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Roll Bounce

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Here is a formula for making a good movie about roller skating: Include lots of roller-skating scenes; avoid maudlin or sentimental sub-plots; wrap it up in 90 minutes. This formula is so basic that I am surprised the people who made “Roll Bounce” did not know it. Surely it is in the Filmmaking 101 textbook, in the appendix labeled “Genres, Formulas for.”

But here we are. Sigh. “Roll Bounce,” a kid-oriented comedy set in the summer of 1978 on the South Side of Chicago, is too long and too sappy, not to mention too vulgar for the kids it’s oriented toward. It comes to life only when the characters are roller skating. Those too-few scenes, set to era-appropriate music, bubble with the joy and exuberance of carefree youth, and feature some pretty cool skating moves besides. Again, I’m baffled that I should even have to point out the necessity of including more skating scenes in your movie about skating, but again, here we are.

The star is Bow Wow, formerly Lil Bow Wow, now an actor and not a bad one at that. He plays Xavier, a 14-ish boy who spends his summer days skating with his friends at the old Palisade Garden Roller Rink. The Palisade is closing, though, forcing the boys uptown to a more prosperous-looking disco-skating rink, where the kids wear nicer skates and make fun of the poor kids from the South Side. (Not for the reasons you might expect, though: Race, cheerfully, is not an issue in the film.)

X and his pals — trash-talking Junior (Brandon T. Jackson), Puerto Rican Naps (Rick Gonzalez), mixed-race Mike (Khleo Thomas), non-descript Boo (Marcus T. Paulk) and tomboy Tori (Jurnee Smollett) — are aware that at the new place, they are in the presence of royalty: Sweetness (Wesley Jonathan), a skater so good he has his own entourage and theme music. He and his team have won the rink’s Skate-Off every year, but X and the gang want to give him a run for his money and win the $500 prize. Can this rag-tag team of underdogs rise against the odds pull off such a feat??????????????????????

I’m sorry, those question marks were employed so abundantly as a form of mockery, and I should not mock a movie for adhering to a formula, especially not when I have already criticized it for not adhering closely enough to one. Is there no pleasing me???????????????

Anyway, there’s a good deal of nonsensical humor among the kids, exchanging “witty” put-downs that make each other laugh even though I doubt they will make the kids in the audience laugh. There is also a tendency for the film’s few adults to talk exactly like the kids, the same childish squabbling, the same immature reasoning. The screenwriter, Norman Vance Jr. (“Beauty Shop”), evidently does not have a lot of “voices” in his repertoire.

But there are also many pleasant scenes of summertime in the city, with water balloons, paper routes, video games and “What’s Happening!!!” on TV. You can smile fondly at these scenes whether the details of your own childhood matched them or not. The spirit of the scenes, directed by Malcolm D. Lee (“The Best Man,” “Undercover Brother”), matches everyone’s childhood.

But then X’s mom died not long ago, and there are many, many scenes about that, with X’s dad (Chi McBride) starting to date again, and his little sister missing Mama. I submit that one or two scenes would have been sufficient, and would have spared us the syrupy “Full House” moments that occur every 15 minutes or so.

And so the film staggers inevitably toward the Skate-Off, with the boys practicing, horsing around, and looking at fine girls and saying “Oh, day-amm!” at how fine they are. At the last minute they are required to set their routine to a song other than the one they’d practiced with, but do you suppose their choreography suffers at all? Or do you suppose they improvise choreography that is SO GOOD it’s as if they’d planned to use that song all along?

?????????????????

Oliver Twist

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The 1968 musical “Oliver!” and its cheerful punctuation notwithstanding, Charles Dickens’ “Oliver Twist” is a dark, violent story, a working-class nightmare begging for a happy ending that it only barely gets. Roman Polanski’s version doesn’t shy away from the text’s alarming elements. They are instead put to good use, adding shadow and texture to the lively, plot-driven story that is still, after almost 200 years, pretty enjoyable.

Oliver is played by Barney Clark, a small, angelic-faced boy who sheds tears more often than he smiles, a choice that seems to indicate Polanski’s acceptance of the story’s sadness. A kindly gentleman (Edward Hardwicke) sees goodness and innocence in the orphan boy, and young Clark matches that description. He has a face and voice that command sympathy, and his few positive interactions with adults make us yearn for his happiness as much as he does.

Oliver starts life in an orphanage, as you know, then goes to a workhouse, then to a stint of servitude in a funeral parlor, and finally into the alleys of London to live on his own. There he meets the Artful Dodger (Harry Eden), a street-wise urchin highly skilled in the arts of shoplifting and pocket-picking. He takes Oliver back to his gang of boys and their leader, the grizzled, elderly Fagin (Ben Kingsley).

Associated with Fagin and his boys is Bill Sykes (Jamie Foreman), a man of genuine evil and meanness. Fagin is a thief, a crook and an exploiter, but he doesn’t favor physical harm as a way of getting what he wants. Bill, on the other hand, is a brute. Accompanied by his girlfriend Nancy (Leanne Rowe), who hates him yet accepts his abuse, Bill is the story’s manifestation of true wickedness. Oddly, he calls Fagin the devil, leading one to wonder what Bill’s value system is like, where he is blameless while Fagin is evil incarnate.

Fagin is an interesting character generally, being caught between his germ-sized conscience and his greed, but the version fashioned by Kingsley is especially intriguing. A consummate actor, Kingsley creates entirely new ways of walking, talking and gesturing for Fagin — a complete creation, in other words, not just Kingsley with a wig on. I don’t get the sense of Fagin being “real,” necessarily, but rather such a thoroughly conceived fantasy character that he takes on a life of his own, like the Wicked Witch of the West or Yosemite Sam.

The film (with a screenplay adapted by Ronald Harwood) authentically reconstructs the griminess and desperation of Oliver’s world, yet maintains a certain storybook unrealism, too. The dozens of actors who play the minor characters must have been cast because they had the right “look”: a fancy-pantsed judge, a haggard mortician’s wife, a dowdy housekeeper, and so forth. Polanski succeeds at giving the story high dramatic stakes, with peril at every turn, all while keeping it charmingly “Dickensian.” You look at that fat-necked aristocrat, chowing down on turkey while Oliver gets busted for wanting more gruel, and you think: That guy looks like a character in a Dickens novel.

A History of Violence

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The title “A History of Violence” works on at least two levels for the film it represents. On the one hand, we have a main character who may, in fact, have a history of violence in his life. But more deeply, the film gives us a “history of violence” — the way it has always, throughout time, been an ugly, gross fact of life, and the way it shapes society. The movie is both a personal and general treatise on bloodshed.

It is a singular piece of work, too, directed by the weird (but never boring) David Cronenberg (“The Fly,” “The Dead Zone”) with coolness, control and precision. Even the most violent scenes seem to occur slowly and matter-of-factly — not like a documentary, for Cronenberg is nothing if not stylish, but as if they are inevitable. The characters were left to their own devices and violence is simply what occurred.

Our subject is Tom Stall (Viggo Mortensen), owner of a diner in tiny Millbrook, Ind. He is the loving (and passionate) husband of Edie (Maria Bello), and devoted father of teenage Jack (Ashton Holmes) and little girl Sarah (Heidi Hayes). The Stalls’ small-town life is so idyllic, and their togetherness so complete, that when Sarah has a nightmare, the entire family winds up in her room to comfort her. A bad dream is what passes for excitement around here.

Then one night everything changes. Two thugs enter the diner at closing time. We met them in the film’s prologue, when they were the authors of a brutal scene at a motel. We know they intend not just to rob Tom’s diner, but to murder everyone in it. Tom doesn’t have the background on these guys that we do, but he intuits it. He acts heroically, kills both villains and saves the day.

He becomes a local and national hero. The diner, heretofore sparsely populated, is soon packed with customers. A naturally genteel and quiet man, Tom is reluctant to discuss the event — he did kill two men, after all — and even more reluctant to have so much attention drawn to him.

Another day, three different men enter the diner. They have East Coast accents and wear slick suits. They call Tom by the name Joey. They suggest he is not who he says he is, that he is not who everyone in town knows him to be. He calmly, even bemusedly, tells them they’ve got the wrong guy. The men’s spokesperson, played by Ed Harris, asks the question that must be on the minds of everyone in Millbrook since the incident: “How come he’s so good at killing people?”

This question should make the audience uncomfortable. When Tom defeats the killers in the diner, there is no question of how he learned to fight so well or to react so quickly or to shoot so accurately. We accept it because in the movies, mild-mannered people are always spontaneously becoming action heroes. People who have never held guns before have perfect aim, and men who have never fought outside the schoolyard are expert combatants. It’s just how movies ARE.

But now the Ed Harris character (and by extension the film) is asking us to consider the real-life implications: How could someone so ordinary behave so violently, not to mention so efficiently? And are we so inured to movie violence that when it happens, we don’t even ask questions?

The irony that David Cronenberg should be addressing such a topic is not lost on me. For more than 30 years, the Canadian creepmaster has demonstrated if not a fondness for violence, then at least a fascination with it. The most famous image from one of his most famous movies (“Scanners”) is of a man’s head exploding, for heaven’s sake.

Yet all the gruesomeness in “A History of Violence” (which was adapted by Josh Olson from John Wagner and Vince Locke’s graphic novel) arises naturally from the situations, and it is not without its consequences. That is the point of the film: that despite what you see in the movies, you don’t shoot a guy, watch him die bloodlessly, then call it a day. There are ramifications. The result of Tom killing those two murderers is that a few days later, he is up against three others. Later, there are five more. As hard as Tom tries to live peaceably, chaos begets more chaos. That’s why he’s so disturbed when his son Jack gets into a fight at school, his first ever. Once you open the door, it’s hard to close it.

Cronenberg does a nice job bringing symmetry to the film. A scene of Tom and Edie’s sensual relationship early on is balanced later by her animalistic attraction to — and simultaneous repulsion from — his new-found violent streak. It’s disgusting, but at the same time, it turns her on. A strong, powerful man who can protect you from evildoers? What’s hotter than that?

What’s remarkable is that while the film has a point to make, it does it without a heavy hand. Simply on a visceral level, the movie is enthralling, with secrets, surprises, turns and twists, all in the service of a psychologically thrilling story. Mortensen is sparkling and unflappable as Tom, while William Hurt gets one devilishly comedic scene in what is essentially the Christopher Walken role (i.e., the crazy bad guy who makes you laugh while he makes you nervous).

There are moments in the film that are grotesquely funny. But at other times, I feel like the movie is indicting us for being entertained when we ought to be horrified. The audience I saw the film with reacted with vocal enthusiasm to the violent scenes, and were just as audibly disappointed when the film ended on an ambiguous note. If they couldn’t have more violence, they at least wanted an assurance that everything was OK now that the need for violence had passed — a tidy ending, in other words. I think they missed the point, which was that violence has repercussions that sometimes can’t be easily resolved. This is a movie where things don’t happen the way they do in the movies.

