oldboy”), presents “Cut.” Separately, none of these shorts is particularly noteworthy, though I can imagine “Dumplings” and “Cut” being expanded to feature-length. (“Box” is too simple and “Twilight Zone”-ish to sustain a lengthening, I think.) But together, they comprise a macabre anthology of mayhem that may be just the thing to satisfy your horror cravings.

The films have nothing in common other than their genre and their continent of origin, which means their sequence can be altered. In fact, I believe the order has been changed since I watched them on a screener tape during the Sundance Film Fesival. I saw them as “Box,” “Dumplings” and “Cut,” and I liked that, as it put the best last and simplest first. I’m told now it goes “Dumplings,” “Cut” and then “Box,” but that sounds like a bad idea.

Anyway, “Box” is a dreamy, nearly wordless story of a woman with recurring nightmares about being buried alive who was, we discover, once part of a circus act in which she and her sister were put into small boxes by a magician. One of the girls died and the surviving woman is haunted by … guilt? Grief? Something else?

I do not generally favor the kind of “What is real?” horseplay such as this film employs, but Miike uses such an attractively ethereal style — and works up some impressive feelings of dread, too — that it’s hard to resist.

I am less fond of “Dumplings,” by Fruit Chan, simply because its subject matter is so off-putting. It is the darkly comic tale of a woman named Aunt Mei (Ling Bai) who has a secret recipe for dumplings that have a rejuvenating effect on the eater. As such, they are sought from far and wide by aging actresses, fading housewives, and others who desire a more youthful appearance. Just one catch: The dumplings’ secret ingredient is aborted baby fetuses.

“Dumplings” isn’t meant to be scary, but morbid, with perhaps a dash of social satire. My impression of it is that it is more gross than anything. I do think, however, that if the story were expanded into a feature, the more gruesome aspects could be diluted somewhat with greater emphasis on the satire, as well as on the characters who engage in the practice of eating fetuses as a sort of Fountain of Youth. (Question to scientists: WOULD THIS WORK?!?!?! That would be awesome.)

Last we have “Cut.” This is the only one of the three to exhibit any flashy filmmaking techniques, with Park’s fondness for swooping shots and David Fincher-style impossible camera angles. The story, grand and over-the-top, is of a successful horror-film director (Byung-hun Lee) who is taken hostage by a psychotic actor (Won-hie Lim) who threatens to cut off the director’s wife’s fingers if he does not comply with his vicious demands.

You can go a couple directions with that, and Park chooses the route that is both violent and funny. Park realizes, as he did in “Oldboy,” that extreme violence and horror are inherently funny, and rather than flee from that fact, he embraces it.

Men without hands

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On the same day, I saw the following people in downtown Portland:

– A man with a hook for a hand. He was not a pirate, as you might suspect. He was dressed in ordinary business attire, with a suit coat and everything. But he had a hook for a hand. If I were a businessman in need of a new hand, I would consider getting a ballpoint pen rather than a hook. That would be useful.

– A man with no hands. He seemed to have been born without them, rather than having lost them through carelessness or misadventure, and the interesting thing is that he was smoking a cigarette. I sort of admire that. I know that if I didn’t have any hands, I would try to find FEWER activities that required hands, not more. So I respect this guy for taking the opposite approach: “No hands? Bah! I’ll do everything a handed person can do, and more!”

So men without hands, I salute you! With my foot!

Ballets Russes (documentary)

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As with most documentaries, “Ballets Russes” is probably more fascinating if you’re already interested in the subject matter. But unlike many of its peers, the film doesn’t assume we revere its subject as much as the filmmakers do. Instead, directors Daniel Geller and Dayna Goldfine lay out the history of the Ballet Russe, delight us with modern interviews with the now-ancient ballerinas, and take our breath away with clip after clip of footage of the dancers in their prime. When it’s done, ballet fans or not, we can’t help but appreciate the story we’ve just seen.

A man named Diaghilev died in 1929, and many feared that spelled the end for the Ballets Russes, the highly esteemed Russian dance company he had overseen. But a worthy successor was found in the Ballet Russe de Monte Carlo, which opened in 1932 and went on to achieve the kind of legendary fame that its predecessor had.

That group eventually split into two factions, with artistic director and choreographer Leonide Massine breaking off and starting his own troupe, taking many of the dancers — and, somehow, the name Ballet Russe de Monte Carlo — with him. What was left of the original troupe became the Original Ballet Russe, and the two organizations traveled the world for the next two decades, often crossing paths, once even being stuck on the same ship together, but each garnering accolades wherever they performed.

“Ballets Russes” tells this story (and much more) in a warm, carefully laid-out way, using interviews with the surviving dancers, most of whom are now in their 80s and 90s. To see these elderly Russian women comporting themselves with such elegance and grace even when their bodies can no longer perform the feats of their youth is truly touching. One looks regal, another is down-to-earth, one reminds you of your smiling grandmother, another of your stern matronly aunt.

They are old, and they can’t do pirouettes anymore, but my goodness are some of these women spry! Their eyes twinkle as they tell their stories, and when the film follows them to a reunion in 2000, it is impossible not to be moved by their fondness for one another and their happy memories together.

The film also makes good use of footage from their original ballet performances in the ’30s and ’40s. Who shot these films, and why, and where they’ve been all this time, I don’t know. But they are extensive documents of original Leonide Massine and George Balanchine choreography, of sets designed by Pablo Picasso, of ballerinas dancing to music composed by Igor Stravinsky and Claude Debussy, to drop just a few of the legendary names who were associated with Ballets Russes.

I’m not knowledgeable enough about ballet to recognize the names of the dancers — Irina Baronova, Nathalie Krassovska, Tania Riabouchinskaya, Tamara Tchinvarova, George Zoritch, Frederic Franklin, Marc Platt, among others — but I find their personalities lively and endearing. Some of them still teach dance, and a few even do a little dancing themselves. “Ballets Russes” gives us a glimpse of how happy the dance made them 60 or 70 years ago, and how happy their memories of it make them today.

Slightly Offspring

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Sometimes we in the media become cynical about celebrities, what with their carefully crafted public images, and their teams of spokespersons, and their refusal to wear supportive undergarments at the Oscars. Sometimes we start to lose sight of the truth, which is that celebrities should be treasured as our most precious natural resource.

I was reminded of that fact this week as I examined some news stories about celebrities and their children. Gone are the days when everyone assumes celebrities make bad parents because of their (the celebrities’) inherent selfishness. Nowadays, we realize there’s no one better to raise a child than a famous person with a limited sense of personal responsibility.

As with most matters of importance, we can look to Madonna for guidance. Newsweek reports that she is strict with her kids, 9-year-old Lourdes and 5-year-old Rocco, going so far as to give them stupid names in order to keep them humble. She also doesn’t let them watch TV or read magazines, or eat ice cream or drink milk.

“When Daddy gets home, they get chocolate,” she says. “I’m the disciplinarian.”

In Madonna’s world, chocolate and milk are in the same category as special fun-time treats. And what kid doesn’t rush home after school and ask Mom for a big ol’ glass of milk — which she’ll gladly give, assuming the child is deserving of such a luxurious reward! Also off-limits at Madonna’s house: carrots, apples and affection.

Madonna has a keen method for ensuring tidiness at home, too. If Lourdes leaves dirty clothes on the floor, “we take all of her clothes and put them in a bag, and she has to earn all of her clothes back by being tidy,” Madonna tells Newsweek. “She wears the same outfit every day to school until she learns her lesson.”

Now, if the years 1983-1991 taught us anything, it’s that Madonna has no idea how to dress in public. But no matter! Her method of disciplining young Lourdes is admirable. Is rounding up all of your child’s clothes and putting them in a bag because she left something on the floor a pretty elaborate, time-consuming punishment for such a minor infraction? Yes! Yes it is! Which is why it’s so effective. Soon little Lourdes will realize what a sadomasochistic dominatrix her mother is, and she will begin taking notes for when she writes her tell-all biography.

But the most important story of the day has to do with a lucky child who hasn’t even been born yet. Of course I’m talking about the fetus currently gestating in the microscopic womb of cult hostage Katie Holmes. She and Tom Cruise are expecting a BABY! A baby what? Why, a baby human, of course! Or so they say. We’ll see. Anyway, despite the obvious obstacles (e.g., being gay and infertile), Tom Cruise has apparently managed to impregnate his zombie girlfriend, first with the doctrines of Scientology, and now with his offspring.

What will a Cruise/Holmes baby be like? Will it have a million-dollar smile and earn Oscar nominations? Will it achieve worldwide fame and stardom? Will it be the worst thing in “Batman Begins”? Only time will tell, and possibly also the tabloids.

One thing we know for sure is that the actual birth will be a mellow event, like going to a funeral for a Quaker mime. Scientologists favor births without the usual screaming and wailing, because they believe all that mayhem first thing out of the womb can psychologically scar the baby. You holler and moan when you push the little parasite out, and later in life he’ll have irrational fears and troubled emotions, or so says Scientology.

This is the sort of reasoning that seems really smart until you actually think about it, whereupon it seems stupid. Nearly everyone currently living was born to a mother who screamed like a banshee during delivery — and yet nearly everyone currently living also manages to function in society despite the trauma of his or her birth. There are a lot of screwed-up people in the world, sure, but if mothers swearing and demanding epidurals during childbirth were the cause, there’d be a lot more of them, that’s all I’m sayin’.

Whether the logic is sound or not, Katie Holmes has pledged to follow the “silent birth” procedure as much as possible, though considering she stands at 4’8″ and weighs 60 pounds, I wonder. It’s possible that delivering a baby will actually tear her in half. And being torn in half would make ANYONE scream! Especially a girl.

So it’s clear Tom and Katie care about their baby, wanting to give him or her a peaceful birthing process. They are also concerned about the child’s reputation, as indicated by their decision to hurry up and get married before the child is born. England’s Daily Mirror quotes a source as saying, “Tom’s old-fashioned. He wants his child to be born in wedlock.” Apparently, knocking her up out of wedlock is no big deal. It’s the wedding that’s the important thing! Take note, theologians, with your crusty old morals!

I hope you can agree, from these examples and from the others that I thought about but didn’t mention, that celebrities are caring, considerate creatures, among the most gentle in all the world. We should not mock them or begrudge them their opportunity to be parents. We should definitely keep our dirty clothes off the floor when we are around them, though, or we’ll get no milk for dessert.

‘The Work and the Glory: American Zion’

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“The Work and the Glory: American Zion,” the latest Mormon film to hit theaters, opened to a pretty impressive box office last weekend. It grossed $524,698, which is more than many LDS films make in their entire run.

It opened on 204 screens, making it the widest LDS opening yet. (“The Other Side of Heaven” eventually expanded to 306 screens, but not until well into its run.)

The average take was $2,572 per screen — approximately the same as “Wallace & Gromit,” “The Fog,” “North Country” and “Elizabethtown,” to name a few. Those movies all made a lot more money total, of course, because they played on more screens. But the point is, the average “American Zion” theater was about as full as the average “North Country” theater last weekend.

(I saw “American Zion” Friday afternoon in Portland, and I was one of maybe 15 people in the theater. So I’m guessing packed houses in Utah bumped up the average.)

The question is, can it turn a profit? It is a sequel, of course, to last year’s “The Work and the Glory,” which cost $7.5 million to make and grossed only $3.3 million. Video and DVD sales recouped some of the loss, but not enough to actually become profitable.

The good news for Utah Jazz owner Larry Miller, who ponied up the money this time as well as last, is that “American Zion” was filmed back-to-back with Part 3 in the series, to be released next year. Shooting the films as part of one extra-long project instead of two separate ones brought the costs down considerably. At a press conference earlier this year, the filmmakers said Parts 2 and 3 combined would cost about what Part 1 cost on its own.

With an opening weekend of $500,000, it’s possible “American Zion” will eventually gross $3.75 million. And by playing in so many theaters in so many parts of the country, more Mormons (and heck, non-Mormons too, if they’re interested) can actually see it without having to wait for the DVD.

After Innocence (documentary)

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“After Innocence” is a documentary torn from the headlines. It reports that more than 150 convicts in the U.S. have had their sentences overturned after being proven innocent by DNA evidence. The film wants to know what happens next, when these innocents are returned to society.

You see, if you serve out your sentence and are released, the government helps you out with job training, health care, and so on. But if your sentence is overturned because it turns out you shouldn’t have been convicted in the first place, the government pretends the whole embarrassing thing never happened, and you get nothing. Except it DID happen, and when you fill out job applications, you have to answer “yes” on the part where it asks if you’ve ever been convicted of a crime. (“Were you later released because DNA proved your innocence?” is not a follow-up question, unfortunately.)

“After Innocence,” directed with compassion and outrage by Jessica Sanders, focuses on a half-dozen men convicted of various combinations of rape and murder. In each instance, DNA evidence recovered at the crime scenes was eventually subjected to tests not available at the time, and the men were exonerated. Some are bitter about it, others are philosophical. After a while the anecdotes become the same, which is too bad, since they individual stories are so very human in their nature. Perhaps a more in-depth focus on fewer men, rather than glimpses at several, would have been better.

There is a stand-out, though, and it is Wilton Dredge. When the film begins, he has been in a Florida prison for 22 years, and in fact has been proven innocent for three — yet he remains incarcerated. Over the course of the film, we see him go through the process of appeals, reopening the case and testing the evidence. The prosecutor is blithe about the possibility that DNA will prove Dredge innocent beyond all question; he keeps pointing to other, more circumstantial facts as “evidence” that Dredge is guilty — that, and the fact that hey, a jury convicted him, didn’t it?

Dredge’s story has power because it has somewhere to go. The other men have already been released and are struggling to make progress without specific goals — intriguing raw material for a film, perhaps, but lacking in anything approaching a “plot.” Dredge’s story even has supporting characters, including his good ol’ boy father, a big Southern man who says, with heartbreaking emotion, “We’re ready for our boy to come home.”

Protocols of Zion (documentary)

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It is astounding to me that anti-Semitism exists at all, let alone that it flourishes. Perhaps I have been sheltered from it. Being a Christian and living in an area where Jews are not to be found in abundance, maybe I simply haven’t seen it. To be Jewish in New York — a volatile cauldron of seething anger, post-9/11 “we love each other” ideals notwithstanding — is apparently a very different thing, as the eye-opening documentary “Protocols of Zion” demonstrates.

“The Protocols of the Elders of Zion” was first published in Russia in 1905 as an attempt by the Tsar to blame all of his current problems on the Jews. The book — a complete work of fiction and a fraud — purports to be the minutes from a top-secret meeting of the Earth’s leading Jews, discussing their ongoing plan to take over the world.

The trouble with this book is that, as outrageous as its contents are, many people believed it, and continue to do so. A book claiming to be non-fiction is usually accepted as such by those who read it, unless “The Truth About (fill in the blank)” happens to be placed next to it on the bookstore shelf, or unless Oprah talks about it.

There has been an upswing in anti-Semitism since 9/11, too, including the insidious rumor that 4,000 Jews were warned not to go to work in the Twin Towers that day and thus had their lives spared — “proof” that the Jews were ultimately behind the plot. How can anyone believe that no Jews were killed in the 9/11 attacks when the memorial wall listing the victims is brimming with -steins -bergs and -baums? How can anyone think that Jews masterminded an attack that was carried out by Arabs, a group that hates the Jews? Here’s how: PEOPLE ARE STUPID.

Marc Levin, the Jewish documentarian who made “Protocols of Zion,” goes to the streets to get opinions from African-Americans, Arabs, Christian evangelicals and others. He wants to know why people hate Jews. One particularly ill-informed man, an African-American, observes that all of the major world leaders have been Jewish, including New York’s mayors. “Michael BLOOMBERG,” he says, for example. Levin points out Bloomberg’s predecessor, Rudy Guiliani. “JEW-liani!” comes the reply, as if Levin has just proved his point. Why, the word “Jew” was right there in his name!

I will grant you, this specimen is not the ideal spokesman for the anti-Semite movement, but his reasoning is not the dumbest; it is only the most obviously dumb. The more dangerous anti-Semitic ideas are the ones that seem to make sense, the ones that are eloquently spoken and backed up with things that sound like facts. And that pesky old book, that “Protocols of the Elders of Zion” continues to be a presence, recently serialized in a New Jersey-based Arab newspaper, nearly a century after it was first debunked as a fraud. The editor of the paper, interviewed in this film, even says he realizes it’s not true.

According to these conspiracy theorists, Jews run the world. Hence, if anyone rises to significant power, the anti-Semites do whatever straw-grasping and genealogical gerrymandering is necessary to prove that person is Jewish — whether the person knows it or not. How did Fox’s Rupert Murdoch become so powerful? Well, because he’s a Jew, of course! (Even though he isn’t.) It’s all part of their plan, you know, to control every media outlet and government position.

Again, I marvel that anyone can believe this crap. Levin marvels, too, but he marvels from a more personal position. His parents were Jews in New York in the 1930s, when anti-Semitism was more mainstream than it is today. And so his film has an intimate tone to it, the feel of a man looking for answers not just for his audience but for himself. Nothing is accomplished, really, except that the lid is removed from one of America’s most shameful underground movements.

North Country

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Anyone who has ever worked with other people has witnessed or engaged in something that could be termed “sexual harassment.” Coworkers often become friendly, which means they become comfortable, which means they make remarks that, viewed objectively, could be considered a violation of the company’s sexual harassment policies. But it’s OK because the coworkers are friends and no offense is intended or taken.

“North Country” is not about that type of incident. “North Country” is about the other kind of sexual harassment, the kind that truly IS harassment (because it is unwelcome), the kind that makes the workplace hostile and frightening. “North Country” would have been a better movie if it had included some of those gray-area scenarios, the ones that could be nothing more than innocent but poorly phrased remarks, rather than making all of its offenders so clearly, undeniably out-of-line. When all the men in your workplace openly declare that they don’t think women should be allowed to work there, and reinforce that sentiment by using their own excrement to write vulgar names for females on the walls … well, there’s pretty much only one way to take that.

The film is based (loosely, I gather) on a real-life case that became the first successful class-action sexual-harassment lawsuit in America. Directed by Niki Caro (whose “Whale Rider” depicted matters of female empowerment much more gracefully), “North Country” stars Charlize Theron — all Minnesota and white trash — as Josey Aimes, a young single mother who takes a job at the iron mine where her father (Richard Jenkins) works. The year is 1990, and Pearson Mines has only been hiring women for 15 years, and only then because the Supreme Court said they had to. Josey’s immediately supervisor, a weary, mustached man named Arlen Pavich (Xander Berkeley), tells her and the other new female trainees in no uncertain terms that he doesn’t think they should be working there at all.

And then the sexual harassment begins. Not subtle stuff, either, but alarming, vulgar and degrading. The men behave like pigs, speaking crassly to the women, grabbing them, drawing obscene pictures on the walls, and spreading lies about the women’s sexual proclivities. And somehow, maddeningly, everything gets blamed on the women.