Dorian Blues

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“Dorian Blues” is one of the best gay-themed films to come out (pardon the pun) in the last few years — and it was written and directed by one Tennyson Bardwell, who, despite being named Tennyson Bardwell, is straight. I don’t have any theories on what that means, I just think it’s interesting.

The film covers a few years in the life of Dorian (Michael McMillian), a suburban kid struggling, at the end of high school and into his college career, with his sexuality. He undergoes the usual events — acting straight, pursuing religion, choosing asexuality, a bad first boyfriend — in what amounts to a funny and pleasant character arc and a highly enjoyable film.

Set around 1990, Dorian lives in upstate New York with his blowhard father (Charles C. Fletcher), wallflower mother (Mo Quigley) and favored-son younger brother Nicky (Lea Coco). Where Dorian has always felt “different” and certainly didn’t have much in common with the other boys, Nicky is a football hero and a handsome trophy for his proud father to display to the neighborhood.

Dorian’s realization that he is gay only serves to widen the gap between him and his father, but his brother loyally defends him and tries to understand him — at least he does after his initial advice that Dorian hide his orientation.

“Just keep denying it,” he counsels. “Remember what Hitler said: You tell a lie long enough and loud enough, eventually they’ll believe it.”

Dorian replies, “So your advice is, be more like Hitler?”

Bardwell’s screenplay has more than a few laugh-out-loud lines, drolly delivered by the mildly sardonic Michael McMillian and the somewhat more earnest Lea Coco. One small problem lies in the casting, though. Nicky is Dorian’s “kid brother,” but the actor who plays him looks several years older. I don’t buy them as brothers at all, much less with Nicky as the younger one.

Which is too bad, since both McMillian and Coco are perfect otherwise. McMillian, who looks like a skinnier, shaggier-haired Topher Grace, makes Dorian smart and sweet, completely sympathetic even if what happens to him is the same series of plot points that gay characters go through in all coming-out films.

Coco, meanwhile, is exactly what the target audience wants: a hunky jock with a sensitive streak who protects his brother and who’s a good-enough actor to pull it off.

The film becomes maudlin later on as the melodrama with Dad and a few improbable scenarios threaten to ruin its honesty, but it ultimately survives the crisis and ends smilingly. It’s a sweet and likable movie, if not an expert one, and a respectable entry in the genre.

Round Table on Mormon humor

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A Mormon blog called By Common Consent has conducted a round table discussion (via e-mail) between me and several other LDS humorists. The first volley of e-mails has been compiled and published at the site, at this address.

I thought it might be of interest to some people here.

Echoes of empty theaters

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A curious thing happened on Friday, Sept. 9. I was scanning the paper for movies playing at local theaters that I had not already seen, and I spotted one: “Echoes of Innocence.” I assumed it was an arthouse film, but then saw it was playing on four or five screens all over the city. It was an actual new release, alongside “The Exorcism of Emily Rose” and “The Man.” Yet there had been no advance screenings. I hadn’t seen any commercials or advertisements. It was just HERE, out of nowhere.

I looked into it on our friend the Internet. It was opening on 175 screens nationwide — not a wide release, but a good-sized small release — and it was made by Christians in Texas. It’s the story of an outcast high school girl who has vowed to save herself for marriage, and who occasionally has visions from God.

Now, I do try to see everything, and I was intrigued by a movie being thrown onto 175 screens without any advance warning, and my friend Smacky was in town, and we love watching bad movies together, so what they heck, we went. And we were not disappointed, insofar as it was not just bad, but the fun kind of bad, the kind where you laugh at it and make jokes. (There were only three other people in the theater, and we sat away from them so our whispering would not disturb them.) You can read my review here.

But the interesting thing about the film is its marketing, i.e., there wasn’t any. As I said, there were no ads or screenings before it opened. Even when it did, there were no ads in the newspaper. Every other piece of crap in theaters gets at least a tiny display ad, but no one bought one for “Echoes of Innocence.” And it opened on 175 screens! Just making 175 prints of a movie will run you a few hundred thousand dollars. So there was SOME money behind it. But apparently not enough for any marketing.

I looked online. Not a single review of the film was to be had anywhere on opening day, which means it hadn’t been pre-screened anywhere else in the country, either. (Pre-screenings are the cheapest form of advertising: The critics see it, which means they run reviews on opening day, and regular people see it and tell their friends.) Even the next day, only a few papers had bothered to send critics to see it once it had opened. Even the New York Times, which reviews EVERYTHING, didn’t review it.

The following Friday, Sept. 16, the film was gone as quickly and mysteriously as it had come. It was pulled from 174 of its 175 theaters, remaining only at a theater in Grand Prairie, Texas. Its opening-weekend box office numbers were not reported anywhere online that I could find, which means the distributor, New World Pictures, failed to report them. (If the showing we attended was any indication, I would put the film’s total opening-weekend gross at around $40,000, or a per-screen average of around $230. That’s really bad, by the way.)

My question for New World Pictures is this: What did you expect? When you dump a film into 175 theaters with no promotion to back it up, I hope you’re not surprised when no one goes to see it. What you should have done is what every other small-budget independent film does: Open on 10 screens, thus saving the cost of making all those other prints, and use that money for advertising, advance screenings and other marketing. Not that “Echoes of Innocence” really deserves a wide audience, but come on. You never even gave it a chance.

New shows: ‘How I Met Your Mother,’ ‘Kitchen Confidential,’ ‘My Name Is Earl’

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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.)

“How I Met Your Mother,” Mondays (CBS). This one feels very sitcom-y to me, very set-up/punchline, very laugh-tracky. (I hate when you can tell the laughter is fake. The sound of real people really laughing? Beautiful. But real laughter being “sweetened” with extra pre-recorded mirth? Fingernails on a chalkboard.) But it’s not a bad show. The premise is that in the future, a man is telling his kids how he met their mother. The show is set in the present, with the man’s future self narrating (sort of how “The Wonder Years” worked, remember?). The man himself is likable enough, and his best friend and the best friend’s new fiancee are fine. But the really good character is in the No. 4 position, the Kramer slot, and he’s played by Neil Patrick Harris (aka Doogie Howser). He’s a fun-loving ladies-man type who always dresses in a suit and who often demands that others do the same. (“Meet me at the bar in 15 minutes!” he’ll exclaim on the phone. “And suit up!”) Most of my chuckles in the pilot episode were inspired by Doogie. Other than that, it’s only so-so, but worth checking out.

“Kitchen Confidential,” Mondays (Fox). Anything’s a letdown if it comes right after “Arrested Development,” but this comedy gives it the ol’ college try. It’s about a chef (played by the guy who played Will on “Alias”) who has just been hired at a swanky restaurant, and his crew of cooks and assistants, and all the wacky goings-on behind the scenes of a fine dining establishment. Some good underplayed laughs in the premiere (no studio audience; less “hey, look, we just made a joke!” shenanigans), and while I wasn’t completely thrilled with it, I’ll be returning the next couple weeks because I think it has some good potential, now that the exposition is out of the way.

“My Name Is Earl,” Tuesdays (NBC). We have a winner! Here’s the funniest new comedy of the season. It stars Jason Lee as a white-trash lowlife who begins to examine his life and, hoping to set things straight karma-wise, goes about undoing all the bad things he’s ever done in his life. He has a good ol’ boy brother to help him, and a dirtbag ex-wife to hinder him. It’s all set in a nameless podunk town where people live in trailers and spend every night in bars, and it’s a sharply funny show. (“Some people might think getting so drunk you accidentally marry a woman that’s six months pregnant is a good reason to stop drinking,” Earl says. “Personally, I think it’s a good reason to KEEP drinking.” Or this line: “There’s no use running! I know where your mama parks your house!”) It’s also surprisingly sweet and good-natured, being, after all, about a man trying to do some good in the world. This one’s been added to the TiVo.

The Fall of Television, Unless I Already Used That Title Once

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Do you smell that? It’s the scent of fall television! (It smells like Charlie Sheen.) All your favorite shows are back with brand-new episodes! Unless your favorite show was “Joan of Arcadia,” in which case you’ll be disappointed, not to mention a nerd. But the rest of us are excited!

Unfortunately, TV shows change over time. Rare is the series that’s as good in its later years as it was in the beginning. Everyone knows “The Simpsons,” while still generally funny, is nothing compared to its heyday. Fans of “Seinfeld” watched sadly as that show went downhill in its final seasons, culminating in a weirdly disappointing finale. And remember how “Cheers” began as a sitcom set in a bar in Boston, but by the end it was about a psychiatrist in Seattle? What was up with THAT?

HOW SOME CLASSIC SHOWS WENT DOWNHILL
– In the later years of “Little House on the Prairie,” Laura Ingalls Wilder left the town of Walnut Grove, Minn., and became a stripper in Minneapolis, dancing under the name “Half Pint.”

– The last few episodes of “I Love Lucy” were nothing more than 30-minute increments of Lucy stuffing chocolates in her mouth, a desperate attempt to relive the glory days of that one great episode.

– The last season of “Sanford and Son” didn’t star Redd Foxx, but rather the corpse of Redd Foxx, manipulated with wires and pulleys and voiced by an impersonator.

– When Gary Coleman stopped being adorable on “Diff’rent Strokes,” they replaced him with Webster.

– The final season of “The Twilight Zone” included episodes with these anti-climactic endings:
1. His grandmother, who he thought had been dead for 30 years, turns out to have been dead for 31 years, because he had the date wrong.

2. The effect of traveling back in time is that now, in the present, stop signs are more lavender than red.

3. The identity of the mysterious man who made unusual bargains with the hero and brought him wealth and fame but at some price is revealed to be Stephen Walstein, wealthy philanthropist.

4. The magic box that sends pictures through the air turns out to just be a TV.

– In the last episode of “Joan of Arcadia,” Joan went on medication that made her crazy visions go away.

Often, the reason a show takes a turn for the worse is that producers notice one element that seems especially popular, and they begin to overdo that element. Thus, we are able to predict…

HOW SOME CURRENT SHOWS WILL GO DOWNHILL

– Dr. House’s famed incivility on “House” will become so overdone that he will stop giving patients medication and simply stand at their bedside and mock them as they die. Perhaps he will also poke them with sticks.

– You like the wordy, fast-paced dialogue on “Gilmore Girls”? Then you’ll love the new format, where the soundtrack has been sped up to chipmunk levels, thus making room for even MORE talking. It’s like a tsunami of dialogue, right there in your living room!

– This season, each new episode of “Lost” will include three minutes of plot development accompanied by 57 minutes of flashbacks. By Season 3, the show will consist entirely of flashbacks, and the castaways’ current plight will only be referred to in the TV Guide episode previews.

– People love the bad auditions on “American Idol” so much that they’re going to make a switch: From now on, it’s the WORST singers who will win, not the best ones. And by “from now on,” I mean “they’ve already started, and her name is Carrie Underwood.” (Oh yeah. I went there.)

Some Emmy reactions

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  • First of all, “Desperate Housewives” is not a comedy. It should not have been nominated for any awards that have the word “comedy” in them. It has comedic elements, sure, and is often more light than heavy. But it is a soap opera, and soap operas are dramas. The fact that it’s an hour and not 30 minutes should have been Emmy’s first clue. (Quick: How many other hour-long series have been nominated as “comedies”? Answer: I don’t know. But I bet it’s none.)
  • That said, I can’t really argue with the show’s win for Best Directing in a Comedy Series, given its other nominees. And among the nominees for Best Actress in a Comedy Series, Felicity Huffman is definitely the best. I’m just glad “Desperate Housewives” didn’t win Best Comedy Series, because that would have been a travesty….
  • Almost as great a travesty as “Everybody Loves Raymond,” which DID win. This and all its other awards tonight were solely because it had been the show’s last season. It was a good enough show and everything, but any category where it’s up against “Arrested Development” (or even “Scrubs”), it deserves to lose.
  • Patricia Arquette was the Marisa Tomei of the evening, winning an award even though, among the five nominees, she was the fifth most deserving. (Glenn Close, Frances Conroy, Mariska Hargitay and Jennifer Garner were the other nominees, in order of deservingness.)
  • It’s a shame “Deadwood” got nothin’. That’s a fantastic show. (Actually, it won five technical awards, but none for acting, writing or directing.)
  • Interesting also that “The Life and Death of Peter Sellers” won nine Emmys — more than any other show — including awards for writing, directing and acting, yet failed to win Best Made-for-TV Movie.
  • Were we speaking of travesties earlier? How about Jay Leno being nominated for Best Individual Performance in a Variety or Music Program, and David Letterman being snubbed? I’m not saying Dave needs to be nominated every year. But he certainly needs to be if Leno is.
  • Speaking of Dave, he NEVER goes to these things, even when he is nominated. For him to be there — and to present something! — well, now we know what it takes. Johnny Carson has to die. But did you see the ovation he got just for walking onstage? Everyone loves him. How wonderful for Jon Stewart to mention later that the way Dave idolizes Carson, that’s how everyone in Stewart’s generation feels about Dave. It’s true, too. And no one will ever, ever say that about Leno. SUCK IT, LENO.
  • Everyone rips on “Will & Grace” for having too many celebrity guest stars. So the show felt pretty smug when it got all those Best Guest Star nominations, as if that validated its choice. But then who won? Bobby Cannavale, who 1) wasn’t a big name, and 2) actually appeared on several episodes, not just as a one-time stunt-casting thing. So the lesson for “Will & Grace” is: Stunt casting is still stupid and everyone hates it, I don’t care how many nominations it gets you.
  • And one more thing, “Will & Grace”: You are well past your prime, but once again, you felt pretty smug when you got 15 nominations, the most of any series. And then how many did you win? Two! One for a guest star, and one for cinematography! SUCK IT, “WILL & GRACE.”
  • When you include the technical awards, the Cartoon Network won seven Emmys. Fox got six. The WB and UPN got zero (out of zero nominations, I believe). But I just wanted to point out: Cartoon Network won more Emmys than Fox, WB and UPN combined.
  • Donald Trump and “Will & Grace’s” Karen Walker singing the theme from “Green Acres” is one of the funniest things I’ve ever seen.

New shows: ‘Supernatural,’ ‘Threshold,’ ‘Twins,’ ‘Head Cases’

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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.)

“Supernatural,” Tuesdays (WB). Aren’t there about 11 new shows this year that could be called “Supernatural”? How did WB snag the title before anyone else did? It’s like naming a show “Funny” or “Interesting.” Anyway, it’s about two brothers searching for their father, who went missing while searching for the supernatural thing (whatever it may have been) that killed the boys’ mother 22 years ago. The lads have accompanied Dad on “hunting” expeditions over the years, having to fight and destroy many demons, ghosts and creatures that were unrelated to Mom’s death but that needed destroying anyway. And now it’s just them, looking for Dad, solving one mystery at a time along the way. Sound very “X-Files”-ish? Didn’t Mulder have an overarching mission, too, one that colored his day-to-day supernatural investigations? Yeah. Good point. This is no “X-Files,” but the first episode (about a ghost woman who kills unfaithful men) was pretty creepy and entertaining. And I’m interested to see where the deeper mysteries — where Dad is now, what happened to Mom — lead.

“Threshold,” Fridays (CBS). CBS wants to attract younger viewers to replace their old ones (who keep dying), so they launch this show about an alien invasion … and put it on Friday nights, when younger viewers are NOT at home watching TV. You know who’s home on Friday nights? Old people. A foxy “contingency expert” (played by Carla Gugino) leads the team of scientists called in by the government when an alien spacecraft shows up and does some weird stuff. The ideas introduced in the two-hour premiere could keep them busy for years: sound waves that affect people’s behavior, a plan to alter humans’ DNA to turn them into the extra-terrestrials, survivors of the initial attack who now have superhuman strength, the possibility that the foxy expert and her team may be infected, too — yeesh. The mythology they’re creating is pretty complicated, but it’s fun if you like that sort of thing. It’s a smart show, to say the least.

“Twins,” Fridays (WB). One’s plain-looking and brilliant; the other’s beautiful and dumb. And they’re twins! And they’ve just been made CEOs of their father’s lingerie company. And they fight a lot, but they also love each other. Show was created by the team behind “Will & Grace,” but it sure isn’t very funny. Sara Gilbert (the deadpan daughter from “Roseanne”) plays the plain sister, and she made me laugh a few times (“I’m not much of a laugher, but I want you to know that’s really funny,” she told someone). But otherwise, there’s just not much TO the show. We’re a family, we fight, we run a business, we make crude, obvious jokes. Meh.

“Head Cases,” Wednesdays (Fox). One’s a corporate lawyer who just had a nervous breakdown after a lifetime of panic attacks; the other’s a two-bit shyster with a bad temper and no sense of decorum! And now they’re partners! Chris O’Donnell plays the corporate guy, and he’s better than you’d expect Chris O’Donnell to be. The other guy is Adam Goldberg, and he’s a bit too wacky/irritating for my tastes. The focus seems to be on the two men’s mental issues and how they affect their cases, rather than on the cases themselves — that is, it’s not just another show about lawyers and courtrooms. Sorta funny and sorta interesting, but I didn’t feel any compelling reason to watch it again. Plus, it’s on opposite “Lost,” so it’s going to get canceled soon anyway. (Post-script: Sure enough, after only two episodes, Fox canceled it. Seems “Head Cases” was doing so poorly in the ratings, it was actually coming in below whatever was on UPN. That’s bad.)

Thumbsucker

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Nearly all of the angst in “Thumbsucker” is internal. It is not a film about how people relate to each other, but how they relate to themselves. Yet despite the introspection, it’s an accessible movie, a colorful and warm coming-of-age story with rich characters. If it sometimes overdoes its indie-film quirkiness, it ultimately makes up for it with real depth and laugh-out-loud comedy.

The title character is Justin Cobb (Lou Pucci), 17 years old and uncomfortable with himself, as all teenagers are, but especially those who are different. Justin’s difference is that he sucks his thumb when he is stressed. His strangely unsupportive father Mike (Vincent D’Onofrio) is annoyed by it. His mother, Audrey (Tilda Swinton), is more sympathetic but is preoccupied with her obsession with movie star Matt Schramm (Benjamin Bratt), who has just checked into the rehab facility where Audrey works. (Justin calls his parents by their first names, by the way, an example of the film’s over-reaching quirkiness.)

The school psychologist diagnoses Justin with ADHD, and medication seems to help. He begins to excel in the debate club and reads “Moby Dick,” a feat which few people even of normal attention spans are able to accomplish.

As Justin comes to terms with himself, we realize his thumbsucking is a metaphor for whatever makes us different, and that different is not necessarily bad. The medication reduces the thumbsucking, but it also reduces some of who Justin is.

He encounters a number of “different” people in his travels, including Vince Vaughn as the too-cool, eager-to-please debate coach (he buys booze for the kids when they’re away at a tournament), and Keanu Reeves as a New Age dentist. Vaughn and Reeves are both very funny, with Keanu walking the line between being his usual bad-actor self and making fun of his usual bad-actor self.

Eventually Justin is confronted by his little brother Joel (Chase Offerle), who says, “You ever stop to think you’re so busy being weird that I have to step up and be normal?” Indeed, so much of Justin’s woe could be solved by accepting his thumbsucking tendencies, rather than fighting them. Would it really be so awful if he sucked his thumb for the rest of his life?

Lou Pucci gives one of the most likable, charismatic teen performances in recent memory. His Justin is earnest, smart and, most importantly, believable. Most of the film’s comedy (written and directed by Mike Mills in his feature debut) stems from situations that are exaggerated, perhaps, but not stretched beyond credibility. Pucci plays it with heart and natural ability — not unlike Aaron Stanford in “Tadpole,” which was a similarly oddball coming-of-age story that played at Sundance a few years ago. I suspect Pucci will be one to watch in the next few years, and “Thumbsucker” is an auspicious start.

The film makes two points, though. The more obvious one is that being different is not necessarily bad. But the other one is this: Not having all the answers isn’t necessarily bad, either. Justin, his parents, his New Age dentist — each of them is making desperate attempts to discover what life is all about, to find “the answers.” What the wise ones eventually learn is that maybe they don’t know anything, and maybe that’s OK. You can be uncertain and still be happy.

Lord of War

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Yuri Orlov is a gunrunner. An arms dealer. An amoral mercenary who supplies all the world’s major conflicts with the weapons and ammunition they need to enact their violence. He says he doesn’t take sides. He’ll sell to both sides of the same war, if possible. When a gun is fired, he doesn’t hear BANG. He hears KA-CHING.

This is the anti-hero of “Lord of War,” a dark, uneven satire written and directed by Andrew Niccol. Niccol has written and directed two previous films, “Gattaca” and “Simone,” and he wrote another one, “The Truman Show.” All of those films had lofty concepts centering around a big lie of some kind. In this case, the protagonist is both the liar and the victim. He’s lying to himself.

Nicolas Cage plays Yuri, a product of Little Odessa, a Ukrainian neighborhood of New York’s Brighton Beach, where he saw plenty of Russian mafia activity during his formative years. It occurred to him as a young man that someone who trafficked in guns and ammo would be assured a wide customer base. The urge to kill one another is almost as basic as the urge to eat, and nearly as ancient, too.