Josey’s female coworkers are used to it by now, but Josey isn’t. She just left a poisonous relationship, and she is near the point where she can’t take any more abuse. But she can’t quit, because she needs the job. The higher-ups are no more sympathetic to her case than the supervisors are, making the point that if Josey would spend as much time improving her job performance as she does complaining, everyone would be a lot happier. It eventually gets so bad that the community’s dads are telling their sons not to pass the puck to Josey’s son during hockey games.

The harassment is so flagrant that it becomes laughable. I find it hard to believe that any group of men ever behaved THIS badly in the workplace, much less that their behavior was condoned all the way up the corporate ladder, and much less that it all happened as recently as 1990. I don’t deny sexual harassment can be a real problem, or even that some of the specific events depicted here could happen. But ALL of them? You watch the film and tell me if the flurry of depraved harassment and near-rape seems believable to you.

Realistic or not, it weakens the film’s case to have the villains portrayed so one-dimensionally. Usually a film like this would include a moment or two of self-doubt, where the crusader wonders if maybe she’s making a mountain out of a molehill. But Josey experiences no such second-guessing, and the film (adapted by Michael Seitzman and Laura Leedy from Leedy and Clara Bingham’s book “Class Action”) never gives her a reason to.

Josey chooses as her lawyer one Bill White (Woody Harrelson), a local boy who studied law in New York before returning to Minnesota for reasons he is cagey about. He is one of only a handful of decent men in the town — a category that does not even include Josey’s father, at least not at first. (Sissy Spacek has a small but crucial role as Josey’s quiet, old-fashioned mother.)

So where does one look for decency in this sexist town? In the marriage of Kyle (Sean Bean) and Glory (Frances McDormand), longtime friends of Josey’s and moral support in her times of trouble. Kyle and Glory are a blue-collar, beer-drinking couple, the kind of people for whom a tender expression of love might include a few swear words. In these characters we find the mix of qualities the film is looking for: They match the traditional descriptions of husband and wife, but Kyle is also sensitive and Glory is also strong. It’s the only color in an otherwise very black-and-white movie.

Doom

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In almost 100 years of history, Hollywood has rarely produced a series of films as consistent as those based on video games: A dozen of them now, and not one has been any good. Not one! (Don’t bother naming one and saying, “What about that one?!,” because the answer is no; it sucked.)

The latest is “Doom,” a loud and bloody big-screen adaptation of the game that popularized the “first-person shooter” genre, where the action is seen through the player’s eyes rather than from an omniscient perspective. In homage to its roots, “Doom” the movie has a few minutes of first-person killing near the end, the camera acting as a character’s eyes as he goes around shooting everything — but since we can’t control him like we can at home, the effect is like watching passively while someone else plays a video game. And where’s the fun in that?

Nowhere, that’s where. In fact, what fun there is in “Doom” is only at the film’s expense, laughing at its flimsy story and its goofy pseudo-scientific dialogue. (“Ten percent of the human genome is still unmapped,” says a scientist. “Some say it’s the blueprint for the soul.” Heavy, man.)

The deal is that 40 years hence, a scientific research laboratory on Mars has been besieged by mysterious and sinister forces. A team of U.S. Marines back here in the good ol’ U.S. of Earth is sent to rescue the six doctors and scientists, but when they arrive they find: MONSTERS! Vicious beasts the size of very large humans with oversized, agile tongues! What’s a team of Marines to do but find giant guns and fire them repeatedly?

The bulk of the film is set in the dimly lit cement-gray and steel-black corridors of the Mars lab, a reminder of the “Alien” films, which used silent, claustrophobic settings like these to create fear. “Doom” uses them to create violence. Mistaking fear and violence for each other is a common error among incompetent filmmakers. (In this case it is Andrzej Bartkowiak, whose senseless but stylish action flicks “Romeo Must Die” and “Cradle 2 the Grave” hardly suggested how crappy “Doom” would turn out.)

Oh right, the characters. I forgot there were characters. Well, there’s Pretty Scientist (Rosamund Pike), whose bickersome brother (Karl Urban) is among the Marines sent to rescue her team. There’s the Young Recruit (Al Weaver) who is eager and idealistic and will surely die on this, his first mission. There’s the slimy and perverted Horndog Marine (Richard Brake). And then there are several others with no distinguishing characteristics except, in some cases, their race.

And then there’s The Rock (aka Dwayne Johnson), who plays the Marine squad leader. The Rock has pleasantly surprised a lot of people with his acting, which has often been entertaining and even laudable. Those of us who didn’t like having to respect him as an actor, who don’t like taking men seriously who are professional wrestlers and don’t have real names — we breathe a sigh of relief with “Doom,” where The Rock at last lives up to his potential as a hilariously bad actor.

Do this with me. Make your eyes really big and angry, exaggeratedly so, like a cartoon. Then over-enunciate every word as you loudly bark an order to an inferior. (Try: “I need copies of this report NOW!” or “I want you to take out the trash!”) That’s The Rock. Remember Jack Nicholson’s delivery on “You can’t handle the truth!” in “A Few Good Men”? That’s The Rock on every single line in “Doom.”

The screenplay, by David Callaham and Wesley Strick (“Arachnophobia,” “The Saint”), is strictly serviceable, nothing fancy. Yet it has curiously long stretches where it tries to BE fancy, eschewing shoot-em-up shenanigans so it can ramble on and on about the “science” behind the monsters. That’s a fine thing to do if you’ve got creative ideas and good actors to convey them, but when you’re bankrupt in both categories, maybe it’s best to shut up and get back to shooting. At least that has a certain visceral thrill, for a few minutes, anyway.

Dreamer

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You don’t know the name John Gatins, but maybe you’ve seen the sports-related movies he wrote: “Summer Catch” and “Hard Ball” (both awful) and “Coach Carter” (by-the-numbers, but tolerable). He has now written a fourth film, and has taken the director’s chair for the first time. The result is “Dreamer,” a movie so full of sunshine and joy that it’s impossible not to be pleased by it.

Having moved away from ball-oriented sports, Gatins this time focuses on horse-racing, in what is purported to be “inspired by” a true story. In Lexington, Ky., is a once-great horse farm, now devoid of all things equine, owned by the Crane family. Ben (Kurt Russell) trains horses for the nearby racetrack, his wife Lily (Elisabeth Shue) works at a diner, and little girl Cale (Dakota Fanning) works full-time at being adorable. Ben’s dad, an old coot called Pop (Kris Kristofferson), lives on the property, too, though some long-ago falling out between him and Ben has rendered them non-communicative.

Against Ben’s advice, a suit-wearing, cold-hearted horse owner named Palmer (David Morse) insists that his horse Sonya run despite having recently suffered a slight injury to one of her legs. Sure enough, Sonya falls and breaks the leg during the race, and Palmer says, essentially, “Put her down and let’s get back to work.”

Ben, furious that Palmer let poor Sonya run in the first place, takes the horse home and nurses her back to health. The plan is that once she’s healed, though she’ll never race again, she can still produce a profitable offspring — she is a thoroughbred, after all.

At this point I wrote in my notes: “She’ll race again, against a horse owned by Palmer, and win.” I then added: “Her jockey will be Freddy,” referring to a character played by Freddy Rodriguez who used to be a jockey but has been afraid of it since a near-fatal injury some years ago.

The fact that those (and other) predictions came true is irrelevant. The film is not about surprises but about heart, which it has in abundance, mostly through the winningly earnest performance by Fanning, Kristofferson and Russell.

Fanning seems to have emerged from the creepy phase where she was an adult in a little girl’s body, and has now, at the age of 11, become simply a smart pre-teen girl. You forgive maudlin daddy-daughter dialogue when it’s between her and Kurt Russell: Fanning is good enough to convince me she means every word of it, and Russell, with that kindly, youthful face of his — why, in a tenderhearted role like this, you’ll believe anything he tells you.

I note with some surprise that Kurt Russell and Kris Kristofferson really do look like father and son, too, especially around the eyes — a case of thoughtful casting giving the film an extra layer of comfort and likability.

Is this a brilliant film? No. It’s ordinary in a lot of ways, and it reminds me of why stories like this usually have one parent dead: because the story doesn’t have have room for both of them. (Poor Elisabeth Shue, thanklessly playing the Mom With No Screen Time.) But it excels in the important areas of warmth and honesty. Most people enjoy a sweet, wholesome movie with an inspiring story; “Dreamer” is a reminder that those people need not be suckers.

Stay

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We know almost immediately that something is wrong in the world of Sam Foster (Ewan McGregor), the protagonist of “Stay.” He tells his girlfriend Lila (Naomi Watts) that he didn’t sleep last night because of the neighbors’ baby was crying, and Lila points out that the neighbors are 90 years old and don’t have a baby. Doh.

Sam is a psychiatrist who does some pro-bono work at a New York university. One of his colleagues, Beth (Janeane Garofalo), is having mental issues of her own, so Sam takes on one of her patients while she takes some time off. The patient is Henry Letham (Ryan Gosling), a depressed art student who predicts hail before it happens and sometimes knows what people are going to say before they say it, or at least seems to. He tells Sam that he’s going to commit suicide this Saturday at midnight.

As it happens, Lila is also an artist, and she once attempted suicide, too. Though Sam can’t tell her much about Henry for confidentiality reasons, she feels a kinship with him. She has just stopped taking her medication because she thinks it stifles her artistic ability. So now Sam has to worry about his girlfriend as well as his patient.

Someone needs to worry about Sam, too. As soon as he meets Henry, weird things start happening. He experiences deja vu regularly, with events and people seeming to overlap themselves. But in other scenes, away from Sam, we see Henry going through the same phenomena. Henry says his parents are dead, then thinks a colleague of Sam’s (played by Bob Hoskins) is his father, alive and well after all. In another scene, Sam thinks he has met Henry’s mother (Kate Burton), yet it is clear that she is a figment of his imagination, probably still dead like Henry said she was.

I hesitate to tell you which movies this reminds me of for fear of giving too much away, but it boils down to this: At least one of the characters is having serious trouble distinguishing between imagination and reality. In the end it is all revealed (more or less) and, as these things usually go, you are either delighted by the resolution or annoyed at how easily you predicted it.

This is David Benioff’s third screenplay, after “25th Hour” and “Troy.” I get the feeling he’s just horsin’ around. “Stay” is a basic “Twilight Zone”-inspired “What is reality?” brainteaser, a creative-writing exercise undertaken by a particularly gifted writer, like an Impressionist artist doing a paint-by-numbers.

That said, the potboiler screenplay has been prettied up with some striking visual compositions and symbolism. Some of it doesn’t turn out to mean anything, but it makes the film enjoyable to look at in the meantime.

Look at what director Marc Forster (“Monster’s Ball,” “Finding Neverland”) does with some of Henry and Sam’s conversations. In one, we cut back and forth between them as they speak, and since the men are facing the same direction (both in profile, looking to the right), the alternating shots look like photo-negatives of each other: Sam is in darkness, Henry is in light, but otherwise the shots are identical in composition.

In other parts of the film, when Sam and Henry are in two different locations, Forster will frame them in their shots identically — each standing in a doorway, each sitting in a chair, etc. — so that when he cuts from one scene to the other, we are momentarily tricked into thinking we’re seeing double before we realize it’s two different men who have been positioned on the screen in the same way.

This sort of thing doesn’t happen accidentally; Forster is playing tricks on purpose. Does it symbolize something? Is Sam and Henry’s connectedness relevant to the film’s psychology? Or are Forster, his cinematographer Roberto Schaefer and his editor Matt Chesse (both regular Forster cohorts) just enjoying themselves?

Probably some of each, actually. Other visual details are just as striking yet ultimately even more irrelevant. There are occasional glimpses of twins and triplets, or at least sets of people who are dressed identically. A majority of the film’s locations involve grids, squares, columns and other collections of straight lines; several scenes involve the descending of multiple staircases; there’s even a scene where a woman reads Hamlet’s lines in a play rehearsal! (Any movie that includes a scene from Shakespeare is doing so because it thinks that scene sheds thematic light on the rest of the film. Why a woman who normally plays Ophelia is reading Hamlet’s part, though, that’s up to you to decide.)

So while “Stay” is not innovative, it does offer an enjoyable puzzle for viewers who pay attention. It’s rare that movies are made with such devotion to detail, even if the details are more frivolous than significant. And who knows, maybe a second viewing would reveal them to be more significant than they appear. There must be SOME reason why Ewan McGregor’s pants are so short. Like I said, these things don’t happen accidentally.

The Work and the Glory: American Zion

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If the first “Work and the Glory” film seemed stodgy and slow-moving, the sequel has taken measures to rectify that problem. “American Zion,” as it is called, has a new director, a new screenwriter, and a more streamlined approach to the epic-scope story.

Based on Volume 2 of Gerald N. Lund’s series of novels that place fictitious characters in the midst of real-life Mormon historical figures, “American Zion” picks up a few years after the first film left off, and includes a brief recap to bring newcomers up to speed.

In upstate New York in the early 1830s, the fictional Steed family has been divided by Mormonism, the new religion brought forth by local man Joseph Smith (Jonathan Scarfe). Benjamin Steed (Sam Hennings) is not a believer, but his wife Mary-Ann (Brenda Strong) is. Their adult sons, Nathan (Alexander Carroll) and Joshua (Eric Johnson), are also in disagreement about Joseph Smith’s divinity as a prophet, and what’s more, are in love with the same woman, a Mormon named Lydia (Sera Bastian).

At the beginning of the second film, Lydia and Nathan (a Mormon convert like his mother) are married by Joseph Smith himself. Joshua, meanwhile, has forsaken the family and the faith and moved to Independence, Mo., where he drinks, smokes and plays poker in a decidedly non-Mormon fashion. He hurriedly marries a girl there named Jessica (Emily Podleski) and instantly begins neglecting her.

Harassed by locals who don’t approve of any religion less than 200 years old, the Mormons begin an exodus to Kirtland, Ohio, where work on a temple commences even before a lot of the saints have proper houses to live in. Meanwhile, Joseph has his eye on Jackson County, Mo., as the site of a modern-day Zion — much to the consternation of Joshua Steed, of course, who moved to Missouri to get away from the Mormons, not to have them follow him.

More importantly, the new influx of Mormons — they are soon split between Ohio and Missouri — upsets Lt. Gov. Lilburn Boggs (R.D. Call), a frontier fatcat who, while smart enough not to get his own hands dirty in such escapades, encourages his cohorts to destroy a Mormon-owned printing press and drive the Mormons from their homes.

When word reaches Kirtland of the atrocities committed in Jackson County, the film reaches the meat of its story: Joseph leads a group of 200 men on a trip to Missouri, where they plan to reclaim — by force, if necessary — the saints’ homes and lands, which they have every legal right to inhabit. Nathan and Benjamin Steed are in Joseph’s group — the latter because he is sympathetic to a just cause, not because he’s a believer in Mormonism — and a face-off between them and their wayward Joshua is inevitable.

The new director brought in for this and the next sequel (filmed at the same time as “American Zion” and due out a year from now) is Sterling Van Wagenen, a seasoned producer and Brigham Young University graduate who co-founded the Sundance Film Festival. He directs “American Zion” in the style of the old epics — not in its length (it’s only 100 minutes), but in its tone, which is often formal and emotionally distant. The movie is shot and edited somewhat dispassionately, so that even when exciting things happen, they seem low-key. (The scene where Joseph is tarred and feathered is especially half-hearted, so mild it doesn’t even hint at the real pain and terror that accompanied such a punishment.) More close-ups, more angles and more urgency in the editing would have helped — but then the film would have seemed very modern, rather than old-fashioned, which I gather was the intent.

What Van Wagenen gets right, though, is the overall pace of the film, which is not sluggish and labored the way its predecessor was. Certain scenes may lack “zip,” yes, but the movie as a whole is agile and accomplished, and the performances are uniformly good, even among one-line characters.

Matt Whitaker is responsible for the adaptation (he previously co-wrote the stellar “Saints and Soldiers”), and he does well to focus less on internal spiritual angst, which the first film had in spades and which plays well in books but not in a visual medium like film, and more on a narrative that movie-goers can relate to: family rivalries, unjust persecutions, and good ol’ heroes and villains. A few points of early Mormon history are included out of obligation, but for the most part the movie focuses on what’s relevant to the story at hand

The character of Joseph Smith is much more integral to the plot than he was last time, and they were wise to keep the very talented Jonathan Scarfe around to play him. Portraying a man revered by millions as a prophet is no easy task. If you give him too many flaws, it’s disrespectful; if you make him a superman, he doesn’t seem real. Scarfe walks the line well, though there are times when Joseph comes across as a little smug, in my estimation, which does not seem to have been among his real-life shortcomings. Still, he’s the most fascinating character in the film, played with mystery and charisma by Scarfe, and I’d like to have seen more of him. There are hints that he’s uncomfortable with the mantle of “prophet,” that he’s awestruck and even frightened by the influence he has over people — yet that he must bear all of this as part of his calling as God’s mouthpiece, which he truly believes to be the case.

Most of the Steed family is in the periphery; only Benjamin, Joshua and Nathan are central figures. It’s Benjamin, played again with craggy uprightness by Sam Hennings, who is really the film’s religiously stubborn (but spiritually decent) protagonist. Fittingly, a late scene between Benjamin and Joseph is the movie’s pivotal moment, thematically speaking: Those two men, while differing in their religious views, are both so overwhelmingly GOOD that they ought to be blood brothers.

It all culminates in a fiery, thrilling finale (in which Sam Cardon’s ominous and shrieking musical score plays a key role) that ends with something of a cliffhanger — and if the previous scenes of important action had had this kind of energy to them, the movie would have been an unqualified success. As it stands, it’s a good movie, if not a great one, and that cliffhanger suggests some tantalizing prospects for Part 3.

Not Without My TiVo!

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My apartment is one of eight units in a little horseshoe-shaped complex that was built in 1940, which means this year it reached retirement age. Officially, the apartment is “quaint,” in that it is made of brick and has hardwood floors and high ceilings. In practical terms, it is a lot like a 65-year-old person, in that it’s always cold and has a peculiar odor.

Prior to my occupancy, the apartment was inhabited by an elderly couple who lived in it for 40 years before finally moving to a retirement home, or possibly dying. I am not sure what their lives were like. All of the windows in the non-air-conditioned apartment had been painted shut (it’s cold now that it’s fall, but in the summer it would have been unbearable), and despite cable TV having been invented sometime within the 40 years that they lived here, they never took advantage of it. There were no cable jacks anywhere in the unit; the place never became cable-ready.

Not that I needed cable. I’m a satellite man. Which brings me to my story. While Landlady Peg was showing me the place this summer during my apartment hunt, I was making a mental list of its amenities and began to think out loud. I said: “Oh good, this wall faces the south, so I can get a satellite dish….”