So in the early 1980s, he begins his operation, taking his brother Vitaly (Jared Leto) along for assistance. Yuri tells us in narration that he supplied weapons to almost all your big-league despots and warlords in the ’80s. (“I never sold to Osama bin Laden. Not on any moral grounds; back then he was always bouncing checks.”) Simon Weisz (Ian Holm), the richest underground-arms dealer in the world, tells Yuri he can’t do business that way, selling to absolutely everyone. “You have to take sides,” he says. Yuri ignores him.

The story takes us through the ’80s into the ’90s. The end of the Cold War dried up some markets for Yuri, but as luck would have it, Africa was brimming with dictators and madmen who needed weapons. It puts him on the wrong side of the law, but the U.S. federal agent (Ethan Hawke) who doggedly pursues him can never get anything to stick. (Conveniently for Yuri, and for the film’s storyline, this particular lawman is too by-the-books to even BEND the law in order to catch him.)

Yuri has a wife, Ava (Bridget Moynahan), who doesn’t ask questions and who enjoys her wealthy lifestyle. She’s from his old neighborhood, though she doesn’t remember him. “She didn’t know I existed,” he says. “I was starting to think she had a point.”

Sharp writing like that, and some deft cinematographic tricks — like the opening sequence, which shows us a bullet’s point of view from production to firing — suggest a film much better than this one actually is. For while at first it seems to be a dark satire, it shifts later, when Yuri develops something of a crisis of conscience — a fact that is meaningless to us because we don’t care about him as a character. He’s not a person, he’s a type, and so his inner turmoil is dramatically ineffective.

But Cage is good, somewhere between his Very Serious self (e.g., “Leaving Las Vegas”) and his Wacky Unhinged Self (e.g., “Honeymoon in Vegas”). To the extent that the caustic, pessimistic script allows it, he remains in touch with the audience, giving us what we want: a few grim laughs and some scary ideas. I just wish the film made its points about guns and governments better, and less heavy-handedly.

Just Like Heaven

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Usually the conflict in romantic comedies is that the two people in question simply don’t get along, or are kept apart by weak circumstances that are easily overcome in the film’s final act. But the conflict in “Just Like Heaven” is that one of the people is dead. Take that, “Must Love Dogs”!

The dead person in this agreeably cute rom-com is Elizabeth Masterson (the agreeably cute Reese Witherspoon), a harried E.R. doctor in San Francisco who is involved in a car accident one night, leading to her new non-corporeal state of being. Her apartment is sub-let by her bereaved family to David Abbott (Mark Ruffalo), a sad-sack whose wife died not too long ago and whom his friend/psychiatrist Jack (Donal Logue) cannot convince to get on with his life.

Trouble is, Elizabeth hasn’t left the apartment. Her spirit hangs around, appearing to David — and only David — and terrifying him. She’s terrified, too: As we learned in “The Sixth Sense,” sometimes dead people don’t even know they’re dead. Elizabeth is one of those, and she wants to know what this strange man is doing in her apartment. Then she realizes she can’t touch anything and starts to accept that maybe she’s not as alive as she thought she was.

She doesn’t FEEL dead, though, and there’s a reason for that that I won’t get into. But she’s definitely a spirit, and she definitely has amnesia about her life, leaving David — her reluctant mortal companion — to help her piece together clues about who she was and what happened to her.

(This includes visiting a wonky spiritualist played by Jon Heder, aka Napoleon Dynamite. I am supposed to mention this because it’s his first post-Napoleon role. I’m pretty sure the character doesn’t even need to be in the movie. But I’m glad Heder’s getting work, because he seems like a good guy.)

Witherspoon and Ruffalo have a fair amount of chemistry together, which is impressive given that their characters can’t make physical contact with each other. Witherspoon’s persona as a perky control freak is cemented — David summons Elizabeth’s spirit by threatening to put a coffee mug on the table without a coaster — and Ruffalo works his already-established mojo as a laid-back, likable loser to considerable effect. He handles the physicality of the role especially well, with ongoing comic reactions to Elizabeth’s presence and a particularly good moment when Elizabeth briefly inhabits his body. (Not overdone, thankfully, since we’ve seen that kind of comedy before.)

The writers are Peter Tolan and Leslie Dixon, veterans of fair-to-middling comedies such as “Guess Who” and “Mrs. Doubtfire,” and their source material is a book by Marc Levy. They and director Mark Waters (“Mean Girls,” “Freaky Friday”) bring the film to an affably goofy climax that even has a few surprises, only to mar the achievement with an unnecessary conflict that delays the inevitable happy ending. Perhaps the bylaws of romantic-comedies required there to be a scene of the protagonists missing each other (set to a sappy pop song) before they could finally live happily ever after. But I say one major conflict is enough, especially when it’s a good one like somebody being dead.

Cry_Wolf

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“Cry_Wolf” is one of those cheap thrillers about teenagers being scared of something that may or may not exist. It’s a pretty decent one, actually, as far as these things go, until its finale, which is either really clever or really stupid, depending on how on-board you are with the whole thing.

It’s set at an exclusive prep school called Westlake, in an unnamed town where a local girl was recently found murdered in the woods. Some of the Westlake kids — led by bad girl Dodger (Lindy Booth), herself a townie-turned-Westlaker — decide, for fun, to manufacture an urban legend about the killing. Through the magic of e-mail, they spread the word that a serial killer has terrorized several other prep schools in recent months, and that he always starts by killing a townie in the woods. So watch out, Westlake! His reign of blood is just beginning!

It’s not true, of course; no one knows who shot that townie, but the serial killer — they call him “The Wolf” — doesn’t exist. But the rest of the school doesn’t know that. And if there’s one thing teenagers believe, it’s everything they read on the Internet. Soon the school is abuzz with talk of The Wolf, and speculation over who he’ll kill next.

Here is where the film (written by Beau Bauman and Jeff Wadlow and directed by Wadlow) diverges from the path you think it will take. You’re assuming, as was I — and as the ads for the film suggest — that students are actually going to start dying, following the modus operandi that Dodger and friends made up for their fictional killer. And indeed, someone calling himself The Wolf does start sending instant messages to people online. Everyone in Dodger’s group of friends assumes it’s one of the others playing games. But what if it’s something else? What if the real murderer — someone really did kill that girl in the woods, after all — read the Wolf e-mail and decided to BECOME The Wolf?

It’s the speculation on that point that comprises the bulk of the film, with creepy things happening that are attributable either to friends playing a joke or to a real killer stalking the school, and we’re not sure which it is. It becomes less about killing and more about the power of gossip (reminding me of the movie “Gossip,” an equally enjoyable trashy thriller that has been forgotten by time).

Dodger and the new kid, Owen (Julian Morris), have a budding romance that is threatened by Dodger’s apparent affair with a teacher (played by Jon Bon Jovi). Owen’s roommate Tom (Jared Padalecki), a football type from Texas, blames Owen when their room is vandalized and Owen’s possessions are untouched. Randall (Jesse Janzen), a multiply-pierced pseudo-punk, disappears for a couple days and a piece of jewelry that was once attached to his lip shows up covered in blood. Mercedes (Sandra McCoy) and her boyfriend Lewis (Paul James) and their feminist friend Regina (Kristy Wu) round out the septet of friends, and any or all of them could be involved in the mysterious happenings.

Rest assured, there is eventually violence and death, and a fair amount of it. And then the twists come, in the classic one-two punch where No. 1 is the surprise ending and No. 2 is the surprise epilogue. Surprise No. 1 is nothing compared to No. 2.

As I said, your acceptance of these shockers depends largely on how “into” it you were to begin with. A few elements were absurd enough to make me laugh out loud. A few others seemed ludicrous — until the movie replayed brief snippets of itself to back up its story and I realized how much sense it actually made. I have a begrudging admiration for a movie that can set up a house of cards, wreck the house of cards, and then persuasively argue that the house wasn’t made of cards at all, but of impenetrable steel. “Cry_Wolf” is dumb, yeah, but it’s so convinced it’s smart that it almost makes you believe it, too.

Venom

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One of the repercussions of Hurricane Katrina is that several movies preparing to be shot in Louisiana have had to be moved to other locations. It’s an unfortunate bit of timing for the state, which was in the middle of a filmmaking boom that included “The Dukes of Hazzard” and “Skeleton Key.” You’ll note that neither of those films was anything special. “Venom,” shot in Louisiana ages ago and only now being released, is worse than both of them. Maybe it’s for the best that Louisiana not be tainted by any Hollywood productions for a while.

Previously titled “The Reaper” and “Backwater” before finally settling on “Venom,” it is an old-school slasher movie, complete with randy teens, the slaughtering of hateful characters who were made hateful just so we’d enjoy seeing them get slaughtered, and a scene where a dead person comes back to life in the morgue and kills the coroner. The only thing separating this from a “Friday the 13th” episode is its release date (Friday the 16th — so close!).

In a small Louisiana town where no one has a Southern accent, a white-trash tow-truck driver (pardon the redundancy) named Ray (Rick Cramer) is killed in a weird accident that involves him being in the backseat of a car that falls off a bridge. The fall isn’t really what kills him, though; it’s being attacked by the contents of a suitcase that is also in the backseat, those contents being deadly computer-generated snakes.

Why was there a box of snakes in the backseat? Why, voodoo, of course! An old voodoo practitioner had special skills that enabled her to “milk” the souls of people and put them in snakes, thus saving them (the people) from damnation (I think). So those weren’t just any old snakes. Those were snakes that had the evil of a thousand murderers and rapists in them! Which means now Ray has that, too! Except he’s dead, so it’s OK!

Except he doesn’t stay dead for long, obviously. Soon he’s driving his tow truck around, killing teens with a crowbar and generally making a nuisance of himself. Among his targets are: his own illegitimate son (D.J. Cotrona), who was ashamed to have Ray for a father even when he was alive, let alone when he’s dead and murdering people; couple-in-love Eden (Agnes Brucker) and Eric (Jonathan Jackson), who are having a spat because she’s about to go to New York for college; Rachel (Laura Ramsey), who looks exactly like Eden and has no discernible personality traits; and Ricky (Pawel Szajda), who is in the gang for comic relief, I think. All of these people are hot, and some of them wind up with crowbars in them.

Also, there’s Cece (Meagan Good), the granddaughter of the zombie practitioner, who picked up some mad skillz at grandma’s knee and who just might be able to send Ray back to the grave. Maybe that was the intent of the screenplay (written by three people, two of whom have mostly video games for writing credits). The film’s finale was obviously shot long after the rest of the movie — it’s even on different film stock — so who knows what director Jim Gillespie (“I Know What You Did Last Summer”) changed his mind on.

Apparently he changed his mind on being scary, though, because not a moment of it is. There are a couple mildly creative deaths, I suppose, and plenty of attractive gore. But mostly it’s a lifeless, uninspired horror flick that ought to have been left in whatever hole they found it in.

The Thing About My Folks

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Paul Reiser: funny guy, sure. Makes us laugh. Liked him on that “Mad About You” program, with that Helen Hunt girl. But a screenwriter? This is what he is now? He writes for the screen? This, I don’t know about. This, I’ll have to see.

(That was my Paul Reiser impersonation. It loses something without the audio element, maybe.)

Reiser has written “The Thing About My Folks,” a film in which he stars with Peter Falk. They play father and son, which seems like perfect casting, and Reiser says the film is somewhat autobiographical, which means his real father was a lot like Columbo. I can imagine that.

Reiser’s character, Ben Kleinman, takes his dad, Sam, on an impromptu road trip after his mother (Olympia Dukakis) suddenly walks out on the old man. Why leave after 40 years of marriage? That’s the question on everyone’s minds. Ben thinks his dad could use some time sorting things out, though Sam doesn’t think anything was wrong in the first place.

The road trip occurs almost accidentally, and it involves a few father-son bonding experiences that the two missed out on before: fishing in a river, going to a baseball game, that sort of thing. More importantly, there is a good deal of conversation, sometimes in the form of witty old-Jewish-man banter, sometimes in the discussion of more serious subjects, often both simultaneously. Sam speaks in a stream-of-consciousness ramble, easily veering from the subject of his failing marriage to the sweetness of the peach he just bought at a roadside stand and back again.

Reiser’s persona is typical Reiser, and either you think he’s funny or you don’t. I do. He’s quick-witted and smart, able to analyze the absurdity of a situation while it’s happening. Before it’s even sunk in that something is silly, he’s on the case, dissecting it and pointing out what’s ridiculous about it.

As for Falk, I would say he steals the film from Reiser, but I think Reiser just opened the vault and let him come in and take what he wanted. Falk makes Sam a terrific character, a garrulous old coot with a good heart who thinks the same way he walks: with an easy-going shuffle. This is a very funny movie, and Falk is responsible for 75 percent of the laughs.

He’s a great actor, too, which Reiser, let’s face it, is not. (Paul Reiser is best at playing Paul Reiser.) When an old letter surfaces explaining what may have been wrong with his marriage, Sam launches into a monologue that is a combination of harangue and catharsis. He worked hard for his family. He loved his wife and children. What more do you want? You can see Sam asking himself that question — no longer merely rhetorical — as he vents and fumes about the indignity of being dumped at the age of 60-something. If you don’t love Peter Falk (and Sam) after that, you are dead inside.

A movie like this eventually finds its gooey center, but this one handles it without becoming too sappy. The director, Raymond De Felitta, last worked on “Two Family House,” a little-remembered gem from 2000 that was, like “The Thing About My Folks,” clearly a labor of love. He takes Reiser’s good screenplay, adds a veteran actor who nails his performance, and comes up with a perfectly charming comedy.

Everything Is Illuminated

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Jonathan, the protagonist in “Everything Is Illuminated,” is an odd, quiet young man whose large Hobbity eyes (they are the eyes of Elijah Wood) are made larger by enormous spectacles. He wears a suit and tie at all times, even when he is sleeping outdoors in a field, and his hair is slicked nerdily. He compulsively saves mementos of everything, keeping them in Ziploc bags and tacking them up on the walls of his home.

It’s this desire to document his experiences in the world that leads him to the Ukraine, his grandfather’s homeland before fleeing the Nazis and coming to America. A woman named Augustine — all Jonathan has is a first name and a photograph — helped his grandfather make the escape, and Jonathan wants to find her and thank her.

To that end, he enlists the services of Heritage Tours, an Odessa-based business that specializes in helping American Jews find their dead ancestors. Our narrator, Alex (Eugene Hutz), is the 20-ish son of the proprietor. Alex dresses like an American hip-hop thug and apparently learned English from the wild-and-crazy Festrunk Brothers on “Saturday Night Live.” (“Many girls want to be carnal with me because I am such a premium dancer,” he says.) He is enlisted, with his grandfather (Boris Leskin) and their dog Sammy Davis Jr. Jr. (yes, Jr. Jr.), to drive Jonathan around the countryside in search of this Augustine woman.

That’s the setup for this contemplative, bittersweet film, as much a sublime comedy as it is a drama about the urgency of understanding and learning from one’s past. Based on the novel by Jonathan Safran Foer, it was adapted and directed by the actor Liev Schreiber, who makes an impressive debut in both capacities.

There is much to admire in the film’s strange sense of humor, from Alex’s bizarrely broken English, to Grandfather’s insistence that he is blind despite all evidence to the contrary (he’s the one who drives the Heritage Tours vehicle), to the quaint, fractured little Ukrainian places the travelers visit. But the purpose of the mission is serious, and it reveals things about the Ukraine’s involvement in the Holocaust that even Alex, who is as Ukrainian as they come, didn’t know.

Eugene Hutz is, from what I read, the lead singer in a “gypsy punk” band, whatever that means, with no prior acting experience — but you wouldn’t guess it from his performance, which is jaunty and effervescent and utterly lacking in self-consciousness.

Elijah Wood, meanwhile, is earnestly calm as Jonathan, his face registering interest in what’s going on, but seldom more than that. It’s an effective method for a while, as it fits the film’s generally low-key demeanor — there are many long shots of nothing more than a Ukrainian countryside accompanied by authentic-sounding music — but in the end it backfires. Wood’s face barely shows the emotional strength of the finale (which is startling enough to be a little heavy-handed, even), and his words only suggest it.

That said, Wood has a sort of magnetism throughout the film: Jonathan is such a fish out of water that watching him trace his roots is perpetually interesting. Watching Alex is interesting, too, but for the opposite reason — he’s free-wheeling and off-center. Together, they comprise a pair (and a movie) that is absolutely premium.

Separate Lies

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“Separate Lies” is a grownup drama about grownup people having grownup problems. The way they handle those problems, however, is childlike: They lie. You may think you’re a mature adult with a well-developed sense of right and wrong, but when everything hits the fan, your first inclination to weasel out of it, isn’t it?

The film is written and directed by Julian Fellowes, adapting Nigel Balchin’s novel. Fellowes previously won an Oscar for writing “Gosford Park,” another film about upper-class British types who unwisely ignore their hired help. Here we have James Manning (Tom Wilkinson), a prickly, didactic London solicitor who shares a country home with Anne (Emily Watson), his self-conscious wife. He loves her, but his demeanor is critical and she feels inadequate for him. When she encounters Bill Bule (Rupert Everett), the laid-back scion of a local millionaire, recently moved back to town, the seeds for deception are sown.

Yes, they have an affair, but that is not what drives the action. Instead, an old man — the husband of the Mannings’ housekeeper Maggie (Linda Bassett) — is struck and killed by a passing car. Bill’s car has a scratch on it. James, no fan of the youthful, frivolous Bill even before he learns of the affair, insists that Bill ought to be dealt with by the law if he is guilty. Then Anne reveals some pertinent information, and suddenly James discovers that his ethics are situational.

The three central figures in the story are motivated by guilt, shame, pride, jealousy and even moralism, occasionally trying to do what’s right while other times trying to redefine “rightness” so they can still be said to be pursuing it. Other times, they blatantly disregard their consciences and do what is easiest. But, as movies about murders and cover-ups have always taught us, getting away with lying is often harder and more nerve-racking than simply telling the truth.

There is often a comic element to the story, stemming from the characters’ upper-class manners being juxtaposed with their seedy situation. The way Anne tells James she’s been sleeping with Bill is as lowbrow as it gets, and a stark contrast to the stuffy Britishness that normally governs their behavior. Hearing a wealthy solicitor’s wife use gutter language is like hearing the Queen do hip-hop. You wonder how she even LEARNED those words, let alone felt confident saying them.

Everett plays a rakish playboy better than almost anyone, with an infectious combination of insouciance and idleness. If his infrequent appearance in films these days is truly, as has been speculated, because too few directors are willing to cast an openly gay actor in straight roles, then it’s a shame. (Come on, Hollywood. There’s hardly a difference between British and gay, and you can’t tell just by watching Everett whether he’s one or both.)

Wilkinson and Watson bear the heaviest emotional loads, however, and they do so with practiced excellence, two reliable actors in roles that are familiar to them. They do well in upper-class situations, and it’s a painful pleasure to see them humbled by something as low as a housekeeper’s dead husband.

Fellowes has had a long career as an actor and writer, but this is the first time he has directed. What he does in that regard is not spectacular, but neither is it amateurish. Sometimes the best thing you can do as a director is to find (or write) a solid screenplay, cast excellent actors, and let those elements work their sorcery together.

To the guy who is currently winning every day on “Jeopardy!”

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To the guy who is currently winning every day on “Jeopardy!”:

You are smug. I don’t like you.

Also, I do not like how you start in the middle or at the bottom of the categories. Please start at the top, like you’re supposed to.

You are no Ken Jennings. I know it is tempting for you to think that you are, because you have won 18 straight games. Please do not delude yourself. You win by narrow margins. It is seldom a runaway. Tonight you pronounced “tarot” with the T sound on the end, which is supposed to be silent. Ken Jennings would never do that.

In short, please lose soon, because I am tired of you.

Love,
Eric

New shows: ‘Prison Break,’ ‘Reunion,’ ‘The War at Home,’ ‘Bones’

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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.)

“Prison Break,” Mondays (Fox). All right, I’m in for the long haul on this one. It’s a preposterous story — a man commits a crime just so he can go to prison, just so he can break himself and his already-incarcerated brother out — but it’s told with the attention to cliffhangers and plot twists that has made “24” so addictive. He only has a month to get his brother out before he’s scheduled for execution! Gotta move fast! So outrageous, but so fun.

“Reunion,” Thursdays (Fox). Me, I don’t care much for prime-time soap operas. They get old fast. To keep them lively, there’s gotta be a supernatural or crime-solving twist. So I’m intrigued by “Reunion,” about a sextet of friends, one of whom is going to be murdered by another one. The gimmick is that each episode covers one year, starting in 1986, with the 20th (and final episode) being in the present. Who gets murdered? We don’t know yet. (I hear we find out in episode 5.) Who’s the killer? We probably won’t know until the finale. In the meantime, it’s soapy melodrama, one year at a time, with year-appropriate pop songs on the soundtrack. The pilot episode suggests a strong reliance on dialogue that is either expository (“He’s my best friend!”) or a verbal expression of the character’s inner monologue (“I’m feeling very confused right now!”). So the question is whether the mystery-solving element will be enough to get me through the more terrible aspects. I’ll be week-to-week on this one.