Peg, eavesdropping on my out-loud thinking, said, apologetically, “No, no dishes. We don’t want them on the building.”

I accepted this without argument. It seemed reasonable that a property owner could forbid satellite dishes being mounted on the building if he or she wanted to. I figured I could get cable with its accompanying TiVo-like DVR product and it would be a tolerable substitute for my preferred DirecTV/TiVo combination.

So I contacted Comcast. I had never dealt with them for cable TV purposes, though I had enjoyed their cable Internet in my last apartment. I had no reason to believe that hiring their services would be problematic; surely even a company as large as Comcast is always happy to acquire a new customer.

This line of thinking proved to be naive. As it turns out, Comcast is deeply embittered by the prospect of new customers. They resent them at near Microsoftian levels. I learned this first when I went to their Web site, where I discovered that some of their best prices are offered only at the kiosks you find in shopping malls. In other words, there are certain deals that would surely entice people to sign up with Comcast — but they refuse to make it easy for you by just offering you those deals when you call them on the phone or visit them on the Internet. You have to go to the mall and talk to a teenager at a kiosk.

So I did this. I talked to a teenager at a kiosk. He was named Brandon, I guess, probably, since that’s what all teenagers are named. He enthusiastically told me about a particular deal they had on a cable TV and Internet package, and it sounded reasonable, so I decided to set it up. I gave Probably-Brandon the address of the apartment, and he entered it into the computer.

That’s where the trouble began. My apartment was not in Comcast’s database. Since the unit had never had cable before, Comcast did not acknowledge its existence. In Comcast’s view of the world, there are two types of dwellings: those with cable-readiness, and those that are imaginary. This third, mythical kind of place — a place where people live but do not have cable — is beyond the scope of Comcast’s belief system.

I explained to Probably-Brandon-But-Maybe-Tyler that the previous tenants had lived there for 40 years and never acquired cable television, and that yes, I knew that was strange. He said Comcast would need to send someone out to the place to have a look and make sure there wasn’t some reason that cable had never been installed, like maybe the walls were made of adamantium (like Wolverine’s claws), or something. That seemed unnecessary, but reasonable. He said someone would call me in a couple days. This was three months ago, and I still haven’t heard anything.

In the meantime, I mentioned my satellite situation to a friend, who insisted landlords are not legally permitted to deny a tenant access to satellite service if the tenant so desires it. I did some checking and found the FCC’s rules on the matter. (You can read them here.) Basically, you can get a satellite dish whether the landlord likes it or not if the dish is placed somewhere that is exclusively yours — for example, a balcony or patio that only accesses your apartment, that is not shared with other tenants. If you have no such place, and the dish would have to be put on the roof or an exterior wall or some other “common” area, then you’re at the mercy of your landlord, who can say no if he wants to.

Well, guess what. My unit has a private area! (That sentence did not contain double-entendre.) (But that one did.) There’s a back door from the kitchen that leads to a little stoop, or a porch, a couple of steps down before you get to the sidewalk. And it has a railing, which is a fine thing to attach a satellite dish to. I read and re-read the FCC rules to make sure I was in the clear, and ordered up my beloved DirecTV/TiVo.

Now, you’re thinking the same thing I was thinking: What will Peg throw when she sees that I have acquired a dish? A fit? Me out? But it seemed from her brief explication on the matter that her opposition to dishes was having them on the building — i.e., potentially damaging the roof or exterior walls. This is understandable. I wouldn’t want you nailing things to me if I were 65 years old and made of brick, either. So since I had found a way to install the dish that wouldn’t hurt anything — I was even having them bring the wires in through the window, to avoid drilling a hole in the wall — I figured Peg and I would both be happy, or at least one of us would be happy and the other one would be apathetic. And if Peg was upset by the dish, I had the government on my side (for once).

The DirecTV installer came on a Tuesday. That Friday, there was a knock at my door. When I opened it I found Peg standing there, looking peeved and holding a wrench. She was at the complex to fix a plumbing problem (hence the wrench) and had seen my satellite dish (hence the peeve).

“Eric, I couldn’t help but notice you had a satellite dish, after we specifically talked about that!” she said. But I wish you could have heard her tone of voice. I wish this column had audio capabilities, and that I had recorded the conversation. Mostly the latter, I guess, since this column does have audio capabilities and I just never use them. She sounded hurt, like I had personally offended her. Her voice had the tone of one who had established a long, healthy relationship with a person based on a shared disdain for satellite dishes, only to be betrayed when that person violated everything she stood for by obtaining one behind her back.

I said: “Ah, yes, well, I had understood your objection to be to putting a dish on the building, for fear of damaging it, so when I found a way that wouldn’t hurt the building, I was glad….”

“No, no, we don’t want them anywhere, at all,” she said.

Here is where things became awkward. I was going to have to play my “the FCC is on my side” card. But what I had to say, basically, was, “The FCC says I can have a dish if I want to, and there’s nothing you can do to stop me, SO THERE.” And there’s no polite way of saying that.

So I summoned all my powers of tact and said, as non-argumentatively as possible, “Well, I looked into it, and the FCC says that a tenant can have a dish without the landlord’s permission if the dish is someplace that is exclusively the tenant’s domain, like a balcony or a patio, like mine is.”

Peg replied: “I would be very surprised if that were true.”

Well, you’d better sit down, then, I thought.

I said, “I can e-mail you the FCC’s Web site where they talk about it.” She said that was a good idea and left, still hurt and confused and wielding a wrench.

I e-mailed her the link and didn’t hear anything back. It made me nervous. I lived day-to-day, waiting for the other shoe to drop, waiting for her to find a loophole in the FCC rules, or to hire contractors to come remove the stoops from all the apartments’ back doors. But I vowed not to give up my satellite or — especially — my TiVo without a fight.

Surely Peg and I could reach some kind of compromise, I thought — some kind of compromise where I do absolutely nothing and she gets over it. Surely that wasn’t asking too much.

After a while, I figured either she had calmed down and realized the dish wasn’t hurting anything, or she had checked the FCC site and accepted that the law was on my side, or she was assembling her team of lawyers. Finally I received a letter in the mail from her team of lawyers, which answered that question.

The letter, however, was not instructing me to remove the satellite dish. Peg and her lawyers seemed to have ceded that point. Instead, the letter dealt with the way the dish’s cable came into my apartment. I told you earlier I had the installer bring it in through the window. Trouble is, sometime before winter, Peg’s handyman will be putting up storm windows on all the units. A storm window doesn’t do much good if it can’t close all the way because there’s a thick wire coming in underneath it. Hence, the lawyers told me, I needed to find a new way of bringing the satellite wire into the apartment.

I was baffled. I considered every one of the apartment’s other orifices and apertures, trying to figure out how else to bring that satellite cable from the dish to my TV. I could think of nothing.

Then I re-read the letter, which had suggested some possible solutions. One of them was: “Through an existing hole in the wall.” I thought: What do they mean, “an existing hole”? Why would there be a hole in the wall? Then I remembered: for cable TV. That’s how cable TV gets into your house, usually, through a small hole drilled in the wall. But as you’ll recall, my apartment had never been brought into the 1980s and the world of cable television, so there was no hole. But wait! I bet the other apartments aren’t occupied by elderly Luddites….

I raced around the building, looking for cables. Sure enough, all of the other units had black cables snaking along the outside before entering through — ta-da! — a hole drilled in the wall, one hole into each apartment.

I called Peg’s lawyer — Peg and I were now communicating strictly through lawyers, not directly — and offered this solution: I will have the satellite installer re-route the wire through a new hole, which he will drill in the wall. Why should this be an acceptable solution? Because if I had decided to get cable TV instead of satellite, the cable installer would have had to do as much, since the apartment had never had cable before. Surely Peg would not try to stop me from watching television altogether. Ergo, it should be acceptable for the satellite guy to make a hole in the wall, provided it is no larger than the one the cable guy would have made.

“Indeed, sir,” said the lawyer, in my imagination. “You have proved it!”

She did see the logic, though, checked with Peg, and let me know a day later that my solution was agreeable. I had the procedure done, and the matter was resolved.

But I think back to that week where I didn’t know what would happen to my TiVo. It’s funny how sometimes it takes a traumatic experience to make you appreciate what you have. I’ve always loved my TiVo, of course … but somehow now, after this ordeal, I love it even more. We spend more time together now, sure. But it’s the quality of the time that’s really important.

I hope my story inspires you to let your TiVo know how much you appreciate it. Clean out its “Now Playing” list more often. Don’t let old sitcoms sit there after you’ve watched them. Don’t tell TiVo to record things you have no intention of viewing. It deserves better than that.

Here’s to you, TiVo. You complete me.

Loggerheads

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The gimmick, if you want to call it that, in “Loggerheads” is that it follows three different but intertwined stories set in three different years. Internal clues tell us whether a particular plot is set in 1999, 2000 or 2001, but for maximum enjoyment, I recommend not worrying about the chronology. It is a well-acted film, and almost a beautiful one at times. If its ambition overreaches its abilities, well, there are worse crimes than that, aren’t there?

The film is set in various places in rural North Carolina, among the small towns and green forests. We first meet Mark (Kip Pardue), a young gay man without a home, passing through the seaside town of Kire Beach and occasionally sleeping on the beach itself. George (Michael Kelly), a local man with a dull job at a motel, takes a liking to Mark and gives him a place to stay.

At another time in nearby Eden, N.C., preacher Robert (Chris Sarandon) and his wife Elizabeth (Tess Harper) live a serene existence that has become increasingly marred by the intrusions of the outside world, exemplified by the new arrival of an apparently gay couple across the street, and by a nude statue that an otherwise pious neighbor has placed in her front yard.

And at another time in another nearby place, there is a woman named Grace (Bonnie Hunt) who has returned to her hometown after a breakdown and suicide attempt to find the child she gave up for adoption many years ago.

These stories don’t appear connected at all until about halfway through the film, when things start to come together and we realize what connections the people have to each other. There are some very pleasing surprises, things that make you smile and admire the masterful way in which all the threads have been tied.

Writer/director Tim Kirkman, who says the film is based on a true story, finds his theme in the loggerhead turtles, which always return to their birthplaces to lay their eggs. How a turtle knows on which patch of beach it was born when most patches of beach look about the same is a mystery, and Kirkman finds beauty in it. People, too, are drawn to their roots, even if they have consciously sought to avoid them, as some of these characters have done.

Religion is another strong theme, and I was surprised to see a modern film use a Bible verse to make a point — not ironically, and not to show the perceived hypocrisy of Christians, but sincerely. That sort of thing isn’t done often.

The cast is strong all around, though it is the women who give the most piercing performances. Tess Harper is poignant as Elizabeth, the preacher’s wife who is torn between her husband and her son, between old-fashioned ideals and modern realities. There is also a nice turn by Robin Weigert (from HBO’s “Deadwood”) as a woman who helps Grace track down her child.

But it is Grace herself who gives the film its heart and soul. Bonnie Hunt has long been treasured as a comic actress, with only a few brief dips into the dramatic pool, but her performance in “Loggerheads” shows a depth and range I didn’t know she had. Using her built-in rapport with the audience — everyone automatically loves Bonnie Hunt, after all, whether they realize it or not — she works Grace into a three-dimensional figure of sadness and melancholic optimism, a woman who hopes for things that she fears she will never have. It is impossible not to root for her.

That said, the movie tends toward melodrama at times, discovering as it goes that the line between honest emotion and sap is perilously thin. Mark and George’s story, for example, is more involving on paper than it is in the film. But Kirkman’s attention to detail and his deft handling of the interlocking plots make the film worth seeing.

Nine Lives

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Rodrigo Garcia’s first film was “Things You Can Tell Just By Looking at Her,” a series of vignettes that introduced us to several Los Angeles women in various emotional situations. The stories were all well-acted, and the storytelling was crisp. Each segment felt like a complete short story.

Garcia’s new work is “Nine Lives,” a series of nine little stories that are not complete. They are excerpts or clips, seldom with resolution, usually with acting that is solid but unspectacular. Just as we’re growing fond of someone, the vignette ends and we’re on to the next woman. It’s nine orphan scenes desperately in need of movies to take them home.

What is somewhat interesting is Garcia’s choice to shoot each segment as one long, unbroken take. The stories are not, therefore, complete sagas being told in 10 minutes, but 10 actual, uninterrupted minutes. This is a showcase for the actresses — Kathy Baker, Amy Brenneman, Glenn Close, Holly Hunter, Sissy Spacek and Robin Wright Penn among them — and it effectively draws the viewer in, making the action feel immediate and intimate. But this, again, turns out to be a drawback when the scene is yanked away and something new is brought on in its place.

Matters of mortality are at the center, with birth and death as running themes. The women are connected thematically to some extent, and figures from previous scenes occasionally show up in others, suggesting more interconnectedness.

But I have to ask: To what end? What’s accomplished here? What is shown or taught? I see some good acting, a few interesting characters, an occasional glimpse of excellent writing — all components of a great film, yes, but more components are necessary before the film is whole.

Domino

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To watch “Domino” is to be pummeled with relentless audio-visual tomfoolery for two hours. I knew Tony Scott, director of “Top Gun,” “Enemy of the State” and “Crimson Tide,” liked his movies full of motion and chaos, but when did he commence his all-crack diet? It’s like someone smashed open a piñata full of film-school devices and Tony Scott knocked over the other kids to get everything for himself. Oliver Stone, on his best day, couldn’t make a movie this incoherent.

The opening titles tell us it’s “based on a true story — sort of,” and I can verify that there was indeed a female bounty hunter named Domino Harvey who died at age 35 earlier this year, when the film about her was already finished. How much of “Domino” is faithful to her life, I have no idea, though I am relatively sure she never held two cast members of “Beverly Hills 90210” hostage while she oversaw the hacking off of another man’s arm. (Correct me if I’m wrong, Ian Ziering and Brian Austin Green.)

Domino (Keira Knightley) is a disaffected, spoiled girl with a gold-digging mother (Jacqueline Bisset) who moves them from England to Beverly Hills (Mom’s a fan of a certain teen soap opera) in the hopes of landing a rich new husband. Domino couldn’t care less about money, though; she thrives on disorder and violence. An instructional seminar on how to become a bounty hunter catches her eye, and soon she is on the staff of bail bondsman Claremont Williams (Delroy Lindo).

Domino tells us in her narration (being given, in a framing story, to an FBI agent played by Lucy Liu) that Claremont is Charlie to three angels: a brooding Latino named Choco (Edgar Ramirez), a father figure named Ed (Mickey Rourke), and Domino herself. They have an Afghan driver who ferries them from one job to the next, and they are remarkably efficient in their work.

Trouble arises when Claremont, who also runs an armored-car service, tries to pull a fast one on a client with Mafia connections. Involved are Claremont’s three “sassy black mistresses,” played by Mo’Nique, Shondrella Avery and Macy Gray, as well as a fourth member of their team, the very gay Raul (Joe Nunez). Also involved are a quartet of frat boys and dropouts seeking fake IDs from the DMV office where the Mo’Nique character works.

Meanwhile, Domino’s crew is being followed by WB network cameras and the afore-referenced “90210” stars as part of a reality show about bounty hunters (masterminded by a network exec played, with something less than his usually oddness, by Christopher Walken) — which means much of what transpires is caught on tape.

The film, with an over-the-top, at times incomprehensible screenplay by “Donnie Darko’s” Richard Kelly, is a marvel of editing, sound and music. Sometimes a line of narration is looped and repeated, just for emphasis. Some shots have washed-out color, others are filmed at rakish angles, much of it is cut together in rapid-fire succession. Then there’s a sequence in the desert where Tom Waits shows up and offers mystical, quasi-religious advice to the heroes — which would be disorienting even if it were presented normally, let alone with swooshing cameras and spastic editing.

Scott’s peculiar presentation of the material is fun for a while, but it eventually grows wearisome, a case where style, however nifty it may be at first, cannot compensate for a shallow story. I just re-read what I wrote in my review of his last film, “Man on Fire”: “I don’t recall his jittery, gritty style bothering me before, but ‘Man on Fire’ seems to be his magnum opus of spastic filmmaking, a veritable grand mal seizure of quick cuts, swirling close-ups and over-caffeinated movement.”

Well, “Domino” is the new magnum opus. What Scott and his cinematographer and team of editors have done is impressive technically, but it only matters if it’s in the service of a screenplay that deserves such attention. This one doesn’t.

Elizabethtown

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“Elizabethtown” is Cameron Crowe’s sixth film, and he’s still trying to recapture the magic of his first one.

“Say Anything” addressed youthful indirection and awkward love, and it demonstrated Crowe’s knack for creating a perfect movie soundtrack. “Elizabethtown” does the same things, only not as well, and the indirection this time seems to be Crowe’s.

It’s likable, though, especially for the first hour or so. (After that is when you realize this movie has no … idea .. WHERE … IT’S … GOING!) There are several isolated scenes that are riotously funny, and others that are aw-shucks sweet. Then there’s a lengthy scene at a memorial service that has no purpose whatsoever, and is too madcap-wacky besides. What’s going on here?

What’s going on is a movie about a man’s personal journey, re-finding himself after losing his job and his father within 24 hours of each other. Drew Baylor (Orlando Bloom) has just cost his footwear company a billion dollars with his flawed shoe design and is contemplating suicide when he learns that his father has died while visiting relatives in Elizabethtown, Ky. Drew’s suicide plans are put on hold while he travels to Kentucky to claim the body, which means having to visit with his dad’s down-home kinfolk (most of whom Drew has never met) for a few days, too.

On the way he meets a stewardess named Claire Colburn (Kirsten Dunst), a Southern gal with a perky attitude and whimsical outlook on life. Armed with her phone number, Drew is able to lean on her when things with the Kentucky relatives get too strange, and when she’s stationed nearby, he’s able to see her.

Crowe achieves a smartly precarious situation with Drew’s arrival in Elizabethtown. It will be several days before anyone outside the company knows about his shoe fiasco; everyone in Kentucky just knows him as Mitch’s successful shoe-industry son, and they dote on him as if he’d grown up among them. At times he forgets that back home in Oregon he is unemployed and suicidal. Then he remembers, and he realizes he has no plan for after the business with his father is settled.

I mentioned the film is about Drew’s journey. This is problematic only because we don’t know a) where he was when he started, or b) where he is when he’s finished. About the time that Susan Sarandon (in a completely unnecessary role as Drew’s mother) is tap-dancing at the memorial service, and the rock band is playing “Freebird” while the hotel ballroom catches on fire — well, that’s when it becomes painfully clear that Crowe doesn’t have a plan, either.

This version of the film is about 15 minutes shorter than the one that played at the Venice and Toronto film festivals; it still feels at least 15 minutes too long. Part of the trouble could be Bloom, who, in his first major role not involving tights or crossbows, comes across as bland when put against the backdrop of reality. He’s an affable fellow, but not one you want to hang your whole movie on.

Luckily, there are numerous supporting characters to bring smiles and chuckles — Alec Baldwin as Drew’s boss, Judy Greer as his sister, and the various aunts, uncles and cousins in Elizabethtown who are charming and funny in a natural, Kentucky-fried sort of way. The soundtrack, as always, is killer, and used to great effect. I’m not saying you shouldn’t see the movie, just that when you do, you might be a little underwhelmed by it.

The Fog

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The fog in “The Fog” is capable of possessing people, hurling them through windows, and even picking up knives and stabbing people. In other words, the fog demonstrates more heroic abilities than the movie’s actual hero. No wonder it’s the title character.

“The Fog” is a bad movie, of course, stupid in all the usual ways, with characters who behave foolishly and culminating in a catastrophically silly ending. Written by Cooper Layne (“The Core”) and directed by Rupert Wainwright (“Stigmata”), it is a remake of a John Carpenter film from 1980, and whatever tension or spookiness that version had has been removed. But there is a scene where Tom Welling and Maggie Grace take a shower together! John Carpenter’s version didn’t have THAT!

Set on an island off the coast of Oregon, the film takes place over two nights when a dense, malevolent fog has rolled in. The cause, apparently, is Nick Castle (Tom Welling), whose fishing boat’s anchor dislodged some long-dormant artifacts at the bottom of the bay, dredging up not just an old hairbrush and a pocket watch, but a century-old pile of vengeance, too.

In a flashback to 1871 that’s shown in pieces over the course of the film, we learn the island’s bloody history and see why certain ghosts may be justified in their thirst for revenge. Now, whether it’s fair for these spirits to pursue the great-great-grandchildren of the people who wronged them, I don’t know. Seems a little extreme to me. But you try reasoning with spirit-zombies who live in fog! Diplomacy never works with them.

Anyway, weird stuff starts happening in the town, including some deaths, all of it paralleling what happened in 1871. One guy even gets a huge leprosy sore on his face, which he hilariously tries to cover with a Band-Aid. And Nick’s girlfriend Elizabeth (Maggie Grace), who was gone for six months but now has come back (just one of the film’s many irrelevant details), keeps having dreams that remind the viewer of that fateful night 134 years ago.

She also finds a diary, which she becomes obsessed with, even though it doesn’t really reveal very much. In fact, since the characters don’t see the 1871 flashbacks that we do, I wonder how they figure out what’s going on at all.

But the diary plays a role in my favorite scene of the movie. Nick and Elizabeth are rushing to someone’s house to rescue a kid named Andy (Cole Heppell) before the fog gets him. They pull up in Nick’s pickup truck and before he dashes into the house, Nick tells Elizabeth, “Turn the truck around and keep it running!” Elizabeth’s response is to ignore him and keep reading the diary.

When Nick emerges with young Andy, the fog is nipping at their heels. There is no time to lose. Starting the ignition and turning the truck around will cost them precious seconds. Yet he makes no reference to Elizabeth’s failure to perform the one simple task he asked of her. He just hops in, starts it up, turns it around, and hightails it out of there.

I would like to have seen him return to the truck, see Elizabeth sitting there reading, and shout, “What did I tell you?! I tell you to turn the truck around and keep it running, and you just sit there?! How’s the reading? Pretty interesting? Can I drop you off at the library on my way into town?” That’s what I would have done.

I also like the part where Andy’s mom Stevie (Selma Blair), who runs the island’s radio station, is chatting with someone on a web-cam when she sees him get attacked by the fog. She immediately picks up the phone and calls … not 911, but her son, to make sure he’s OK. When she can’t reach him, she makes an urgent announcement over her radio airwaves: “Someone go to my house and make sure my son is OK!” She makes no mention of the poor guy she just saw get attacked over the web-cam, nor is there a general warning to people to watch out for the danger that is apparently lurking. No, it’s all about her son.

Of course, none of this matters too much if the movie is suspenseful, but it isn’t. The threat is too vague (so there’s … fog? And it’s going to … do something?), and its effects are not especially chilling. The film isn’t creepy or spooky or scary. It’s atmospheric, but only in the literal sense.

Where the Truth Lies

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Atom Egoyan’s new film “Where the Truth Lies” has benefited from the controversy surrounding its rating. The MPAA gave it an NC-17 for one particular sex scene that Egoyan filmed in one shot, from one angle, which means he couldn’t edit it to tone it down for an R rating. He didn’t feel the film deserved an NC-17 (neither did most observers), so as a means of protest, he has released it with no rating at all.

The scene in question involves Kevin Bacon and Rachel Blanchard at first, and it is no more explicit or naked than your typical R-rated sex scene. But then they are joined by Colin Firth. He doesn’t bring any more graphicness or nudity to the equation, but he does bring homosexual connotations, and that’s what pushed it over the line for the MPAA.

I mention all this because the scene and the controversy it caused are probably the most interesting things about the movie. Egoyan (whose screenplay is an adaptation of Rupert Holmes’ novel) is an evocative director, here creating film-noir-style scenes set in 1957 and 1972 that are almost perfectly constructed, even down to the hard-boiled narration (more on that later). But beyond getting things like the cinematography and production design just right, he doesn’t accomplish much.

The story, about a Martin and Lewis-type comedy duo whose career went down the tubes after a dead teenage girl was found in their hotel room, is an unimaginative whodunit whose ultimate solution is as cliche as they come. It’s reasonably entertaining, for a while, until all the facts start to come out and you realize that instead of there being more to it than meets the eye, there’s actually less.

The comedy duo is Lanny Morris (Bacon), the zany, uninhibited nut, and Vince Collins (Firth), his British straightman. They follow the mold of all the great comedy teams, where one is always trying to keep the other in line, scolding him for his outrageous behavior and apologizing to the delighted audience for his uncouth antics. They sing songs, they tell jokes, they signal to Lanny’s butler (David Hayman) which girls from the audience they want brought backstage after the show.

Those are their public personae — Lanny is loony, Vince is reserved. Offstage, Lanny is more subdued and Vince is less polite. Neither man is what you’d call “nice.” When an audience member responds to Lanny’s hitting on his wife by calling Lanny a “kike,” Vince responds by good-naturedly inviting the man to assist them in a skit, taking him backstage, and beating the crap out of him.

All of this, occurring in the late 1950s, is told to us in flashback. The film actually takes place in 1972, 15 years after the dead girl incident. A reporter, Karen O’Connor (Alison Lohman), is writing a book about Morris & Collins, and her publisher is paying Vince $1 million for his story. Lanny won’t cooperate, though: He’s writing his autobiography and has no interest in helping Karen write a book that would compete with his.

As fate would have it, however, Karen meets Lanny on an airplane, conceals her identity, and becomes privy to some of the details of his autobiography. Lanny narrates those sections of the movie, covering the events leading up to the death of the girl, and we know he will eventually lead us to the truth about how she died and who killed her.

The 1957 scenes are intercut with segments set in 1972, where Karen does the narrating and fills the role that, in an earlier era, would have been a tough-talking private detective. Karen is meant to suggest that archetype, and there’s just one problem: She’s terrible. Alison Lohman has a wispy, emotionless voice that removes all possible intrigue from her narration, and her physical presence is slight and weightless. She seems, at all times, like a high school drama student muddling her way through “Our Town,” completely outmatched by Bacon, Firth, and the grown-up material.

Bacon and Firth are suitably oily in their roles, each approaching unlikability but stopping just this side of it. It is a testament to Firth’s ability, in particular, that an actor so beloved and with such a genteel reputation could be so convincing as a cad. (Bacon, of course, is no stranger to this kind of thing.)

So while the movie is not without its strengths, it’s really just a dime-store mystery novel that has been dressed up with tawdry sex. Regardless of its rating, it’s hardly worth seeing for any reason beyond the curiosity of Kevin Bacon and Mr. Darcy being in a sex scene together.

Liberalism and the spread of disease

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Someone calling himself “BOB” sent this terse e-mail:


Liberalism is pretty much the same as AIDS.

I had no idea which article of mine, if any, he was responding to, but I was intrigued by his statement. So I sent this reply:

Do you mean liberalism is transmitted through the exchange of bodily fluids? Do you mean liberalism is often considered a homosexual disease, though in the U.S. it is increasing at an alarming rate among heterosexual black women? Do you mean liberalism is rampant in Africa? I’m sorry, you’ll have to explain what you mean before I can possibly begin to take you seriously.

He replied, his e-mail address this time betraying his real name (Tom A.):

Well all homosexuals are liberals and their dangerous lifestyle puts them at great risk for AIDS! Pretty much if you are sick in the head to some degree and you can’t see things for how they really are you are a liberal.

Ah! Now we had something we could work with. I replied:

Ah. Obviously I have said something that leads you to believe I am a liberal. Your comparison is still not apt, though.

First of all, not ALL homosexuals are liberals, though it’s probably true that most are.

Second of all, as long as we’re talking about “not seeing things for how they really are,” I’m sure you know it’s a gross exaggeration to say that a gay person’s “dangerous lifestyle” puts them at great risk for AIDS. ANY person who has unprotected sex with a lot of partners puts himself or herself at great risk for AIDS. Not all gays lead dangerous lifestyles, though. For that matter, lesbians are at practically zero risk for AIDS, regardless of how many other women they fool around with.

Third, I’m still not making the connection between liberalism and AIDS. Are you saying that all gays are liberals and all gays also have AIDS? Surely not, for that’s ludicrous.

Are you saying that liberalism, like AIDS, spreads quickly when people do not understand the facts? That makes a little more sense, at least from a rhetorical standpoint. But then there’s you, apparently a conservative, suggesting that all gays are liberals and that all gays are also at risk for AIDS — thus making you guilty of the same thing you accuse liberals of (i.e., not seeing things for how they really are).

I suspect liberals feel the same way about conservatives: If they knew more facts, they’d become liberals. It goes both ways, see? Everyone thinks the other side is wrong.

I’m curious, though, what I said that made you think I was a liberal. Or was there nothing, and you just wanted to point out the liberalism/AIDS thing to me?

He came back with this:

Oh I was just poking around on the web and somehow came across and article you wrote on the Michael Moore deal at a Utah College. [He is probably referring to my review of “This Divided State,” a documentary about the incident.] Honestly I do not disagree with you that much, and from your writting you seem to be well educated and fair. Obviously I believe liberalism to be disgusting and wrong. I know my e-mail about all homosexuals are liberals is inncorrect but just bairly. I do agree with Michael Savage and his medical views of liberals. Anyways Sir I wish you a good day and thank you for your reply.

P.S. Are you a liberal?

For those fortunate enough to be unaware of Michael Savage, he is an uber-right-wing radio personality who believes (or at least pretends to believe) that liberalism is a mental defect. He gained notoriety in 2003 when MSNBC fired him for telling a gay prank caller that he “should only get AIDS and die.” (What if the guy DID get AIDS and die? Could his family sue Michael Savage for wishing it on him? I’d love to see “Law & Order” tackle that one.)

Getting More Smarter

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When I graduated from Brigham Young University in 1999, I swore I would never go back to school again, and not just because the university president had personally requested that I hurry up and get out. It’s because I saw no reason to. I had a bachelor’s degree in journalism, and there was no practical purpose in getting a master’s. (Believe me, it wouldn’t have helped.)

So it is with some surprise that I announce that as of two weeks ago, I am once again a college student, this time at Portland State University.

I know what you’re thinking: Portland is not a state. But don’t tell Portland that! Portland got really baked one night, decided it was a state, and started a college. Its friends Eugene and Salem were wasted too, and they thought it was pretty funny. Seattle thinks they’re all morons and is always rolling its jittery, caffeinated eyes at them.

But my point is, I’m a student again! I’m an undergraduate again, too, as PSU doesn’t have a master’s program in film studies, which is what I want to do this time around. I figure if I have a bachelor’s in journalism, followed by a minor in film studies, reviewing movies will be the only job I’m qualified for, and people will stop asking me why I do it. Also, when people e-mail me questions like, “How culd you hate Rob Zombie movies????? What r ur creedentials 2 B a movie critic anyway??????,” I’ll be able to respond with: “This diploma right here, jackface.”

When I first made the decision to go to PSU, my first thought, naturally, was: How can I do this for free? I looked into Pell Grants, and discovered that you are not eligible for them if you already have a bachelor’s degree and are just trying to get a second one. I guess the government wants to help you get an education … but not TOO MUCH of an education. If we got too smart, we might rise up against them, and then whose fault would that be? Their own damn.

I’m only going part-time for now, so I can establish Oregon residency and pay cheaper tuition. (Evidently it is harder to educate an out-of-stater than a native Oregonian, because they charge a dickens of a lot more for it.) I have two classes, both about film history, one of them focusing specifically on the 1970s, and I’m very excited about the course material. So it’s strange how I’ve had to suppress my natural instinct, which is to find ways of doing no work whatsoever.

You have to understand, the happiest day of my academic life at BYU was the day I realized that since I wasn’t going to grad school, it didn’t matter what grades I got (as long as they were above failing). Here The Man had been telling me to strive for A’s and B’s, when in fact there was no reason to. OK, maybe “to learn” or “to become more educated,” but those things did not interest me at that point, at least not in regards to most of my classes. I knew what I was going to do career-wise, and in fact I was already doing it. (Yes, joker, I refer to delivering pizza.)

So after my epiphany, the first thing I’d do when I got the syllabi for my courses at the start of each semester was to go through and calculate which assignments I could simply NOT DO and still get passing grades in the classes. This often required intricate math, which was unfortunate, since one of the classes I had applied this principle to was my math class. Still, I managed. I would do the minimum work, score a D-, and get one step closer to graduation. Anytime I’d get a D, I’d curse myself, as it meant I had done more work than necessary. (“If only I’d studied for five less minutes and missed one more question on that final…!”)

These are hard habits to break, as I have recently learned. I sat there during the first session of my “Hollywood of the 1970s” class and listened to the professor explain that we would watch 17 movies over the course of the term and write a paper at the end. And I thought: Oh, yeah?! We’ll see about that! Then I thought: Wait, what’s the matter with me? I LIKE watching movies, and I like writing about them. But because The Man was dictating it, I automatically wanted to weasel out of it.

It’s weird having to watch movies for homework anyway. I write it on my to-do list: go to the bank; do some laundry; watch “Apocalypse Now”; mail my rent check. It gets hectic, watching all these movies. I have to watch “Shaft” by Tuesday! And later in the term, I have to watch “Star Wars”!

I kid, but looking at it purely in terms of the time commitment, a lot of these movies are 2 1/2 hours long, and I guarantee you, I never spent 2 1/2 hours on homework when I was in school before, not even when I was still trying to get good grades. I should have taken the Hollywood of the 1950s class, because movies were shorter then. I don’t know what I was thinking.

Because I’ve already seen “Star Wars” plenty of times, I probably won’t actually watch it again when it’s assigned. That will be my one concession to my old ways. Take that, The Man!

Eric to perform in Provo!

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I’ll be in Utah to visit friends the weekend of Nov. 11, and I thought, what the heck, why not do a show while I’m there?!

So on Monday, Nov. 14, at the ComedySportz venue in Provo, I’ll be doing my little show where I play the piano and sing “funny” songs. We’ll be recording it, too, and hopefully get enough stuff to put out a new CD.

I’ve written several new songs since the last show I did (over a year ago), so there’s plenty of reason to come even if you’ve seen me before. Unless you saw me and didn’t like me, in which case there is little reason to try again.

Details on the show can be found here. I hope to see you there! (At the show, I mean, not at that link.)

In Her Shoes

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When we first meet the Feller sisters of “In Her Shoes,” Rose is embarrassed to be wearing boring cotton underpants during one of her very rare intimate encounters with a man, while Maggie is having drunken sex with a stranger in a bathroom stall at her 10-year high school reunion.

This is not a scene of American family life that Norman Rockwell would have painted, but Curtis Hanson — director of “Wonder Boys,” “8 Mile” and now this — paints it remarkably well. Working from a script by Susannah Grant (“Erin Brockovich”), adapted from Jennifer Weiner’s novel, Hanson has made a quiet movie, funny but not wacky or garish, and with serious feelings beneath it.

The first act puts the two sisters together. Rose (Toni Collette) is a depressed lawyer with barely a hint of a social life, recently advanced upon by a fellow attorney (Richard Burgi), but we all know how inter-office things usually go. Maggie (Cameron Diaz) is a party girl, the black sheep of the family, unable (or unwilling) to hold a job, big on alcohol and petty theft and a serious fan of casual sex. Kicked out of her father’s house by her stepmom (Candice Azzara), Maggie crashes at Rose’s place, an Odd Couple situation fraught with the utmost peril.

Rose has long resented Maggie’s wanton ways, while Maggie insists anyone who questions her behavior needs to lighten up. Maggie wears Rose’s shoes and brings home a dog to live in the apartment. Bad enough Rose’s social and professional lives are unraveling without Maggie there to make things worse.

Act two separates them. All these years they believed their maternal grandmother was dead, just like their mother, but then Maggie learns otherwise and heads to Miami to meet/mooch off the old gal. She is Ella (Shirley MacLaine), an active senior in a retirement community who is delighted, albeit guardedly, to have contact from one of her granddaughters after so many years of exile by her son-in-law (Ken Howard).

Meanwhile, back in Philadelphia, Rose has taken a leave of absence from the law firm. The stress of losing her lover, her sister and her dignity all at once was too much, and now she has settled into a simple little existence walking dogs for a living. She runs into a lawyer from her firm, Simon (Mark Feuerstein), and they begin to date. He is perfect for her; the only question is whether she is too screwed up for him.

In act three, Rose and Maggie are reunited, Rose meets Ella, and a succession of healing of decades-old rifts begins: between Rose and Maggie, between Ella and the girls’ father, between the girls and their long-dead mother.

The movie can be deconstructed easily and stripped down to its basic elements — it’s rather obvious how Maggie and Rose wind up switching places (“In Her Shoes,” anyone?), and the last several scenes, yes, seem like nothing more than a series of reconciliations. But credit Hanson and the actresses for avoiding maudlin tears and melodramatic outbursts. Collette’s forte is plain, emotionally damaged women (see “The Sixth Sense” and “About a Boy”) with Rose as no exception, and Diaz has rarely portrayed a human — an actual learning, growing human — so well.

Does it push your buttons? Maybe a little. But mostly it feels genuine. It’s funny in a serious way and serious in a funny way, and it has an emotional truth to it. I think it will ring true, at least some aspect of it, for nearly everyone who sees it.

Two for the Money

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Here is how you get Al Pacino to appear in your movie. You call him on the phone and say, “In this movie, you will play a charismatic, larger-than-life half-crazy man who hollers and blusters a lot.” And Al Pacino will say, “I’m IN! Call my agent and DRAW UP THE F*#@$% PAPERS!!”