“The War at Home,” Sundays (Fox). This crapfest gets the prime spot between “The Simpsons” and “Family Guy”? A schande! This live-action sitcom is your basic “Married … with Children” variation, with a husband and wife who love/hate each other, and their three kids, whom they also love/hate. The show wants to be “edgy,” apparently thinking that will automatically make it funny, too, but it doesn’t work that way. Dad fears teenage son might be gay. Teenage daughter wants to date a black guy. Fodder for comedy, perhaps, but the show has no idea how to deal with these issues. It thinks all it has to do is bring them up and hilarity will automatically ensue. “I’m not letting her go out with him!” Dad says. “I’d rather drink my own urine!” And that’s as clever or insightful as it gets. May it never befoul my TiVo again.

“Bones,” Tuesdays (Fox). David Boreanaz plays an FBI agent, Emily Deschanel plays a forensics expert called in to help identify bodies and stuff. The dynamic is that she’s no good at dealing with people outside the lab, while he’s a great crime-fighter, works well with others, understands human nature, and so forth. The pilot episode mentioned this difference about 1,000 times. (“My most fulfilling relationships are with people who are dead!” she says.) It’s pretty standard “C.S.I.” stuff — identify the body, then solve the crime — and I predicted who the killer was early in the episode. But the dialogue is snappy and the two leads have some good Mulder-Scully chemistry together. I probably won’t watch it every week, but I wouldn’t kick it out of bed for eating crackers.

Blame It on the Rain

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President Bush’s first response to Hurricane Katrina was the same as everyone else’s: He ignored it. Hurricanes hit the Southern states all the time in the summer, knocking mobile homes off their foundations and wheel-less El Dorados off their cinderblocks. It’s not newsworthy. In fact, it’s usually funny.

But when the severity of this particular storm became apparent, Bush’s reaction was again the same as everyone else’s: He developed a worried look on his face. After that, his response was different from yours and mine. While you and I sat around lazily and looked at images of destruction on TV, Bush got on an airplane and looked at those images from several hundred feet above them. The same as watching them on TV, I guess, but in high-definition.

Once he had seen the destruction from the sky, Bush immediately swung into inaction. Despite having proven with the Terri Schiavo case that he is perfectly capable of providing swift aid to people who are already dead, Bush was curiously slow to get adequate military and medical support to the Katrina disaster zone. The official word was that the roads were impassable — but Harry Connick Jr. was able to get to there, so why not the National Guard? (And why Harry Connick Jr.? Hadn’t those people suffered enough?)

The Department of Homeland Security, which Bush formed after 9/11 and into which the Federal Emergency Management Agency (FEMA) was folded, was slow, too. By all appearances, Homeland Security has been so focused on possible terrorist attacks that they forgot all about nature, and what a b-word she can be.

In Bush’s defense, we were all caught a little off-guard. As I mentioned, hardly a week goes by in the summer that some part of the South isn’t hit by a hurricane. It’s usually bad in one relatively small area, and FEMA and the Red Cross can handle it. Katrina was different, though. The hurricane itself was a doozy, but the breaching of New Orleans’ levees essentially added a second disaster on top of it. Maybe we can understand why, at first glance, the impact of the whole thing failed to register with the president. It’s so huge as to be incomprehensible. And though there are some who would put a joke here about how a lot of things are incomprehensible to President Bush, I am not one of them. (Not today, anyway.)

So that’s how Bush responded. Other people figured prominently, too, though. How did everyone else react?

Liberals: Blame Bush for not reacting sooner.

Ultra-liberals: Blame Bush for the hurricane itself.

Conservatives: Dance around for a while trying to figure out how everything Bush did or didn’t do was exactly right (also known as the Doctrine of Presidential Infallibility).

Ultra-conservatives: Blame it on our nation’s too-loose borders. (Who let this “Katrina” in the country in the first place?)

People named Katrina: Despair at being forever tainted, like people whose birthdays are Sept. 11.

’80s pop band Katrina & the Waves: Feel guilty about renewed prominence in people’s minds; plan reunion tour.

National Hurricane Center: Elect to start naming hurricanes after terrorists instead of regular people. (Next up: Hurricane Saddam; Hurricane al-Qaeda; Hurricane Pat Robertson.)

Whoever killed that Natalee girl in Aruba: Breathe sigh of relief that CNN has finally stopped covering that story 24/7.

Amidst all the urgent news, there were also some odd announcements, like the one that legendary blues singer Fats Domino, a New Orleans resident, had not been heard from and was feared dead. Later, this story was updated to indicate he was fine. WHEW. I know I slept a little easier that night, knowing Fats Domino was OK. To lose thousands of regular people is one thing, but if we’d had to deal with the loss of Fats Domino on top of all that … well, it might have been too much for this burdened nation to bear.

We also had The Washington Post reporting that “General Motors yesterday (Sept. 1) was already blaming Katrina in part for a 16 percent drop in sales in August,” even though Katrina didn’t strike until Aug. 29. Apparently General Motors usually does 16 percent of its business on the last days of the month, which is pretty procrastinatey of them. No wonder Japan’s got us beat.

Then there was the story in Salt Lake City’s Deseret Morning News about Katrina refugees being sent all over the country. “About 50 people were loaded onto a plane late Saturday, but when told they were going to Salt Lake City, nearly 20 people got off,” the story says, indicating another black eye for Utah, in that people would rather be homeless than go there.

And don’t forget the insane idiots! They emerge after a disaster like spiders out of an old sofa. Just after the hurricane, Columbia Christians for Life declared Katrina to be God’s method of destroying New Orleans’ five abortion clinics — which, if true, means God has gotten extremely sloppy in His old age, leveling hundreds of square miles of land when He only meant to hit five specific buildings. Since I have a good deal of faith in God’s aim, I have my doubts concerning Columbia Christians for Life’s explanation of the hurricane.

That is, I HAD my doubts, until I read their evidence. The group pointed out that a particular satellite photo of Katrina looks a lot like a picture of a baby in a womb. That’s all the convincing I needed, and if that isn’t enough for you, then it probably means you’re evil and sometimes you perform abortions just for fun.

There is surely a lot of blame to go around. Local and state officials should have had a better plan in place. Louisiana shouldn’t have wasted its federal levee-reinforcing dollars on candy and gum. Seeing that the local agencies had blown it, Bush should have ensured that his staff, including the Department of Homeland Security, sent help sooner. People who had the means to evacuate should have done so when they were told to. All those Southerners shouldn’t have lived so close to those abortion clinics. Everyone’s at fault somehow. Everyone except you and me, that is. And while we’re being smug in that knowledge, let’s all send a few dollars to the Red Cross, OK?

An Unfinished Life

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Robert Redford has been less active in recent years (as a movie star, anyway), but “An Unfinished Life” is a reminder that his talent is only getting stronger, that his acting life is indeed not yet finished.

Here he plays a gruff and solitary Wyoming rancher named Einar Gilkyson, whose body and pickup truck are both beginning to suffer from age. With his frequent muttering and cowboy-style swearing, Einar is a Clint Eastwood kind of role for Redford; he’s even got Eastwood’s old buddy Morgan Freeman on staff, as Einar’s ranch hand and best friend Mitch.

Einar sold off most of his cows years ago and now lives quietly and simply on the homestead. This existence is disrupted by the arrival of his dead son’s wife Jean (Jennifer Lopez), whom he has not seen since the funeral 12 years ago and whom he blames for the car-accident death of his beloved son. He did not know that Jean was pregnant at the time of her husband’s death; the fruit of that circumstance, Einar’s granddaughter, is named Griff (Becca Gardner) and she’s 11, and she’s just as surprised to learn of Einar’s existence as he is of hers.

Jean and Griff have fled Jean’s most recent abusive boyfriend (Damian Lewis), and if the bruise on Jean’s cheek does nothing to detract from J-Lo’s airbrushed glamour, at least the situation is slightly more realistic than it was the last time she played an abused woman (I’m referring to “Enough,” not her relationship with Puff Daddy). Her dirtbag boyfriend is bound by Hollywood’s laws of abusive men to follow her to Wyoming, but thankfully the film does not dwell excessively on that little melodrama.

The thrust of the story is driven by emotions, not plots, and primarily on the rift between Einar and Jean: him senselessly blaming her for something she couldn’t control, her having low enough self-esteem to think she deserves it. There is some unfortunate speechifying and platitude-making — Griff yelling at Jean for choosing such rotten men; Jean yelling at Einar for blaming her for his son’s death; Mitch yelling at Einar (well, the Morgan Freeman version of yelling) for refusing to forgive anyone. But I suppose when you put this many wounded characters together in a room, they’re bound to lash out at each other.

The conscience of the film, of course, is Mitch. Rare is the film in which Morgan Freeman appears that he is not the conscience. Mitch was mauled by a bear a year ago, and the right half of his body shows the horrible scars. Every morning Einar injects him with morphine to help with the pain, helps him shave, helps him get dressed. Their decades-old friendship is so tender (beneath the standard cootiness of old age) that young Griff assumes they’re gay. They’re not — the gay cowboy movie is called “Brokeback Mountain,” and it hasn’t been released yet — but Mitch is the sort of saintly character who inspires such devotion.

What’s more, he’s forgiven the bear. The bear was just following its natural instincts; it had no malice toward Mitch. And if Mitch can forgive the beast that deformed him, why can’t everyone else in the movie forgive the people who have hurt them?

The screenplay, by Mark Spragg and Virginia Korus Spragg, indulges in such obvious parallelism, yes, but it sure makes you feel good. As Einar warms to his granddaughter and eventually to his daughter-in-law, and as Jean (somewhat less clearly) comes to believe she is worthy of a good man (the local sheriff, specifically, played by Josh Lucas), Lasse Hallstrom’s straightforward direction brings the story to the cockles of one’s heart, which it promptly warms.

It is not revelatory material, but it’s played well — not so much by Lopez, who is the same as always, nor by newcomer Gardner, who is your typical young actress, but by Freeman and Redford. Freeman has done this character before, several times, but Redford is in somewhat uncharted territory as a man who has spiraled since his son’s death yet who is not one-dimensionally mean or angry. Einar has a friendliness to him and a quick sense of humor, the sort of man everyone in town likes, even if he’s somewhat less accessible these last few years.

When Mitch asks Einar if he’ll bury him up near his son, Einar waits a beat and replies, “Shouldn’t you die first?” Personally, I’m not comfortable with the idea of Freeman or Redford dying. “An Unfinished Life” demonstrates that both actors are still in their prime, rising above even ordinary material.

The Man

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“The Man” is a reminder of something we Americans had forgotten in recent years: Eugene Levy is only funny when he’s not the star. Supporting or ensemble roles, he nails it. Sometimes he’s the only funny thing about a movie. But put him in the lead, and stand back, because this thing is gonna blow.