“Two for the Money” is completely forgettable except for Pacino, whose performance can be admired for being “interesting,” if not actually “good.” There are probably times, when you are one of the most gifted actors of your generation, when you recognize a script for the crap that it is and decide, rather than investing a lot of emotional effort into your role, to just cut loose and be a wacko. “Two for the Money” is one of those times.

Pacino plays Walter Abrams, a reformed gambler who runs a sports handicapping business where it behooves him to have someone on staff who can predict winners. He finds Brandon Lang (Matthew McConaughey), whose leg was hilariously broken in a college football game six years ago (while he was wearing an equally hilarious “six years ago” wig, I might add) and who can pick winners, both college and pro, almost flawlessly.

Walter has a noisy New York office full of “sellers,” aggressive, hormonal men who try to talk callers into betting Brandon’s picks and who remind me a lot of the frat-boy stock salesmen in “Boiler Room.” When Brandon is right, everyone’s happy. Luckily, he’s always right.

Everyone is cocky, including Toni (Rene Russo), Walter’s wife, but especially the men. Brandon and Walter speak confidently and bluntly, glib characters trying to attain alpha-male dominance in a glib movie. And Walter, with his random extravagance and constant testing of Brandon, reminds me a lot of Hank Scorpio, Homer’s new boss in that one “Simpsons” episode, who yelled at his shoes and carried sugar around in his pockets.

The conflict, of course, deals with Brandon getting too cocky and too wealthy, letting his predictions slip, and thus bringing ruin to everyone around him. The screenplay (by Dan Gilroy) takes no chances on our missing the point and gives Brandon such helpful dialogue as “Somewhere along the way I lost something” and “I gotta be Brandon again.”

Except for Walter’s unpredictability, it’s a pretty obvious movie, directed with TV melodrama impulses by D.J. Caruso (“Taking Lives”). It is the male equivalent of a chick flick, with bonding and fraternizing superimposed against (what else?) football, and it never finds a good way to go about it.

Waiting…

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The indie comedy “Waiting…” is obsessed with sex, with its own genitalia, and with urination, and it speaks of all three subjects constantly. The movie also believes the very pinnacle of humor is for short-order cooks at chain restaurants to introduce foreign substances into customers’ food. Oh, and the movie loves smoking pot and drinking beer. This isn’t just a “guy movie.” I think the movie actually IS a guy.

It needs to be fixed, too, this movie — not a lot, for its particular brand of puerile humor is often well-played enough to earn laughs; but a little bit, definitely. Writer/director Rob McKittrick included every gag he could think of about the hell of working at a TGI Friday’s-style restaurant, but he did it without regard for whether they all actually work.

It paints a vivid picture, that’s for sure, and a disturbingly accurate one, too, at least in terms of my own experience working at Denny’s (Provo, Utah, 1995-96). The crew at Shenaniganz includes a loser manager (David Koechner) who thinks he’s “doing pretty well” salary-wise, pot-smoking wannabe gangsta busboys (Max Kasch and Andy Milonakis), weirdly aggressive cooks (led by Luis Guzman and including comedian Dane Cook), one waitress who is a total pro out on the floor but seething with rage and bitterness backstage, and a cast of other servers who go through the paces of waiting tables as they wait for a chance to do something else with their lives.

Set over the course of one typical day at Shenaniganz, the protagonist is Dean (Justin Long), a depressed 22-year-old who has realized that the guys he graduated from high school with are now graduating from universities, while he’s still at the community college and working at Shenaniganz. The manager, Dan, is impressed with Dean’s work as a waiter and wants to make him an assistant manager. The money would be better … but then Dean would be committed to the place. He’s at a crossroads.

I said Dean was the protagonist. That is true, from a storytelling standpoint. But the real focus is his fellow waiter Monty, played by Ryan Reynolds, who I would bet serious money was cast specifically because McKittrick liked him in “National Lampoon’s Van Wilder.” Monty essentially IS Van Wilder, transferred from college to food service. He has that same Zen-like mastery of his domain, subtly ruling every aspect of the restaurant with calm sarcasm, sleeping with whomever he pleases, getting along with all castes and subsections of the restaurant hierarchy. Monty seems content to live the rest of his life this way (much to the chagrin of his mother, who is played in one hilariously passive-aggressive scene by Wendie Malick).

Monty is assigned to train the new guy, Mitch (John Francis Daley), and thus we learn the ins and outs of life at Shenaniganz. Most of Monty’s training focuses on a game all the male employees play, where the object is to get another employee to unwittingly look at your genitals, then to make fun of him for being a homosexual, at which point you get to kick him in the butt. I’m not joking; several minutes of the film are spent discussing the finer points of this pastime. There is ultimately a point to it, sort of — the game is how the employees cheer themselves in an otherwise soul-crushing job — but I don’t know that the ends justify the franks and beans.

(One of the waitresses describes the game as “an exercise in retarded, homophobic futility,” and darned if she isn’t right. Another one says, much earlier in the film, “If you go five minutes without referencing your own genitalia, I’ll be shocked.” Again, I am always impressed when a movie includes reviews of itself within itself.)

But I’ll tell you, that Ryan Reynolds makes me laugh sometimes. His smooth, confident delivery is highly effective under the right circumstances. In fact, most of the characters are funny in their own odd ways, at least on occasion. The trouble is that too much has been crammed into one film, making it feel padded and exhausting. You want to tell the movie, “Relax, buddy. You don’t have to cover everything. Just take it easy. Oh, and you left the seat up again.”

Wallace & Gromit: The Curse of the Were-Rabbit

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If you have never experienced the sublime joys of the Wallace and Gromit clay-animated shorts, then I regret to tell you that you have not lived. What you’ve been doing instead, I don’t know. But not living, that’s for sure.

From the British minds who eventually brought us “Chicken Run,” Wallace the daft inventor and his dutiful dog Gromit have appeared in three short films, two of which won Oscars (and the third was nominated). “The Wrong Trousers,” in which a pair of mechanical pants fall into the hands of diabolical penguins, is a masterpiece of creativity, comedy, action and filmmaking, all in one 30-minute segment.

And now, a decade after the shorts were created, W&G finally get their own feature: “The Curse of the Were-Rabbit,” which is as delightful an animated romp as has come to theaters in many moons. It’s a stylish send-up of black-and-white monster movies — I dare say you’ll recognize some of the camera angles and plot devices as characteristic of the genre even if you’ve never actually seen the old fright flicks — as well as a buffet of subtle sight gags, raucous adventure and wicked puns not a few.

Wallace (voice of Peter Sallis) is a congenial, slightly addled, cheese-loving inventor who relies on his silent dog Gromit for far more than he realizes. Gromit has no mouth and no voice, but his eyes are hilariously expressive — a testament to the animators, who created the film with clay models posed one frame at a time. Gromit views with indefatigable dedication the buffoonery of his master and is quick to act when things need sorting out. He is a canine Jeeves.

Wallace and Gromit’s latest venture is a business called Anti-Pesto, which will remove marauding rabbits from your garden without doing the animals any harm. (They’re kept in Wallace’s basement for the time being, though he’s not sure what he’ll do when he runs out of space.) Anti-Pesto is on elevated alert at present because the town’s vegetable competition is at hand, with all the villagers planning to enter something.

Alas, at this point the town is beset by a monstrous beast which rampages the gardens and eats every green thing in its path. Wallace insists he can catch it, but Victor Quartermaine (Ralph Fiennes), a squat, swaggering Gaston type — Wallace’s chief rival for the affections of the winsome Lady Tottington (Helena Bonham Carter) — says capturing the thing is impossible. It’s a were-rabbit, and it must be KILLED.

A were-rabbit, obviously, is a person who turns into a rabbit when the moon comes out, and you get one guess who it turns out to be. But no matter! What a joyous affair the whole film is! Creator Nick Park co-directs with Steve Box, and co-writes with Box, Bob Baker and Mark Burton, and all four (with their large staff of artists and designers) demonstrate a loving attention to detail and efficiency that is all but extinct in modern filmmaking. Only Pixar gets it this right, this regularly, and it makes sense: When the process is so slow and painstaking, you have more time to notice and remove the unsuccessful or extraneous elements. (The problem with most movies nowadays is they were made too fast, before anyone had a chance to think better of them.)

The film has sight gags at every turn, often involving signs and other written things. The unflappable Gromit’s facial expressions are good for quite a few laughs, too, as are the antics of the captive bunnies. Oh, and the angry-mob-with-pitchforks finale, and the “King Kong” homage, and the underground chase, and the montage of W&G photos accompanying the opening credits, and — heavens, the whole thing is just a cracking good time, so funny and clever and madly entertaining.

Good Night, and Good Luck

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History revisionists like Ann Coulter can bite me: Sen. Joseph McCarthy’s communist witch hunts of the 1950s were a black mark on America’s public record. That isn’t to say communism wasn’t necessarily a threat, and it isn’t to say there might not have been communists in America with dastardly intentions. But it is to say that McCarthy’s campaign of terror was executed with an astonishing degree of inaccuracy and vindictiveness, and that it should not have become as all-encompassing as it did.

One of the men credited with commencing McCarthy’s downfall is Edward R. Murrow, a CBS newsman whose weekly “See It Now” program showed the public what McCarthy was doing and let them see why it wasn’t right. “Good Night, and Good Luck” is a fantastically compact little film that calmly details the reporter’s dogged (and ultimately successful) attempt to bring the man down.

“Good Night” is in black-and-white, both in its color scheme and its worldview. (McCarthy = bad; Murrow = good.) It has a prologue set in 1958, when Murrow (played with exquisite understatement by David Strathairn) is being honored by his colleagues at a banquet. He takes the stage, accepts the award, and blasts his industry for being complacent and soft, for seeking to “entertain, amuse and insulate” rather than inform and educate. His colleagues look down at their dinner plates uncomfortably.

From there we are whisked back to 1953. McCarthy, on an anti-communist tear for years, has lately been conducting his investigation into the armed forces, and a minor news story from Detroit has caught Murrow’s attention. An Air Force man has been discharged because his father and sister might have communist leanings, but the specific charges against the soldier are never disclosed, not even to him. Murrow thinks this could be a good entry point into the big-picture view of McCarthyism. The military tries to quash the story. That’s how Murrow knows he’s on the right track.

When the decision is made to take on McCarthy directly, Murrow and his producer, Fred Friendly (George Clooney), know that all the reporters on his team must have spotless backgrounds. If one of them so much as said hello to a Russian in 1935, McCarthy will surely use it to discredit their reporting.

So in March 1954, an episode of “See It Now” focuses on McCarthy. Murrow presents clips of the Wisconsin senator speaking — and the film uses the actual clips, not re-creations — then points out factual errors when they arise. He lets McCarthy’s words speak for themselves, and he offers to let the senator reply on the air if he so chooses.

A month later, McCarthy replies. Predictably, his response ignores the inaccuracies that Murrow pointed out and simply attacks Murrow himself. It’s obvious that McCarthy is on the ropes. Public tide turns against him. Shortly thereafter, the senate votes to censure him.

All of this is told in an economical screenplay by Clooney (who also directed) and Grant Heslov (who also plays a newsman): Ninety-three minutes with barely an extraneous moment. The one apparent sidetrack is so clearly a mistake that it can’t actually be one. It involves two of Murrow’s colleagues, Joe (Robert Downey Jr.) and Shirley (Patricia Clarkson), who must keep their marriage a secret because CBS News forbids romance among coworkers. Their scenes are the only ones in the film that provide any glimpse into anyone’s personal life. So why is the subplot included, especially considering Joe and Shirley are not the protagonists? I think it’s because their fear about being caught parallels the general paranoia of the time. It affects their day-to-day routine, but it doesn’t rule their lives. They are able to go on living despite the dangers that lurk.

Contrast this with the sad story of Don Hollenbeck (Ray Wise), the CBS news anchor who idolizes Murrow and who is ruthlessly baited by Red-seeking newspaper columnists. Hollenbeck isn’t able to take the strain nearly as well as his hero.

The film belongs to Murrow, though, who is portrayed as the kind of man for whom his work is his life. There are references to a wife, but we never see her. Indeed, we never see him anywhere other than at work. The exception is one scene in a bar — where he sits with his coworkers and discusses work.

I don’t know enough about the real Murrow to know whether Strathairn has captured him, but judged on its own merits, the performance is a knockout. Strathairn has no “big” moments, nothing that stands out as the clip to show at the Oscars. Instead, he gives us 90 minutes of a man who is untiringly fixated on pursuing the truth, doing so with a methodical passion tempered by reason. He doesn’t rant and rave, but he doesn’t relent, either. He’s the rational tortoise to McCarthy’s rabid, foaming hare.

There is some pathos in Murrow, too. Though he is enlivened by his victories with “See It Now,” he is disheartened by the network exec (Frank Langella) who slowly drifts from supporting his work to wanting something more peaceful (read: advertiser-friendly). Murrow is miserable over the Faustian deal he made, where in order to keep his beloved “See It Now,” he must also host “Person to Person,” an insipid celebrity interview show. Watch him when he chats with Liberace (from actual footage), who talks about how he’s looking for a wife. Strathairn’s Murrow looks as defeated as a man can look.

The film, whose title was Murrow’s sign-off line each week, was directed and co-written by George Clooney, his second effort as the former (after “Confessions of a Dangerous Mind”) and first as the latter. If these first two films of his are any indication, the actor-turned-auteur may prove to be one of the most interesting hyphenates in the business. I am as impressed by the simple, uncluttered narrative of this film as I was by the looniness of the last one. To switch gears that abruptly between films, yet still pull them off with such intelligence and wit, requires remarkable skill.

He captures the feeling of TV news circa 1953 just right. The black-and-white film stock helps, of course, but it goes beyond that, to the newsroom filled with people whose conversations overlap, to the constant smoking of cigarettes in every scene. (Murrow is barely seen without one; he would eventually die of lung cancer.)

Though its story is ultimately uplifting and its hero triumphant, the film has a mournful tone to it, too. There’s the sense that, while a short-term victory is in the cards, Murrow’s ideal of a TV news program that actually makes a difference is not long for this world. Sadly, of course, it wasn’t.

Look at how he came at McCarthy: He showed clips of the man speaking, then pointed out significant errors in fact that McCarthy had made. What TV newsman actually calls anyone on their errors nowadays? Who actually says, “No, that’s incorrect, and here’s the source to prove it”? The only one I can think of is Jon Stewart, who anchors a comedy show. And there’s the state of modern TV journalism for you.

Apathetic titles for state songs

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I’m rather embarrassed to admit I only recently discovered McSweeney’s, a very funny and literate Web site that is connected with a quarterly publication of the same name. Each day something amusing, submitted by a reader, is posted on the site, and heavens, are some of them ever funny.

The one to kill me most recently was brought to my attention when it was republished in The Oregonian. It is a list bearing this title:

“State songs, if they all suggested the apathy of Idaho’s ‘Here We Have Idaho.'”

Do you follow? Idaho’s state song is called “Here We Have Idaho.” Clearly whoever wrote the song was not very enthusiastic about the place. It’s like you’re showing someone around the country, and you’re like, “Ooh! This is Utah! It has beautiful mountains and deserts! Oh, and Montana! A gorgeous place, with fine, hardy people! And … here we have Idaho. Hey, this way to Oregon!”

So anyway, the list (written by one Craig Robertson) is what other state songs might be called if they, too, were written with zero enthusiasm.

Read the list here, then come back.

* * * *

Done?

OK, this one — “I Don’t Even Know Why I Try With You, Arkansas” — has been making me giggle for three days now. I can picture someone wearily shaking his head in exasperation and defeat as he says it. “I don’t even know why I try with you, Arkansas.” Man, that’s funny.

The Squid and the Whale

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It’s interesting that I saw “Bee Season” and “The Squid and the Whale” on the same day. Both depict four-member families in crisis, with focus placed on each scholarly parent and precocious child almost equally. The films have very different styles, yet both are similarly disingenuous: “Bee Season” is all slick-looking faux-enlightenment; “Squid and the Whale” is indie-film vulgarity disguised as progressivism. The latter’s ofttimes amusing audacity makes it the more enjoyable of the two, but neither film is as wise as it thinks it is.

“The Squid and the Whale” is the work of Noah Baumbach (writer of “The Life Aquatic with Steve Zissou,” director/writer of the 1995 cult favorite “Kicking and Screaming”), and it is the semi-autobiographical story of an intellectual Brooklyn couple splitting up in the mid-1980s. We open on a tennis court, where Bernard Berkman (Jeff Daniels), a renowned author and pompous literature professor, is teamed up with his 17-year-old son Walt (Jesse Eisenberg) in a game against his wife Joan (Laura Linney), herself a writer, and his younger son Frank (Owen Kline). We wonder if this is a metaphor for how the battle lines will be drawn in the divorce — Dad and Walt vs. Mom and Frank — but we don’t wonder for long. Within minutes, the alliances indicated on the tennis court show themselves in daily life, too.

Bernard and Joan’s divorce is depicted as inevitable, the natural progression in the mid-’80s of couples who were married in the late ’60s. Bernard is pretentious and full of himself, yet not as successful a novelist as he was 15 years ago. Joan has been habitually unfaithful, a fact that barely disturbs Bernard. These are progressive academic types, after all. Getting worked up over things like affairs, or punishing your children for swearing like sailors, or discouraging them from having sex — that’s all old-fashioned. Why, that’s probably what Joan and Bernard’s parents would have done to THEM! Heaven forbid.

In their drive to be modern and liberal (I use the term according to its actual definition, not in the way that has become an insult in 21st-century political discourse), Bernard and Joan — especially Bernard — don’t do their children any favors. Frank, about 11 and beginning to experience adolescence, has been engaging in some rather disturbing sexual behavior at school; Walt has adopted his father’s piggish ideas about women, only deigning to date a plain-looking girl if he can mention to everyone that he KNOWS she’s plain-looking and that he could surely do better, a strategy endorsed by his father. (For a progressive thinker like Bernard, he is surprisingly neanderthal in his sexual attitudes.)

Bernard and Joan agree on joint custody, which means the boys shuttle back and forth every other day. Bernard lets one of his students (Anna Paquin) rent out a spare room, and there’s no mystery where THAT arrangement is going to lead; Joan, meanwhile, takes up with Frank’s tennis instructor, a dude-speaking moron named Ivan (William Baldwin). And the children are caught in the middle.

With a sense of humor that belies its pathos and an emphasis on Walt’s story (he is the character based on Baumbach), the film is more coming-of-age comedy than “Kramer vs. Kramer.” But Baumbach does occasionally veer from the “look how hip we are” crassness to bring the characters’ real feelings out: Bernard’s sense of betrayal, Frank’s momma’s-boy stagnation, Joan’s love for and disgust with Bernard, and Walt’s teenage impudence slowly dissolving into nostalgia for the days of his childhood, when he and his mother were close. All four leads are played exceptionally well. As Bernard, it has been said that this may be Jeff Daniels’ best-ever performance, and it’s hard to argue with that.

Much of the film is little more than all four family members behaving indecently toward one another — a realistic portrayal of divorce, perhaps, but one that makes it hard for us to like anyone involved. (It’s a credit to the actors that some likability emerges anyway.) Unfortunately, the film eventually gets mired in territory that has been well-trodden by indie coming-of-age comedies before it: the scenes, set to cool emo-rock, where the characters Realize Things and discover The Point Of It All. In this case, it involves the title characters, figures in a museum Walt often visited as a child. While Walt and his parents are having their epiphanies, we’re having one of our own: This film thinks it has more to say than it actually does. Ignoring its pretensions, however, it’s a solid, quirky piece of work.

Part 3 of the Round Table on Mormon humor

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Part three of the round table on Mormon humor, in which I participated, has been posted at By Common Consent.

You can read it here.

Whine, Thank You, and You?

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It is time to indulge in one of our favorite pastimes, “Let’s Make Fun of People Who Whine Too Much.” Up first: a couple of New Mexicans.

I know what you’re thinking: What happened to the OLD Mexicans? (Nothing; they’re fine.) But we’re talking about people from New Mexico. The city of Las Cruces, specifically. Las Cruces is Spanish for “The Crosses,” and so you can imagine what might be on the city’s official seal: some crosses. The city is named The Crosses, after all. What would you expect to find on the official seal? Chickens?

But guess what a lawsuit filed Sept. 16 in Albuquerque’s U.S. District Court is demanding? That the crosses be removed. Yes, the plaintiffs want the crosses removed from the official emblem of the city of The Crosses.

I bet you know where I’m going with this. The city is called The Crosses; why should anyone be surprised, much less offended, that there are crosses on its seal? Now, if the city were called Los Calcetines, then you wouldn’t find crosses on the seal. You’d find socks. In Los Calcetines, a cross on the city’s emblem would indeed be a questionable move, church-and-state-wise. Ditto a cross on all the letterhead and stationery coming out of city hall in the city of Los Pantalones.

Los Pantalones shouldn’t have a cross on its logo! It should have pants!

But Las Cruces has every right, I should think, to have a picture indicative of its name on its logo. Los Gatos, N.M., could have cats, Los Angeles could have angels, Boca Raton could have a rat’s mouth, Baton Rouge could have a red stick (dynamite, maybe?), and Butte, Mont., could have a big, stinky butte.

To get rid of the crosses from Las Cruces, you’d have to change the name of the city. Yes, crosses obviously have religious significance. I suspect that’s why the town was named Las Cruces in the first place. So the beef should be with whoever named the city, not the current administration that is simply living up to the name.

But oh! To hear the plaintiffs whine. According to the Associated Press story of Sept. 24, the lawsuit alleges that “the crosses serve no governmental purpose other than to disenfranchise and discredit non-Christian citizens.” (That’s right: The city officials did it JUST to annoy people.)

“(The plaintiffs) accuse the city of invading the privacy of their homes with government-sponsored proselytizing,” the article says. Things like city newsletters have the logo and are mailed to residents, after all, thereby “invading the privacy” of the citizens’ homes.

The plaintiffs also say “they have been made to feel excluded from public participation in government activities,” AP reports.

Said one plaintiff: “We want our First Amendment rights back, our full rights as citizens.”

Now, I’ve read the First Amendment, and it says nothing about the right to avoid all religious iconography, so I’m not sure which rights the plaintiff feels he does not have access to. The First Amendment does say the government cannot sponsor a particular religion — but putting crosses on the logo for the city of The Crosses does not constitute sponsoring a religion. The logo doesn’t mean you have to be Christian to live there, or even to “belong” there. All it means is that the people who founded the city were Christians. And sorry! There’s nothing we can do about that!

One place the non-Christian plaintiffs definitely should not move if they want to feel more included is Corpus Christi (“Body of Christ”), Texas. I don’t even want to know what’s on their logo.

But we have frittered away enough time on the people of The Crosses. It is time to move on to the subject of Shmindy Shmeehan, the woman whose son died in Iraq and who hasn’t given President Bush a moment’s peace ever since. I’m not using her real name because her whole reason for existing nowadays is to get attention for herself, and I don’t want to fuel that. I use her name, and there’s one more hit when you Google her.

Is it possible to whine TOO MUCH about the possibly unjustified death of your son? I wouldn’t have thought so either, but here we are. Shmeehan has everyone’s sympathy for being a grieving mother, of course. Where she loses us is in the way she has become single-minded and bizarre over it, stalking President Bush for most of August, trying to pester him into meeting with her (which he had already done once) so she could berate him in person. (And how could he pass up such a tempting invitation, anyway?)

Then, as Hurricane Rita was striking Texas on Sept. 24, she posted a message on the liberal Web site Daily Kos saying, “i am watching cnn and it is 100 percent rita…even though it is a little wind and a little rain…it is bad, but there are other things going on in this country today…and in the world!!!!” Other things like the big anti-war demonstration planned for that day in Washington, D.C., maybe? Afraid ol’ Mother Nature was stealing your thunder, as it were?

Since that stupid hurricane that hardly even killed anyone distracted some of the media from the protest, Shmindy Shmeehan had to get herself arrested in front of the White House two days later, all for the “cause.”

The problem is that her “cause,” which used to be, at least ostensibly, the anti-war effort, has now transparently become herself. She has gone from being anti-war to being pro-Shmindy Shmeehan. In her attempt to put a face on the casualties of war, she has made it TOO personal, becoming a grandstanding, irrational nutjob in the process. Shmindy has become nothing but a shmattention shmwhore.

The thing is, most of the country actually agrees with her on some points. Anywhere from 59 percent to 67 percent of us disapprove of the way Bush is handling the Iraq situation, depending on which poll you read. And we’re about evenly split on whether we ought to bring all the troops home now, or stay there until Iraq becomes stable. If I’m Shmindy Shmeehan, I have to wonder: How can I be despised when so many people agree with me? Of course, I have to wonder the same thing if I’m Shmichael Schmoore.

E-mail: A ‘Honey’ fan, and the return of Fluffy Sparks

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In 2003, I reviewed a very bad Jessica Alba film (pardon the redundancy) called “Honey,” a “Glitter”-esque trainwreck about a white girl who becomes a famous hip-hop dancer.

Last week, the review prompted an e-mail from someone named Allie, who had read it over at EFilmCritic.com. Allie made the mistake a lot of young and/or stupid people make, wherein she believes she is writing not to the film critic, but to the star of the film, or possibly to the film itself.

Yo this film is quality these got to be a honey 2 because this one was excellent I cant stop watching it I come home the I put it on over and over again

And ive lent some of your moves and they are classy you got to do a honey 2 and you got do do it up tide put more moves in it email me back dog

And tell me what’s going down. And say hi to benney for me k

For the benefit of my readers who do not speak Imbecile, I have hammered out a rough translation:

Hey, this film is high-quality. There has got to be a “Honey 2,” because this one was excellent. I can’t stop watching it: I come home, and I play it over and over again.

Also, I have learned some of your dance moves, and they are classy. You MUST do a “Honey 2,” and you must do it up “tight,” by which I mean full of more great dance moves.

E-mail me back, dawg! Tell me what’s happening with you. And say hi to Benny, a fictional character in your movie played by Lil Romeo, for me, OK?

Our next e-mail came from a concerned reader who had read a post I made on my message board regarding Hurricane Katrina and the South. The post was a few paragraphs long, but at one point I said: “Today in the paper there were harrowing accounts of people barely being rescued, and it’s supposed to be stirring, gripping to read — but one of the people they’re talking about is a woman named Fluffy Sparks. How am I supposed to take a story seriously when it’s about Fluffy Sparks?”

A few weeks later, the concerned reader wrote me this e-mail:

I read a comment you made re: the Katrina evacuees & the stories coming out of the disaster area. I understand the intent of your overall comments, and I sincerely mean this with no disrespect�.But please be careful with what you write. ‘Fluffy’ is a real person with a spirit and personality that is befitting of her nickname which she chose to use when she was interviewed. I’ve met her. The articles you read are a fairy tale compared to what she actually went through. And in looking for her family that is still missing in New Orleans, she read your comment. Despite the old saying about sticks and stones, words do hurt…they do….especially at a time like this.

I replied as follows:

Thanks for the e-mail. I am sorry if Fluffy was offended by what I wrote, and I do wish her and the other victims of the hurricane the best. But at the same time, you can’t tell a reporter that your name is “Fluffy” and then be surprised when people think it’s a funny name when they read it in the paper the next day. I mean, it IS a funny name, especially when it’s juxtaposed with something so serious as Hurricane Katrina.

But I assure you, my amusement is only at her name — and I maintain a person can’t go by the name “Fluffy” and not expect people to think it’s funny — and not at her situation, which of course has my utmost sympathy.

I do hope Fluffy is doing OK, of course. To reiterate: What happened to Fluffy = not funny. Fluffy’s name = funny.

MirrorMask

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The battle between style and substance rages at the heart of “MirrorMask,” and style emerges as the victor. This is a film packed full of vivid imagination and brilliantly realized visual concepts — all in the service of a so-so story with forgettable characters.

In the tradition of characters such as Dorothy or Alice who go to fanciful places like Oz and Wonderland, we meet Helena (Stephanie Leonidas), a 15-year-old girl who is a reluctant performer in her parents’ English circus. “I want to run away and join real life!” she declares in one self-consciously ironic bit of dialogue.

But that is not to be, for instead of real life, she soon finds herself in the Darklands on a search for a powerful object known as the MirrorMask. This is needed to restore the balance between the Darklands and the City of Light, which is currently in great danger because the Light Queen (Gina McKee) has fallen asleep.

That isn’t as silly as it sounds. You see, Helena’s own mother (also played by Gina McKee) has lapsed into a coma, and the events in the “real world” parallel Helena’s journey through the Darklands. As with all good fantasy movies, there is real import lying under the dazzling ideas of magic and spells. (Note how magical books are in this world — unsurprising, given that novelist Neil Gaiman wrote the screenplay.)

But it is not, when you get down to it, any smarter or more clever than, say, “The Never-Ending Story” or “The Wizard of Oz,” both of which it closely resembles. And the dynamic between Helena and Valentine (Jason Barry), her bumbling sidekick through the Darklands, is jokey and domestic, belying the film’s fantasy-world tone.

Then again, though the lackluster story prevents the film from being brilliant, it can still be very good. Simply looking at it is an awesome experience, if only to observe the endless procession of magical creatures, creative visual devices and cats with human faces. State-of-the-art technology, not to mention a director (Dave McKean) with experience in creating graphic novels, has enabled all of these ideas to be integrated seamlessly into the world of human actors. It suggests that while there’s no place like home, there are sure some nifty places to visit.

The Greatest Game Ever Played

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First of all, I doubt the “greatest game ever played” was a game of golf. I would assume it was baseball, though football or basketball wouldn’t surprise me. Maybe even tennis. But golf? I don’t think so. It may have been the greatest GOLF game ever played, sure. But no way was it the greatest game of any kind. I’m just sayin’.

“The Greatest Game Ever Played” is not the greatest movie ever played, either. It focuses on the 1913 U.S. Open, where a 20-year-old amateur named Francis Ouimet went head-to-head with professional golf legend Harry Vardon. Did the underdog win? Well, the movie posters show Francis being held aloft in what appears to be victory, and once you’re about halfway into the film you realize there’s no other possible outcome. It’s not one of those “Rocky” things, where all he wants to do is go the distance. In this case, if he loses, the movie has no point.

So the pleasure, if any, will be in the journey, and this journey, adapted by Mark Frost from his own book and directed by actor Bill Paxton, is as by-the-numbers as a game of golf. There’s a par for every hole, and Paxton pretty much hits exactly that — sometimes over and sometimes under, but always close, with no surprises.

Francis (Shia LaBeouf) is the son of a French ditch-digger, and I mean that literally, not as a slur. Dad (Elias Koteas) is unsupportive of Francis’ desire to play golf, dismissing such endeavors as frivolous wastes of time, but Mom (Marnie McPhail) is more encouraging. He works as a caddy at the country club in their hometown of Brookline, Mass., but there is a vast gulf between caddies and players, insofar as players are the refined gentlemen of the world, while caddies are butt-scratching buffoons.

Francis runs into this attitude constantly. Approximately every five seconds, someone in the movie looks at Francis with an imperious eye and says, “A caddy playing golf? Why, my dear boy, such things aren’t done! I shan’t allow it!,” or some such. But he is selected for the U.S. Open anyway, thanks to the kindness of a few of his elders.

Of course, if there’s anyone snootier than wealthy New Englanders, it’s wealthy Old Englanders, and over in Britain things are indeed the same. A country club there is sending Harry Vardon (Stephen Dillane) and the rough-and-tumble Ted Ray (Stephen Marcus) to the U.S. Open with the intent that England should hold all the world’s major sporting trophies, including this one for golf. Vardon grew up a poor boy on the Isle of Jersey, where his home was razed and replaced with a golf course. To this day, he is haunted by the specter of the four wealthy, cadaverous men in stove-pipe hats who told him, “Golf is a gentleman’s game. It’s not for the likes of YOU!” Sometimes these figures appear in his mind when he is trying to putt, and it distracts him.

So Vardon and Francis are kindred spirits of a sort, but the rest of the English observing the U.S. Open are snobs, harrumphing all the time, being appalled at the low behavior of the Americans, and saying things like, “Well, I never!” and “I say!” while they peer through their monocles. The British are disdainful of all non-professional golfers, amateurs (pronounced “ama-toors,” of course) being somehow distasteful to them. Well, Francis is gonna show them, isn’t he!

Paxton’s directorial debut, 2002’s “Frailty,” had its flaws but was inarguably thought-provoking, even disturbing. “The Greatest Game Ever Played,” almost by design, is the exact opposite of thought-provoking and disturbing. It is thought-diminishing and comfortable. Shia LaBeouf, formerly of the Disney Channel and now emerging as a reliable film actor (see “Holes” and his amusing turn in “Constantine”), certainly draws a viewer’s attention with his gentle, disarming persona, but there is nothing else about the movie that warrants notice. The earnest-sounding musical score, the plucky urchin who acts as Francis’ caddy, the basic Rich vs. Poor, rise-to-the-top story line — it’s the same here as at all the other courses. You hit the ball, you walk to the next hole, you hit it again.

Serenity

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“Serenity” proves what many of us have always believed, which is that given the chance, Joss Whedon can write and direct better than nearly anyone in Hollywood. And he’s … gasp … a TV guy!

His shows “Buffy the Vampire Slayer,” “Angel” and “Firefly” inspired much geekiness, to be sure, but no nerdery is required to enjoy “Serenity,” a ridiculously smart and funny sci-fi Western space adventure that picks up where the short-lived “Firefly” left off.

I come at the film almost as a novice, having watched only the first few episodes of “Firefly.” I don’t know whether that series’ hardcore fans will love the movie, though I suspect they will. What is certain is that admirers of great stories of heroes and semi-heroes who do battle with evil while engaging in witty conversation will find much to enjoy here. Picture “Star Wars” mixed with, I don’t know, something really intelligent and witty and you’ve got “Serenity.”

A few hundred years hence, the galaxy has come to parallel the American Old West. You have your central planets that all operate under the Alliance, a well-intentioned organization that has become corrupt and bureaucratic; and you have your outer planets, the lawless ones on the frontiers of space, barely settled and resisting Alliance efforts to bring them into the fold. These planets, to bring home the comparison, are full of futuristic saloons and decorated in sagebrush. Outlaws, of which there are many, carry laser guns as well as the old-fashioned bullet kind.

One of these outlaws is Malcolm Reynolds (Nathan Fillion), a Han Solo mercenary type with a rickety spaceship, a small crew, and a staunch position of self-preservation. The ship is called Serenity, and there’s no word on whether it came by that name ironically. Despite the best efforts of mechanic Kaylee (Jewel Staite) and pilot Wash (Alan Tudyk), most landings are borderline crashes — not helped by the fact that they’re usually on the run from whomever they’ve just robbed. (All for clients, of course. They don’t steal for their own purposes.)

Wash’s wife Zoe (Gina Torres) is Mal’s first mate, and the muscle — Mal’s Chewbacca, I suppose — is Jayne Cobb (Adam Baldwin), whose mouthy insubordination is indicative of the level of respect the captain gets from his crew. Jayne is particularly vocal against the two freeloaders currently onboard: Simon Tam (Sean Maher), who has some training as a doctor; and his sister River (Summer Glau), a 17-year-old psychic who has begun to display psychotic tendencies.

Simon rescued River from an Alliance-run facility, and anyone who annoys the Alliance is a friend of Mal’s. Still, it means Mal must add the Alliance to the list of people who are constantly chasing him. River’s presence is a burden, in other words, made worse by her sudden and seemingly unprovoked whirlwind of butt-kicking in a saloon.

Meanwhile, there is a nameless assassin (Chiwetel Ejiofor), smooth of voice and cold of demeanor, who has slain many people in his quest to get to River. There is something in her mind, perhaps stored in her memory, perhaps dealing with whatever the Alliance was doing to her in that facility, that is of importance to him.

The Serenity crew tend toward the cowardly, with running and hiding as a frequent game plan, and no qualms about fighting dirty when fighting is inevitable. This is plenty funny, of course, and for as thrilling and action-packed as the movie is, it’s pretty hilarious, too. (One thing we Whedon fans admire about him is his ability to combine heroics, adventure and humor, even in the same scene.) But the movie’s arc for these characters has them slowly developing a sense of justice and rightness, an acceptance of life’s uncertainties coupled with the realization that just because they don’t have all the answers doesn’t mean they can’t believe in something.

It’s Mal, as the protagonist, whose psyche is most at center-stage, and it’s a little troubling. He’s so single-mindedly selfish and mercenary that his eventual slight change of heart may be too little, too late. When the film’s over, you may remember him as a jerk — an entertaining one, sure, and a cool character, but ultimately a creep. I get the feeling that’s not what Whedon intended.

What Whedon surely did intend are the many touches that remind us of “Star Wars,” “Star Trek,” Whedon’s own “Buffy the Vampire Slayer” — heck, one scene is straight out of a zombie flick, as our heroes are besieged by a posse of bloodthirsty humans called Reavers. Yet nothing in the film feels derivative. Where it is reminiscent of other sci-fi icons, it seems to be in homage, always enlivened by Whedon’s wit and astute visual sense. “Serenity” is completely fresh, perhaps the best sci-fi film this year, and one of the better ones of any genre.