This is the case with “The Man,” an anemic buddy comedy in which a nerdy dental-supply salesman named Andy Fiddler (Levy) gets dragged into a case with a street-wise, tough-talking Detroit cop named Derrick Vann (Samuel L. Jackson). This happens because Andy happens to be reading USA Today at a diner, and the bad guys Vann is trying to catch in a sting operation were told that their contact would be doing that. What would Vann have done if, as was entirely possible at 8 a.m. on a weekday, the diner had been FILLED with people reading USA Today?

Vann’s trying to find out who killed his partner, by the way, though you probably assumed that; it’s what hard-nosed cops are always doing in movies. Andy’s in town for a convention of dental-supply salesmen, and he just wants this mess to end before he has to give his speech tomorrow morning, but of course the mess just keeps getting stickier and stickier. The bad guys think Andy is a shady gun dealer, and I guess that’s supposed to be hilarious, because, I mean, LOOK at the guy.

The roles are too easy for both actors. You can almost hear the pitch to the studio: “The cop is a Samuel L. Jackson type, a real bada** mofo, you know? And the other guy is a really dorky white guy with glasses, a real Eugene Levy type, you know?” And the studio exec says, “Why don’t we just get Samuel L. Jackson and Eugene Levy?”

They could play these roles in their sleep is my point, though I give them credit for apparently taking it seriously despite the misgivings they surely had about the script (written by Jim Piddock, Margaret Oberman and Stephen Carpenter; Piddock is an actor who has appeared with Levy in the last few Christopher Guest movies). They pry a few chuckles from the standard “we’re partners but we don’t like each other” dialogue, certainly more than the movie deserves.

I was thinking it was about a C- movie: unquestionably bad, but not aggressively or annoyingly so. Then Levy’s character started farting. That’s when it became a D+ movie. I’m capricious like that sometimes.

The Exorcism of Emily Rose

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Combine the gripping drama of “Law & Order” with the satanic frights of “The Exorcist” and you’ve got … a movie that would be much better than “The Exorcism of Emily Rose,” which borrows too heavily from one genre and not enough from another. It is, essentially, a flat courtroom movie that has been spiced up with a few scenes of demonic possession. I admit that this is a good way of enlivening a dreary legal proceeding; the problem here is that it hasn’t been done extensively enough.

Set in an unspecified year in an unspecified city, the film (allegedly based on a true story) begins with the death of Emily Rose (Jennifer Carpenter), a college freshman who was either possessed by the devil or simply a psychotic-epileptic, depending on whom you ask. Her priest, Father Moore (Tom Wilkinson), is charged with reckless endangerment in her death, which occurred after he performed an unsuccessful exorcism.

The state puts Ethan Thomas (Campbell Scott) on the case because he’s one of their best assistant district attorneys — oh, and because he’s also a church-going Christian, so he won’t seem rabidly anti-Catholic. The church hires agnostic Scully type Erin Bruner (Laura Linney) to defend Father Moore. She doesn’t believe in demons and devils, but I bet she starts believing when creepy things start happening in her house every night at 3 a.m.!

Oops, I’ve gotten ahead of myself. The film is set almost entirely in the courtroom. The scenes of Emily possessed (or whatever she was) are shown via flashback: Someone testifies on the stand, and we see the events they’re describing. It’s like “Cold Case,” but without the era-appropriate pop songs.

The prosecution’s case is that Emily was simply epileptic and psychotic, and that Father Moore was irresponsible in persuading her to stop taking her medication. The defense says there’s no way of proving definitely that she was or wasn’t possessed, nor that she was or wasn’t epileptic-psychotic, for that matter. In a rather fascinating turn, Erin Bruner brings in an expert (Shohreh Aghdashloo) to testify on the science of demonic possession, lending some respectability to the otherwise crazy-sounding notion of a girl gettin’ the devil in her.

Aside from that, it’s your basic courtroom stuff, with a lot of objecting and striking from the record and approaching the bench and whatnot. Bruner even uses my favorite technique, where you say something awful and unfair and then, when the opposition objects, simply say, “Withdrawn,” and it’s like it never happened. (“Your mother’s a whore.” “I object!” “Withdrawn.”) If only that worked in life.

But wait, you say. You’ve seen the trailer for this movie and it looks super-scary! And it is. The trailer, I mean. The movie isn’t. You know how some comedies put all the funny parts in the trailer? Well, if you’ve seen the ads for this film, you’ve seen all the creepy parts. I’m sorry to have to tell you that. Believe me, I’m as disappointed as you are.

They’re fine as far as they go: intense scenes of the girl Linda Blairing it up while thunder crashes and hand-held cameras bounce around. Father Moore shouts his Latin; Emily responds in a foreign language and a Freddy Krueger voice (though without the vulgarisms that made “The Exorcist” such a hoot); bystanders genuflect and utter the names of deity in a way that is technically praying but sounds like swearing.

Director Scott Derrickson (who co-wrote the screenplay with Paul Harris Boardman) clearly digs this kind of thing. He previously made a direct-to-video “Hellraiser” sequel and wrote “Urban Legends: Final Cut.” You wonder, then, why he’d make this movie, which so painfully neglects its exorcism story in favor of a drab legal one.

What a cast he got, too! Laura Linney and Tom Wilkinson class up the joint quite a bit, working like pros to make their hacky dialogue sound reasonable. I’m a little embarrassed for Campbell Scott, though. Here he is, a great actor who doesn’t get noticed enough, and he’s blustering and overdoing his way through the first major role in a wide release that he’s had in many years. Please ignore him here and go rent “Roger Dodger” or “The Secret Lives of Dentists” instead. I compel you, and the power of Campbell Scott compels you.

This Divided State (documentary)

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When it was announced that Michael Moore would speak at Utah Valley State College two weeks before the 2004 presidential election, the locals went berserk. You might just as well have announced it was raining sheep dip for all the uproar and indignation it caused.

For you see, UVSC is in Orem, Utah, right next to Provo, which is home to Brigham Young University. That area (known as Utah Valley) is a hotbed of ultra-conservatism and orthodox Mormonism. I was living in the slightly more liberal Salt Lake City (40 miles to the north) by then, but I’d just spent nine years in Provo and Orem, where 95 percent of the population is Mormon and Republicans outnumber Democrats 12 to 1. It is not the sort of place where you’d imagine Michael Moore receiving a warm welcome, particularly not right before a divisive election.

I witnessed all this hoopla first-hand, and I wrote a column about it at the time. And now Steven Greenstreet, a fellow BYU alum, has produced “This Divided State,” a fantastic on-the-scenes account of the entire story, from the initial announcement up through Moore’s actual visit, as well as the aftermath.

Perhaps the documentary seems more compelling to me because I followed the story when it first happened. But then, maybe it will be just as intriguing to a novice. I already knew all the major facts, after all, yet still found their retelling utterly absorbing.

The UVSC students officers, led by student body president Jim Bassi and his vice-president Joe Vogel, paid Moore $50,000 to speak on campus on Oct. 20. Students and community members alike immediately objected to the visit, ostensibly for financial reasons: Why spend $50,000 of their money for a speaker most of them did not want to hear?

The validity of that argument evaporated when the speaking engagement immediately sold out and the cost was covered by ticket sales. With the event now essentially free, those protesting on the grounds of mishandled funds now had much less of a leg to stand on. (Not that this stopped them.)

Some of those protesters were well-meaning but misguided. More alarming was someone who was better-educated, richer and more powerful. He is Kay Anderson, an Orem businessman, family man, outspoken conservative activist and 100 percent obnoxious bastard.

Greenstreet begins “This Divided State” with a quote from Mormon founder Joseph Smith: “Political views and party distinctions should never disturb the harmony of society.” If it seems unfair to quote a religious leader before a story that is merely political, remember this: Nothing is merely political in Utah Valley. Everything is religious, whether it ought to be or not. There are some people there who will take your disagreeing with them on politics to mean that you have gone astray religiously.

Kay Anderson exemplifies this attitude, and Greenstreet lets him emerge as one of the biggest jackasses in all of documentary filmdom, simply by letting him speak. Anderson has an astonishing hatred for Michael Moore, calling him “evil,” saying “it’s disrespectful to bring him into this bastion of conservativism.”

Listen to Anderson on Moore’s scheduled visit: “Orem City is one of the most conservative cities in the most conservative county in the most conservative state in the union, and this man despises who we are … and he would like to destroy us.” (What? Really? Michael Moore hates families and religion? All because he opposes President Bush and the war in Iraq? Huh.)

Anderson on the UVSC faculty members who stood up during a Sean Hannity speech and tried to debate with him: “We were embarrassed that we hired these kinds of people to educate our children.” (What “kinds of people” does he mean? People who disagree with Sean Hannity. And P.S., the greater embarrassment is that you sent your children to UVSC in the first place, but I digress.)

Anderson on how those liberals in Hannity’s audience were then shouted down and booed by the rest of the crowd: “We are a very respectful people, we don’t believe in booing somebody out of town. [No, I guess you prefer to prevent them from coming to town in the first place.] We actually do believe in allowing people to have their say. [Just not Michael Moore.] But when one of our own stands up and embarrasses us, we’re gonna put them in their place, I guess.”

But I’m getting ahead of myself. Anderson readily acknowledges that Moore’s speech is no longer a financial issue, noting that the appearance has sold out. His point is that Moore does not represent the local values, and that bringing him here is like bringing evil itself into the community. (One wonders how the event managed to sell out so fast if no locals want to hear him speak, but OK.)

A UVSC faculty member extends Anderson’s logic: Are the UVSC students, few though they may be, who agree with Michael Moore unwelcome on campus, too? We are not given Anderson’s response.

A meeting is held on campus for all interested parties to express their views. Since Moore’s speaking fee has already been paid, canceling the event would mean losing that money. To offset this, Anderson whips out a $25,000 cashier’s check that he will give to UVSC if the college will cancel Moore’s visit. He is booed. The college declines the offer.

The more level-headed students note that simply disagreeing with someone’s politics is not a good reason to prevent that person from speaking on campus. Moore is not a pedophile or a rapist, someone observes. He is merely an outspoken liberal Democrat. Surely letting him speak will not do any harm. If you don’t want to hear him, don’t go.

Meanwhile, UVSC arranges for Sean Hannity — a frequent visitor to Utah Valley, where he is rabidly supported — to speak a few weeks before Moore. Hannity graciously forgoes his usual speaking fee of $100,000, asking that UVSC simply pay his travel expenses. Alas, these include a private jet. Total cost for Hannity’s free appearance: about $50,000 (also offset by ticket sales, of course).

Greenstreet includes good-sized chunks of both Hannity’s and Moore’s appearances, as much as time would allow in a documentary of this scope. What they actually said in their speeches wasn’t the core of the issue anyway, of course. It was the fact that they were speaking at all.

Greenstreet gets a little distracted along the way with nonsense like a Utah Valley Michael Moore look-alike who’s a Republican, and a group of “Star Wars” fans, dressed up to celebrate the DVD release of that film, talking about the impending Moore visit. These details give some flavor but ultimately detract from the main thread.