Into the Blue

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More than an hour of “Into the Blue” has passed before we encounter anything approximating a conflict or antagonist. Those first 60 minutes are spent instead on visions of tan, lithe young people frolicking in the sea and making out on boats, with nothing stopping them from getting what they want. You could argue, very convincingly, that such diversions are the real point of the movie, and that the plot, when it does show up, is the real distraction. But I maintain that 60 minutes of pretty people swimming gets boring after, say, a half-hour.

But my, Jessica Alba and Paul Walker sure are attractive, aren’t they! That is the movie’s central theme, and it’s hard to deny it. They are clad in bathing suits for roughly 80 percent of the film, and the camera lingers lovingly as their taut bodies glide through the crystal waters of the Caribbean. (There is some striking underwater photography in there, too.) Regardless of whose body you fancy more, there is plenty to enjoy. You can also marvel about the fact that both characters can apparently hold their breath for several minutes at a time!

The chief benefit of having them underwater so much is that they can’t talk. When they’re on the surface, they speak, and they reveal remarkable shallowness (no thanks to Matt Johnson’s witless screenplay, either). Walker talks, as he does in every film (and I assume in real life), with that lazy surfer-dude dialect, coming off like the tool he most assuredly is. And Alba — sweet, lovely Alba, so soft of face and bland of personality, so unable to convince me that she is an expert in marine life the way she pretends to be in this movie. And then Scott Caan shows up! The one man who might give Paul Walker any competition in his bid for Tooliest Actor, and here he is!

The three of them (along with Ashley Scott as Caan’s coke-whore girlfriend) are in the Bahamas, where Walker and Alba live and play. Walker is obsessed with finding the sunken treasure that sometimes becomes accessible after a heavy storm or a hurricane, and while snorkeling one day, the foursome finds a wrecked airplane full of cocaine. What to do? Nothing, of course. We’re not drug dealers. We’ll keep searching in the vicinity for legitimate booty, and we’ll tell the authorities about the sunken narcotics once we’ve secured our claim on whatever’s nearby.

Well, there are complications, but as I said, they don’t arise until we’re halfway through the film (which was directed by John Stockwell, which explains why it’s so much like 2002’s “Blue Crush,” because he directed that one, too). When the story really does emerge — involving drug lords and double-crosses and such — it’s goofy enough to be big, stupid fun. (Why this film is being released at the end of September instead of mid-July is beyond me.) There is too much wading and water-treading prior to that, though, and it’s frustrating to realize how much more enjoyable the film would have been if they’d taken 20 minutes out of the first hour.

Note: I’ve mentioned before that sometimes when a movie gets really boring, I start to wish that a shark would eat one of the characters, just for some diversion. Well, “Into the Blue” marks the first time that my wish has ever come true!!

The War Within

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The first thing Hassan (Ayad Akhtar) does when he is smuggled into the United States from Canada is to shave his beard. He is a Muslim of Pakistani origin, so the less he looks like a terrorist, the better. This is especially true in his case, because he IS a terrorist.

This is “The War Within,” a film whose title refers to battles that rage inside people, as well as inside groups. It’s a serious movie, with no nonsense or joviality, written by its director, Joseph Castelo, along with his college friends Tom Glynn and Ayad Akhtar. Akhtar, who is also the film’s star, was born and raised in Wisconsin, but is of Middle Eastern descent and thus has a personal connection to some of the film’s themes.

Hassan’s brother was killed during the U.S. attack on Afghanistan, a fact that saddens their lifelong friend Sayeed (Firdous Bamji) but that does far more psychological damage to Hassan. Sayeed and his wife and children, along with his sister Duri (Nandana Sen), share a comfortable home in Jersey City, N.J. They live as faithful Muslims while also living a happy existence in modern America.

Hassan is an extremist, part of that branch of Muslim culture that doesn’t see how such a dual existence is possible. Either you hate America, or you’re not a good Muslim. Sayeed senses Hassan’s hesitance to accept American culture, but he doesn’t realize how far-gone his friend is.

While Sayeed thinks Hassan has become too troubled and morose, Hassan’s associate, Izzy (Wayman Ezell), his immediate supervisor in the vast and well-organized terrorist plot that is about to be enacted, thinks Hassan has become too complacent. He sees Hassan living with Sayeed’s family, taking an interest in Duri, working a normal job in Manhattan, and he fears Hassan is losing his nerve.

In truth, Hassan is conflicted, and that inner turmoil is the film’s reason for being. His part of the mission will involve an attack on Grand Central Station, and the fact that Duri works near there gives him pause. How committed is he to his ideals? Can he carry out a plan that will result in the death of friends? Is it worth it?

Meanwhile, there is debate within the American Muslim community about the merits and evils of the United States. Sayeed and his family realize it is not perfect but love the country for the opportunities it affords them. Others refuse to accept America’s decadence and arrogance, though they don’t become terrorists because of it.

“The War Within,” which is taut and suspenseful even when it’s just being introspective, doesn’t quite master the art of getting inside the head of a terrorist, but it does make us see Hassan as a human being. While we’re not expected to agree with him, we do come to see how a person can get to the point he has reached. The question that plagues him and his friends is: If a Muslim becomes devout, does that mean he’ll become a terrorist? Or is there still some middle ground?

Capote

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Truman Capote was the quintessential man-about-town. He graced New York’s upscale bars and cafes with his witty presence through the 1950s and ’60s, telling stories, cracking jokes, and drinking, always drinking. He was a successful writer (his work included the novella that “Breakfast at Tiffany’s” was based on), but by the time he went to Kansas to research the story that would become “In Cold Blood,” he had reached true celebrity status: famous just for being famous.

“In Cold Blood” would ultimately destroy him, and the riveting new biopic “Capote” shows how the seeds were sown. Capote let the story intertwine with his own so deeply that it became impossible to continue one without first finishing the other.

When we meet Truman, played with uncanny precision by Philip Seymour Hoffman, he is a fey, impeccably dressed sprite with a marble-mouthed whine for a voice and a tongue whose tartness knows no limits. It is 1959, and Truman is looking for something to write about for The New Yorker. He spots a story in the Times about a family being found brutally murdered in their quaint Holcomb, Kan., home. He perceives a story here — not a sensationalistic one, but a human one. Surely Holcomb, Kan., does not see many murders. Surely there is insight into the American condition to be found in a tragedy in the nation’s heartland.

He heads to Holcomb accompanied by his lifelong best friend Nelle Harper Lee (Catherine Keener), whose “To Kill a Mockingbird” will be published soon. (Truman Capote and Harper Lee being friends is one of those surreal circumstances that can only come from real life, because no one would believe it otherwise.) Truman doesn’t seem to sense the importance of Nelle’s companionship in Kansas, but we do. Where he is utterly alien in Holcomb, with his fancy scarves, high-falutin’ language and exceedingly gay demeanor, Nelle is more able to adapt. People are suspicious of Truman, but people like Nelle.

But it’s Truman’s fame as a writer that gets them through an important door: the one belonging to local sheriff Alvin Dewey (Chris Cooper), whose wife Marie (Amy Ryan) is a big “Breakfast at Tiffany’s” fan. Soon Truman is holding forth in the Dewey home with as much boisterous charisma as he did in New York, subtly winning favor with the sheriff and picking his brain for details about the murder investigation.

That craftiness of Truman’s, combined with his alleged 94-percent recall ability that enables him to accurately transcribe his interviews without taking notes, makes him a consummate reporter. It also puts him in intimate, friendly contact with the subjects of his reportage — including, as it turns out, the two men convicted of the murders, Perry Smith (Clifton Collins Jr.) and Richard Hickock (Mark Pellegrino).

Truman becomes especially connected to Perry, the more articulate and of the two, depicted here as a shy, soulful man who, one gathers, fell in with the wrong sort of companion in Hickock. When Truman visits them in prison, he brings Perry books and Hickock porn.

Once convicted, the killers don’t deny their guilt, but they fight ardently against the death penalty being administered. Truman helps them find a more competent lawyer for their appeals and stays of execution, but then Truman himself runs into a problem: He can’t finish the book he’s writing about all of this until the story has an ending. And the story doesn’t really have an ending until the murderers are put to death.

All of this happens through the lens of a spot-on performance by Philip Seymour Hoffman, which you have probably already heard about. You’re going to hear more about it, too, when the Oscar nominations are announced, and in the next sentence.

Hoffman has appeared in some 35 films in the past 15 years, garnering acclaim in certain circles for some of them (“Boogie Nights,” “Magnolia” and “Owning Mahowny”) but mostly gliding unnoticed along the public radar. All of that will soon change, as “Capote,” once it is widely seen, will make him a household name.

Even viewers too young to remember the real Capote from his legendary early-’70s “Tonight Show” appearances can see that Hoffman is doing brilliant work here, not just in impersonating the man (though that is eerily well-done too), but in developing him into a full-fledged character, with subtleties, depth and motivations.

Truman has a theatrical flair for language and storytelling that makes people love him, but he’s also piteously self-centered, neglecting both Nelle and his longtime partner Jack (Bruce Greenwood) while spending year after year on the Kansas story. Does he fall in love with Perry Smith? He seems to. But he lies to him, too, telling him he hasn’t yet conceived a title for his book when he actually has: “In Cold Blood.” But you can’t tell your friend that you consider him a cold-blooded killer, can you? Not if you want him to keep thinking you’re a lovable man-about-town, you can’t.

Many film biographies fall short because of the attitude that audiences should care about the film simply because its central character was a real person. These movies often deify the person, or at least to use his flaws as a brush with which to highlight his underlying nobility. Not so with “Capote” (which was directed, astonishingly, by Bennett Miller, whose only other credit is a 1998 documentary): Truman, like so many of Hoffman’s characters, is more deeply screwed-up than that. He’s a selfish jerk, so desperate for the world’s affection that he comes to believe he deserves it no matter what the cost. He’s not noble at all.

“Capote” is also wise not to attempt the telling of Truman’s entire life, which ended in 1984 after a long, fruitful relationship with drugs and alcohol. Instead, Dan Futterman’s adaptation of Gerald Clarke’s biography focuses on the years during which he researched “In Cold Blood,” giving us a traditional storyline with a beginning, a middle, and a very sad end.

Screen Door Jesus

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“Screen Door Jesus” is an overlooked, ignored gem. I almost said “forgotten,” but that’s not true. Anyone who’s actually seen it isn’t likely to forget it anytime soon.

Crafted like a sprawling Robert Altman film, it has dozens of characters occupying the small town of Bethlehem, Texas, where religion plays a part in everyone’s lives. What makes it different from most films about small Southern towns, though, is that the religion is treated intelligently and knowingly, rather than merely being used as a shorthand method of describing someone. (How many movies feature characters summed up as “narrow-minded Christian from the South”?)

The central event is that old Miss Harper (Cynthia Dorn) has discovered a shape on her screen door that looks like Jesus. Soon her front yard is overrun by pilgrims eager to see the Lord and worship at His screen door image. The whole town’s in a tizzy about it.

That’s the story that unifies everything, but there are literally a dozen or more subplots involving a score of other townspeople. Not since “The Simpsons” have you seen a city so full of minor characters who make their personalities and lives known to us in just a couple scenes.

There are the Cunninghams, Vernalynn and Earl, who disagree on how to care for their grandsons, who are staying with them for the summer. Vernalynn believes TV is inherently evil; Earl does not.

There’s Robroy Conroy (Eugene P. Williams), whose mother is dying but whose grandmother doesn’t believe in hospitals, preferring to put everything in God’s hands.

Consider also Sharon (Alaina Kalanj), a beautiful blonde who has come back to town after a long absence and struck up a courtship with a local police officer. He’s not a believer, though, and their different attitude toward religion pose a problem.

There’s also a racist bank officer, a couple of scoundrels trying to do some illegal oil drilling, a white-trash girl who seeks to blackmail the mayor, and a long-standing feud between brothers over a woman.

All of these stories add flavor as the film examines the role of faith in middle America, the way religion can be used for honest devotion and rank hypocrisy — even within the same person. Most of these people are religious and Christian, but they’re not all the same kinds of Christians. They go to different churches and have different beliefs, not to mention different ways of expressing those beliefs. Who’s to say one way is better than another?

Based on a series of short stories by Christopher Cook, the movie was written and directed by Kirk Davis, who had not made a feature film before. That’s astonishing, given how proficient “Screen Door Jesus” is. It’s exceptionally well composed and photographed (by cinematographer Dan Stoloff), with a way of bouncing from one story to another that’s rhythmic and comfortable. He also avoids giving much exposition, which proves to be a wise choice. We’re compelled to keep watching and pay attention to figure out who everyone is and how they’re connected — and we don’t mind, because we like spending time with the characters in the meantime.

The film does have its clunky moments. It’s seldom laugh-out-loud funny, and certainly not as often as it would like to be, though it is consistently amusing. One character dies in a most unbelievable manner, and some story lines are handled better than others. It’s also peculiar in that it would seem to appeal most to religious people, but its salty language would tend to drive many religious viewers away. Maybe that means it’s best for well-adjusted religious people who can appreciate a thoughtful, respectful look at their faith and put up with a little cussing. You know who you are.

Forty Shades of Blue

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Rip Torn is the only reason to see “Forty Shades of Blue,” a movie so contemplative and internal it makes “Lost in Translation” look like a Schwarzenegger film. The movie stops being interested halfway through, but Torn never ceases to be compelling. He’s the kind of actor you could watch as he sits and reads a book and it would still be interesting.

Torn plays Alan James, a legendary Memphis jazz, blues and rock producer and songwriter who, at the film’s outset, is being honored at a banquet. He gives his acceptance speech with confidence, coming across as eminently likable and charismatic. The whole city loves him. He’s cocky enough to love himself even more, but smooth enough to make the city think he’s humble.

Then he ditches his hot Russian girlfriend, Laura (Dina Korzun), and heads upstairs to fool around with some bimbo. This Alan James, this beloved son of Memphis, is a philanderer. Later scenes will reveal his wild temper, too, and his random bouts of cruelty. Yet through it all, you can see why people like him, how his charm carries him blissfully through life.

The film, written by Ira Sachs and Michael Rohatyn and directed by Sachs, favors atmosphere over plot, though there is a bit of one: Alan’s grown son Michael (Darren E. Burrows), in town from Los Angeles to help celebrate the father he never cared much for, falls for Laura, who has understandably felt neglected by Alan lately. They both know that Alan is not the type of man to deal well with this sort of humiliation, though, should he find out.

But the mood is the important thing, and Sachs paints a vivid one, framing characters in the corners of the screen and favoring lingering shots and long glances. He examines these people carefully and clinically, an impartial observer.

The problem is with the character of Laura, who is dull and frigid. She does not bear close scrutiny; Dina Korzun, an exotically beautiful Russian actress, cannot carry a character-driven drama like this one, especially in the latter part of the film, when Laura becomes the focus. More Rip Torn might have helped … but, then, I always say that.

Part 2 of the Round Table on Mormon humor

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Part 2 of the Round Table on Mormon humor (in which I participated along with several others) has been posted at By Common Consent.

The direct link is here.

The Price is Right — Or Is It?

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Last Monday, “The Price is Right” began its 34th season. That is a long time for a game show to run! I’ve just begun my 32nd year, and I’m already exhausted.

Though it was a staple of my TV diet growing up, I hadn’t watched “The Price is Right” for many, many years. But in my ongoing quest for understanding of our world and the way it works, I watched the 34th season premiere, to see what I’d been missing. These are my findings.

We open on a television studio where the audience reacts as though they have each had the blood in their veins replaced with pure, unfiltered crack. They are ecstatic … and nothing has happened yet! The announcer, who was Johnny Olson and Rod Roddy when I was a kid but who is now Rich Fields, reads the names of four audience members, and each of those people responds by increasing his or her level of rabidness by a factor of 10.

First is Zane, who is seated in a cluster of Boy Scouts and who looks no older than one. Next is Dustin, also quite young, though not evidently affiliated with any youth organization. Then there are Bobette and Natalie, both mid-30s mom types. It seems likely that Bobette and Natalie are destined to win, while Zane and Dustin are destined for infamy.

Bob Barker emerges next, not from the doors onstage but from the back of the studio. I assume this is a special treat for the season premiere. The audience responds by leaping to its feet and screaming in abject joy. They are the happiest they have ever been in their lives. Some of them rend their clothing in delirium, while others openly and freely urinate on themselves. Foam and spittle soak the floors.

Bob takes the stage, is handed his microphone by a disembodied arm, and thanks the audience for its loving ovation. The audience responds by continuing to scream fervently, the sound of bursting aneurysms echoing through the studio like the popping of bubble wrap.

Here I note that Bob looks positively ANCIENT. He is over-tanned and white-haired, gaunt and desiccated like a particularly white-toothed corpse. I foresee his death: His sternum is crushed by an enthusiastic contestant, and a rib punctures his heart. He is dead in a matter of moments, and contestants immediately place bids on his corpse.

Anyway, the first item up for bids today is a trip to Cancun. Zane and Dustin both look like they have just seen a beautiful naked woman. Zane responds by hilariously overbidding. Bobette bids closest and plays “Golden Road,” a game with a succession of prizes, culminating in a Dodge Viper valued at more than $85,000.

Holy crap! That’s an expensive car. I wouldn’t own a car like that in my neighborhood, that’s for sure.

Bobette wins all the prizes! A luggage set, a hot tub, and the Viper. The audience, which has not stopped screaming since the show began, greets this development with animalistic wailing and hooting, like starved hyenas being offered a gazelle. I have to say, I’m pretty excited, too, even though Bobette’s win affects me in no way whatsoever.

Called from the audience to replace Bobette is a guy named Brock, who meets the exact same description as Zane and Dustin. Natalie should have no problem winning the his-and-hers tennis equipment against these tools.

But no! Dustin wins. He is as surprised as I am. He plays “1/2 Off,” a game with $10,000 cash as its ultimate prize. Turns out Dustin is married, despite being no more than 16. His wife is in the audience, surely wondering why her husband was chosen instead of her.

The game involves guessing which item’s displayed price is actually one-half of the real price. This is pretty easy to do. Obviously the electric massager costs more than $20. A moron could win this game. Morons probably DO win it, actually, and frequently.

Moron or not, Dustin wins, and again, I am very happy for him. Ten thousand dollars is nothing to sneeze at! I’ll allow no sneezing at $10,000.

During the commercial break, there is an ad for the Hoveround motorized chair for old people. The commercial features several old people trading lines on the old song “You Made Me Love You.” It’s hilarious. Also: The inventor of the Hoveround is a man named Tom Kruse. Delightful! I’m not old, but I am lazy. Perhaps I will get a Hoveround.

The next contestant summoned is Isabel, an old lady wearing a straw hat. She is at most five feet tall. A treadmill is displayed and described. Bob asks her, “What do you bid?,” and she replies, “For what?” I’m not making that up.

Isabel bids poorly on the treadmill, as you might expect, and Zane wins. He scrambles up out of contestants’ row like a cat that’s been dropped in a swimming pool. He behaves like the sort of 18-year-old who believes he is being hip and funny, which is altogether the wrong attitude to take on a game show. You come across looking like an idiot.

He plays “Push Over” for a folding trailer, whatever that is. Whatever that is, it’s worth more than $7,000. “Push Over” is one of the very short games they play to balance out the longer ones. You get a sequence of digits like 92709437291, and you choose the four-digit sequence out of there that you think is the right price. Zane does it. He dances around like a fool, clearly thinking he is entertaining. It’s a truly embarrassing display. Bob tells him he’s very funny. Sure, Bob, encourage him.

In the Showcase Showdown, Zane spins 85 cents for himself, which does not bode well. Fortunately, Bobette comes through with a dollar! This gets her $1,000 and a bonus spin, which yields nothing. But still, she won, and we’ll never see Zane again except in our nightmares.

The next contestant is our requisite military personnel, Sean. He’s in the Air Force. He is in uniform, of course, as is custom on this show, because otherwise when you tell Bob you’re in the military, he’ll call you a big fat liar. “Oh yeah?” he’ll sneer. “Then why are you out of uniform, ‘soldier’?”

They’re bidding on a refrigerator/freezer. Isabel bids $1, even though she’s only the second bidder. Predictably, Brock bids $2. They both lose, though, and Natalie wins with a bid of $1,251 (it was really $1,349). I am guessing that a refrigerator/freezer has been offered as a prize on every episode of “The Price is Right” for the past 33 years. When they can’t think of what else to feature they probably say, “Oh, heck, just put a refrigerator/freezer out there.”

Natalie plays “Switch,” in which the prize is TWO cars! As if anybody needs two cars. How will she get them home? But the audience, still in a frenzy over Bobette winning that Viper, is delighted beyond all reason. Some of them start engaging in reproductive congress, right there in the studio, so euphoric are they over the proceedings.

“Switch” is a very simple game: They tell you the two prices ($18,151 and $16,110), and you just have to guess whether the prices match the cars they’re currently affixed to or should be switched with each other. Natalie switches ’em, and she’s right! Four games, four winners.

Next to be called to duty from the audience: Kristen, a pretty blonde in a cowboy hat. Everyone bids on a pair of bicycles. Isabel bids $1 again, though this time it’s strategically smart to do so. She still loses. Brock wins the bikes, and we learn he’s there on his senior class trip. The prize? A Ford Focus! They’re playing “Dice Game,” the first game since “Golden Road” that I recognize. You roll a giant die and, if you don’t roll the next number in the price, you guess whether what you rolled is higher or lower than the right number. When he rolls a three, he guesses the correct number will be higher, but he turns out to be wrong. No Ford Focus for you, Brock. Way to ruin our streak, Brock.

Next: Angela, another pretty blonde. She’s in the chump spot, chosen before the sixth game, where if she doesn’t win, she gets no more chances. They’re bidding on a “wine secretary,” a term I have not heard before. It’s like a cupboard for wine, I guess. What’s wrong with a cardboard box? Or a cupboard?

Sean the Air Force guy wins and plays for a new game room. He must feel like a loser, playing in one of the few games today that doesn’t offer a car for a prize. Heck, Natalie was offered TWO cars. The game is “Pick-a-Pair,” in which we meet six household products and Sean has to choose the two that are the same price. One of them is an individual bag of Chips Ahoy. The other is a candy bar. Sean picks them. He’s right; they’ll both run you 55 cents ($1.30 at 7-Eleven). He wins the game room. He doesn’t seem the least bit excited. I can’t blame him, though I would probably fake it better if I were there.

In the Showcase Showdown, we learn that Brock, the kid who just graduated from high school and didn’t win a car (the only loser of the day), is about to go on a Mormon mission! I thought he had that look about him.

Brock: 40 cents. Sean spins 55, enough to beat Brock, but not a great score. He spins again and goes over. Natalie spins 65 cents and wins. Brock goes home the same way he came in: a loser. I don’t know about you, but I’d rather have my son come home from “The Price is Right” in a box than without any prizes.

During the break, there’s a commercial starring Wilford Brimley, the world’s oldest, crankiest man. I pity the people who watch “The Price is Right” every day and see nothing but a succession of commercials geared toward old people. It is probably especially depressing if you ARE an old person.

The first showcase has a “theme,” and it’s Things Featuring the Number 34 (for the start of the 34th season). There’s a copy of “Miracle on 34th Street” … which you can watch on your BRAND-NEW TV/DVD PLAYER! Or you can learn all about our 34th president Dwight D. Eisenhower … on a TRIP TO WASHINGTON, D.C.! Or you’ll get plenty of selenium, which is element No. 34 on the periodic table … when we BURY YOU IN CHEMICAL SOLUTIONS USED FOR THE TONING OF PHOTOGRAPHS!

Just kidding on the last one. The third prize is a pickup truck, which holds 34 gallons of gas. I hope they’re giving out $200 bills to fill it up. Natalie bids $21,000 on the showcase, which seems very low to me. I happen to know the truck alone costs that much, and I don’t even like trucks/the people who drive them.

Bobette’s showcase is $1,000 cash, a trip to Tahiti, and a Cadillac convertible, the sixth automobile to be rolled out today. Bobette bids $60,000. This turns out to be $30,000 less than the actual price. Natalie, meanwhile, was only off by $10,000. So Natalie wins! There is a hug between the two ladies, and Bobette shuffles shamefully off the stage while Natalie’s friends and family join her in celebrating. Bob tells us to have our pets sprayed or murdered. As the credits roll, the audience reaches the zenith of its fervent undulations and some members begin to slit the throats of others in the pagan worship of their god, Bob Barker.

My findings: There is something very satisfying and uplifting in seeing people’s happiness over winning money and prizes. On the other hand, this show is loud and clangy, the equivalent of putting a pot over your head and beating it with a hammer for 60 minutes. On the third hand, I’m thinking of buying a Hoveround.

New shows: ‘Surface,’ ‘Everybody Hates Chris,’ ‘Love, Inc.’

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(Brief reviews of new fall shows, usually based on only the first episode, which may or may not be a fair way to judge a show. Deal with it.)

“Surface,” Mondays (NBC). So far, this is the weakest of the many new sci-fi/thriller series. An oceanographer finds a huge sea monster; other characters encounter it too; the government finds a submarine with a huge bite mark in it; blah blah blah. I found the pilot downright boring: too many characters and none of them memorable; too little action and what there is isn’t very engaging.

“Everybody Hates Chris,” Thursdays (UPN). Another laugh-track-free comedy delight! This one’s based on the life of Chris Rock as a 13-year-old, with Rock narrating, a la “The Wonder Years.” (That’s two news shows this year with that device.) And it’s funny! The young Chris, growing up in Brooklyn in the early ’80s, is bused to a mostly white junior high school where bullies pick on him; at home he’s the oldest of three latchkey kids, his dad working two jobs and mom working one. Mom has some of the best lines, threatening how she’ll beat the kids if they screw up: “I will knock you into last night” is one; my favorite is: “I will slap your name out of the phone book, and call Ma Bell and tell her I did it!” But kidding aside, the family loves each other, and the humor, while sharp and incisive, is also sweet. I recommend it.

“Love, Inc.,” Thursdays (UPN). If you watch “Everybody Hates Chris” and then accidentally leave the TV on UPN afterward, you’ll have to see this show, which I only managed to watch 15 minutes of before I had to turn it off. It’s about a dating service, and in the pilot episode, the big story is that the ex-boyfriend of one of the dating advisers comes in to hire their services! So she has to help her ex find a new girlfriend! Ha! There’s also a Latina character in the office who is focused only on finding a single American man to marry her so she can get a green card. And when I say she’s “focused,” I mean that LITERALLY every single one of her lines has to do with that. There’s also a stoner guy in the office who says spacey things. Busy Phillips is the star, and she tries too hard to be funny/wacky. This show reeks.

Dirty Love

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Former MTV hostess and pin-up girl Jenny McCarthy is attempting a comeback with “Dirty Love,” a you-go-girl “Sex and the City”-style comedy designed to show off McCarthy’s comedic skills. It does this perfectly: McCarthy has no comedic skills, and the film more than adequately proves it.

McCarthy, who wrote the film (!!!!), plays a New York photographer named Rebecca whose boyfriend Richard (Victor Webster) has just cheated on her. The rest of the film focuses on her desire to make him jealous by letting him see her in the company of hotter, better men, but of course each ploy goes awry and she only winds up embarrassing herself.

Her humiliations are frequent and extreme, but in many cases, it is McCarthy the actress and not Rebecca the character for whom I am most embarrassed. Witness the awful scene in which Rebecca gets her period in the middle of a supermarket and befouls the floor with her secretions. Or better yet, don’t witness it. It’s a prime example of the difficulty of gross-out humor: If it’s not funny, it’s just gross.

Throughout the film, McCarthy tries so desperately and sweatily to be funny that one is exhausted just watching her. She has no problem pulling goofy faces, doing silly voices and (especially) falling down. She seems to wallow in the debasement of herself, and while I admire an actor’s commitment to getting the laugh, when there is no laugh to get, my admiration turns first to pity and then to annoyance. For the most part, her idea of being hilarious is to make funny faces, exaggerating every expression she makes. You cannot imagine how quickly this gets old.

She is “supported,” for lack of a better word, by Carmen Electra and Kam Heskin as her irritating friends. Electra plays a white girl who talks like she’s black (because THAT hasn’t been mined for laughs anywhere else already), while Heskin plays a shrill, dumb bimbo (see previous parentheses).

What McCarthy needs, first of all, is a good script, not this no-brainer crap. Once she has her hands on a good script, she needs a director who will rein her in, not let her loose. You can make a case for letting someone like Jim Carrey or Will Ferrell go crazy when the cameras are rolling, but McCarthy just doesn’t have the gift for physical comedy that they do. What she needs most is focus and direction, and this film gives her none it.

Proof

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David Auburn’s Pulitzer Prize-winning play “Proof,” like most Pulitzer Prize-winning plays, is better as a play than as a movie. Few things get better when they are removed from their original medium and shoehorned into a different one, after all. But “Proof” is brilliant enough as a play that even if you only capture SOME of the genius on film, as John Madden has done, you’re still left with a pretty good movie.

Auburn wrote the screenplay, too (aided by Rebecca Miller), including a few new scenes aimed at making the film feel, well, less like a play. (More locations, more characters, and so forth.) And Gwyneth Paltrow, who played the lead role in London’s West End, reprises it to great effect here, contributing her best dramatic work since … what, “Shakespeare in Love”? Which was also directed by John Madden? There may be a lesson there, Gwynnie.

Paltrow plays Catherine, the 27-year-old daughter of a legendarily brilliant University of Chicago mathematician named Robert (Anthony Hopkins). Dad has just died after many years of declining lucidity and usefulness, during which Cathy put her own life on hold to care for him, her mother being dead and her sister Claire (Hope Davis) living in New York.

Cathy continues to talk to Robert despite his being dead. Robert points out that this is not a good sign, a joking reference to something Cathy has begun to fear: that she will inherit the professor’s insanity along with his genius for math.

Claire, a well-organized, fussy gal, blows into town for the funeral and is worried about her sister, insisting she come live with her and her fiancé in New York. Does she have reason to worry? Well, Cathy hasn’t done much lately, puttering around the family’s old house and talking to her deceased father. You can’t blame Claire for thinking she might be losing it. But at the same time, Cathy shows an awareness of her situation, the realization that something must be done to get her life in order now that Dad is gone.

Also in the mix is Hal (Jake Gyllenhaal), one of Robert’s students and a budding math geek himself. He has taken the task of sorting through Robert’s notebooks, all written since he officially retired, to see if there’s anything worthwhile — heck, anything coherent — in them. He finds one that seems to include a brilliant new proof, a monumental event if it’s true. But did Robert write it? Or did Cathy?

Madden favors an unadorned storytelling method, letting the words of Auburn’s smart (but not inaccessible) script speak for themselves. The complicated world of higher math is a backdrop for the film, but the core remains the characters and their relationships to each other.

That said, it makes little sense to cast someone like Gyllenhaal as a math nerd, given his physical muscularity and renowned teen-idol good looks. Not to disparage real-life math geniuses, but come on. Next we’ll have Ashton Kutcher as a young Albert Einstein?

Hopkins’ Britishness is a mild distraction at first — what’s a Brit doing as a U of Chicago math professor? — but once you settle into it, you see he’s doing solid, albeit unspectacular, work as Robert (seen in flashbacks as well as in Cathy’s mind). The moment when his mind proves itself to be irreversibly gone is a sad, painful one.

But the central dynamic is between Paltrow and Davis, believable as sisters and both reliable actresses in their own right, especially when given the right material (a luxury that has evaded Paltrow the past few years). Claire’s concern hidden under a layer of efficiency, Cathy’s common sense lost under all that instability — it’s all here in these two very sharp performances. The movie is surprisingly funny but surprisingly tender in its drama, too. It’s no longer playing on Broadway or in the West End, but the movie is a reasonable second-best option.

Flightplan

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“Flightplan” is two-thirds of a great movie and one-third of a mediocre one, but hey, even the mediocre one has Jodie Foster in it. She does movies so rarely these days that I keep forgetting how good she is, how her face can register so many different emotions at the same time, how she can take command of a scene with just her voice.

She’s especially good at portraying near-panic over the welfare of her children, as “Panic Room” and now “Flightplan” demonstrate, and I will join the chorus of people wondering why her first major role in three years is in a movie exactly like the last one.

This time she’s Kyle Pratt, a propulsion engineer working in Berlin who is flying back to New York with her young daughter Julia (Marlene Lawston) and a coffin containing her late husband David, who fell or leapt from a rooftop a week earlier. Mid-flight, Kyle wakes up from dozing to find Julia gone. Stewardesses help her look around the plane, but she’s nowhere to be found.

Panic starts to set in. Then the bomb drops: No one remembers ever seeing Julia at all. She’s shy and sad, Kyle explains. She didn’t talk to anyone, and she curled up in her seat as soon as they got onboard. Then it gets worse: The flight manifest doesn’t show Julia’s name. And then worse: But I won’t say any more on that, in case you haven’t seen the movie’s trailer, which tells more than it probably should.

This plot — child goes missing, but maybe the child never existed — has been done before, so we’re not giving points for originality. But I like how the screenplay (by newcomer Peter A. Dowling and “Volcano” scribe Billy Ray) handles the drama logically, at least for the first hour. Everything is laid out calmly and matter-of-factly: If Julia was ever onboard at all, she must still be. It’s an airplane; there are only so many places a person can go. (As it happens, Kyle helped design this plane, so she knows all the nooks and crannies.) On the other hand, if Julia never was onboard, then that means Kyle is crazy and possibly dangerous.

The crew, led by a sympathetic pilot (Sean Bean), is as helpful as you can expect them to be: first genuinely concerned about finding Julia, then sad to discover that Kyle is crazy, then annoyed that she keeps bothering them when there are beverages to be distributed. An air marshal who happens to be onboard (played by Peter Sarsgaard) must eventually make use of his handcuffs when Kyle simply will not take “your daughter was never here” for an answer, but not before she has disturbed all her fellow passengers and ignited fears of terrorism.

But what is at first a tightly wound psychological thriller eventually becomes something else. Directed by Robert Schwentke, this is a film where the questions are far better than the answers: Once we know what’s going on, we stop caring, because it turns out to involve one of those elaborate movie schemes that are so complicated and require such enormous foresight that you wonder why anyone would go to that kind of trouble.

Yes, sadly, the suspense of the first two acts gives way to a different kind of tension in the third, the kind where we wonder just how silly it’s going to get. (Answer: Very.) It’s not enough to ruin the picture, though, for even the absurd pyrotechnics of the climax and resolution are entertaining in their way. They’re not as smart as what led to them, but maybe you can’t have everything.

Corpse Bride

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You can disqualify me from reviewing “Corpse Bride” if you want to, because I never cared much for “The Nightmare Before Christmas,” the 1993 stop-motion animation film that is in many ways its progenitor. So it could be that my lack of fervent enthusiasm for the new film is due to a similar case of just not “getting” it.

As you may know, “Corpse Bride” was painstakingly made using models of the characters which are positioned, photographed, moved slightly, photographed again, and so on, thousands and thousands of times. The feats involved in creating such a film weigh heavily on my mind as I watch it. All the effort involved! Such a tedious process, yet so creative, too. Think of the imagination necessary to put together something like this.

Unfortunately, I was thinking about all of this because my mind was wandering away from the content of the film, which is creative but not altogether genius. The movie is clever, but not particularly funny. It has a few songs, but it’s not really a “musical.” It’s OK, but it’s not great.

It’s the gothic tale of quiet young Victor Van Dort (voice of Johnny Depp), whose nouveau-riche parents have arranged a marriage between him and Victoria Everglot (Emily Watson), daughter of a loathsome Lord and Lady whom the Van Dorts mistakenly believe are still rich. After a nerve-wracking wedding rehearsal, Victor goes for a walk in the woods and, while practicing his vows, accidentally proposes marriage to … a corpse. The corpse of a woman named Emily (Helena Bonham Carter), specifically, who has lain dormant waiting for her true love to come along and marry her. And now he has! Sort of!

She whisks Victor down to the world of the dead, where skeletons and half-eaten bodies live a merry life (well, not “life,” really, but you know what I mean) apart from the “breathers” up on the surface. Victor is terrified, but from a purely objective viewpoint, these dead people are enjoying themselves far more than the stiffs in Victor’s dull village do. I note that while the scenes among the living are in dreary grays, the dead are in full color.

A sort of triangle develops then, between Emily the Corpse Bride, Victoria the living one, and Victor, who was beginning to feel a fondness for Victoria but who is sympathetic to Emily’s plight, too. Victoria’s sour parents (voiced by Joanna Lumley and Albert Finney) have a few things to say about it the “unfaithful” Victor and this other woman, since their plan to marry their daughter to a rich family has been thwarted.

It’s all a Tim Burton production, as you know, and it has all the morbid pleasures of one. Burton co-directed with animator Mike Johnson, and while he doesn’t officially get story credit (the screenplay is by Pamela Pettler, Caroline Thompson and John August), the idea has been rattling around that odd head of his for a decade. Danny Elfman provides the music, of course, and many of the cast members are Burton regulars, too, including some whom he persuaded to do double duty when he had them on hand for “Charlie and the Chocolate Factory.”

The last 15 minutes are terrific, actually, as the dead join the living and the oddball humor bounces off the walls like stink off a corpse. Prior to that much-needed enlivening, the film is fanciful and whimsical, but only marginally entertaining. It’s the kind of movie you see, not the kind you see again.