More sympathy is given to the Moore supporters than to the objectors, but the film remains fairly balanced as a whole. You hear the irate voice-mails left on Jim Bassi’s phone by Moore detractors (one asks if UVSC will next invite Hitler or Saddam to come speak), and you think, “Sure, but what about the calm, rational people who didn’t think Michael Moore should speak at UVSC? Why aren’t they represented?” And I suppose the answer is there aren’t any people like that. Saying that Michael Moore should not speak on a college campus simply because most people in the community disagree with him is not a rational position.

The film is an eye-opener about the delirious narrow-mindedness that exists in the world, at how people will twist their own religious beliefs to mean preposterous things never intended by the founders of those beliefs. People accuse the UVSC student leaders of having betrayed their religion, their country and their families simply by inviting Michael Moore to speak on campus.

I hope audiences will not think Kay Anderson represents Mormons in general. I’m still reeling over this statement of his, in which he indicates his desire to remain isolated and sheltered from the rest of society:

“To us, (Utah Valley) is the best place in the world, and we don’t want it destroyed. We don’t want it changed. We don’t want Utah County to become like the rest of the world. It’s a safe haven, if you will. A place where I can raise my children away from ‘the world.’ I don’t want ‘the world’ in Utah County. We can go visit.”

Near the end of the film, there is a stirring montage of everyone voting on Election Day. Bassi and his wife walk hand-in-hand to the polls, Anderson and his wife vote, Vogel is there, the various professors are there, there’s news footage of Moore, Kerry and Bush all casting their votes. This was, after all, what it came down to: the right to holler and yell and persuade and encourage, but then ultimately to vote your conscience.

Mobsters and Mormons

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The last thing you want is for your movie to stand in the shadow of a better one, and of course it’s jerks like me who are going to point out where the shadow is in the first place. But let’s just say that while “Mobsters and Mormons” is little more than a Mormonized version of “My Blue Heaven,” it holds up pretty well anyway. A movie can be unoriginal and still be funny.

“My Blue Heaven” had Steve Martin as a mobster in Witness Protection hiding out in the suburbs; this time it’s D-lister Mark DeCarlo as the Mafioso, and it’s not just any old suburban wonderland, but Utah, rich with conservatism and packed with Mormons.

DeCarlo plays Carmine “Beans” Pasquale, a New Jersey mobster who must testify against his old cohorts to stay out of prison. To protect him, the Feds send him, his wife Gina (Jeanette Puhich) and their teenage son Vincent (Clayton Taylor) to Utah, where they are now known as George, Linda and Patrick Cheeseman, new arrivals from Nebraska.

Their all-Mormon neighborhood has a busy-body named Louise (Jan Broberg Felt) who spreads gossip and doesn’t think anyone should talk to these new “non-members,” especially considering they do weird things like drink coffee and alcohol and sometimes get the morning paper in their boxers. A few people are on her side, and the film does a nice job indicting such aloof Mormons (conclaves of which exist in Utah, sadly). Luckily, Michael Jaymes (Scott Christopher), first counselor in the local bishopric, is more Christian about it. He and his wife Kate (Britani Bateman) invite the Cheesemans over for dinner and make an effort to help them feel welcome.

Carmine — er, George — isn’t having any of it, at least not at first. He’s sort of a randomly grumpy character, cracking over-written sitcom-style jokes one minute, insulting his wife the next, his moods dictated by the needs of the screenplay. (“Which will seem funnier, life-of-the-party George or cranky George? What’s that? Our cranky joke is funnier than our life-of-the-party joke? OK, then he’s cranky in this scene.”) But gradually he warms to the Jaymeses and to the peculiar local environment, even finding a way to make it work to his advantage. After all, where better for an old shakedown man to find gullible new victims than Utah, where everyone trusts everyone else?

For this project, John E. Moyer split from his usual Mormon-comedy partner Kurt Hale, who directed and co-wrote Moyer’s “The Singles Ward,” “The R.M.” and “The Home Teachers.” Moyer has sole writing credit on “Mobsters and Mormons,” and he directed it, too — which means that for the first time, he gets sole credit or blame for how the film turned out.

It’s certainly better than “Singles Ward” and “Home Teachers,” and maybe better than “The R.M.” These Halestorm-produced films are still plagued by amateurish acting in many, if not most, of the small roles, and it often hurts the comedy: Lines that would have been funny if they’d been delivered right aren’t when they aren’t.

On the other hand, if some of the fish-out-of-water jokes are easy — they’re the first ones that come to mind when you hear “mobster hiding in Utah” — DeCarlo makes them work with his energized performance. He’s as game as any actor I’ve seen in an indie comedy, clearly enjoying himself as he bites into his dialogue and fires it off with gusto and (more importantly) timing. The movie is all about him, and he carries it like a pro.

Some jokes fall flat entirely. I note George’s 2 1/2-minute telling of a bedtime story where the punch line requires the audience to know that “guinea” is a derogatory terms for Italians. (Do people still know that?) There’s also some awkward and unlikely slapstick early on in a sacrament meeting, and I guess the joke about the Catholic churches of Utah being desolate will play better outside the state. (Utahns know that even in Utah, there are plenty of Catholics.)

But other gags succeed and are often laugh-out-loud funny, the main characters are all likable, and the jokes that fail at least aren’t irritating in the endeavor. It’s one of the better Mormon comedies so far — not a huge compliment, I suppose, given the genre’s history, but a sincere one. It even has a very clever “Godfather” reference — clearly a sign that things are looking up.

Note: About 18 months ago, John Moyer asked me to read a draft of this screenplay and offer feedback. I did so, suggesting a few things I thought should be changed or cut. To be perfectly honest, I had no recollection of what those suggestions were, specifically, when I watched the film for this review. After writing it, I found the e-mails between me and Moyer from last year, and was amused to see the suggestions I’d made. Some were incorporated into the film, some were not. In any event, since I didn’t remember what the suggestions were when I reviewed the film, I feel confident in saying that the experience had little or no impact on my opinion of the movie.

Echoes of Innocence

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The best thing about “Echoes of Innocence” might be its title, which sounds like it’s going to be soft porn, or maybe a Lifetime Network movie about child molestation. The funny part is that it’s actually a movie about NOT having sex.

Innocence has been echoing in the ears of morose high school senior Sarah (Sara Simmonds) for years. A devoted Christian who goes to Catholic confessional but who attends her own makeshift church services out in the woods, complete with candles and fervent prayers, Sarah decided long ago that she would save herself for marriage. Ever since middle school, when she gave an impassioned speech on the chasteness of Joan of Arc, Sarah has been known as The Virgin, or just Virge. She’s kind of pretty despite dressing all Gothy, and she’s a frequent recipient of unwelcome advances by horny high school boys, each believing he can be the one to break her will.

If only they knew how deeply committed Sarah is! And also how deeply crazy. Not only does she have her own church in the woods, but she also has “visions” on a regular basis — not the voice of God speaking to her, exactly, but vague foretellings of things to come and people to watch out for.

Anyway, Sarah doesn’t even date any of her classmates, let alone sleep with them. When she was about 12, she and her then-boyfriend Christopher (Cody Linley) agreed that on her 18th birthday, they would a) get married and b) do it. In flashback, we see Christopher speed out of town in the back of a limousine, promising to return someday. We are never told why he had to leave so suddenly, nor why he had a limo, but never mind. The point is, Sarah is almost 18, and she’s still waiting for the second coming of Chris.

Meanwhile, there are two new boys in school. One of them is named Dave (Jake McDorman), and he’s a nice guy who wants to do a human-interest story about Virge for the school newspaper, which leads to a friendship — but no dating! — between them. The other boy is named Alec (Matt Vodvarka), and he’s a prolific de-virginator who has set his sights on Sarah, the Mt. Everest of chastity.

Oh, and you should know that Sarah’s mom (Dana Jackson) is an abusive alcoholic or manic-depressive or something, and also an unrepentant tramp. She lives in a trailer and awaits visits from her daughter so she can yell at her some more. Sarah lives safely on the other side of town with Grandma (Scottie Wilkison), who watches TV very loudly at all hours.

The movie, an indie flick written and directed by N. Todd Sims, is unabashedly a Christian allegory, so full of religious symbolism that it probably qualifies for tax-exempt status. Sarah is waiting for Christopher (note the name) to return as he promised he would, and she hopes to be one of the wise virgins who is prepared for him when he does.

Alec represents the devil, of course. He wears a black trenchcoat, listens to heavy metal music and — I swear I’m not making this up — uses yearbook photos of his conquests as low-impact voodoo dolls, causing brief and mild torment to Sarah when he does so. Later in the film, when he realizes she is slipping out of his clutches and into the respectful arms of Dave, he lurks behind trees devilishly before enacting a plan of actual violence, during which he stops being a Satan figure and actually sort of BECOMES the devil, deep scary voice and everything.

That’s when it all goes off the rails. It’s a bad movie anyway, weakly written and featuring many hilarious moments of over-the-top acting and silly plotting. (I challenge anyone not to guffaw whenever Sarah’s mother is on the screen.) But the climax completely ruins it, turning supernatural and bizarre without warning, and culminating in an amazingly goofy resolution. The film means well, of course, but that’s all it does well.

Green Street Hooligans

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In trying to explain the “firms” — what you and I would call “gangs” — that support their favorite British soccer teams by beating up the fans of the opposition, a character in “Green Street Hooligans” cites the rivalry between his team, West Ham United, and the hated Millwall.

“Oh, like the Red Sox and the Yankees,” says his American friend.

“No,” replies the soccer fan. “More like the Israelis and the Palestinians.”

I’m pretty sure these guys beat people up for calling it “soccer,” so we’ll go with “football” from here on out. I knew about football fans’ legendary zeal for the sport, and of course news reports of socc– er, football riots are always good for a laugh.

But I didn’t know about the “firms” until now. We learn about them through the eyes of Matt Buckner (Elijah Wood), an American journalism student who, having been unfairly expelled from Harvard, heads to London to live with his expatriate sister Shannon (Claire Forlani) and her English husband Steve (Marc Warren). Steve’s brother Pete (Charlie Hunnam), as it turns out, is a full-blooded soccer hooligan, leader of West Ham United’s firm.

The firm is a group of two-fisted drinkers and fighters who sit in the local pub all night and represent a strong force at the actual football games. They don’t mess with innocent bystanders — that’s what separates them from American “gangs,” Pete says with some distaste — but they do engage in brawls with opposing teams’ firms whenever possible. Game day means having a few pints at the pub, singing the team song as you walk to the stadium, screaming yourself hoarse during the game, and then beating the crap out of like-minded blokes who spent the day the same way, only in support of a different team.

I don’t need to tell you that this mindset is completely foreign to Matt; he’s played by Elijah Wood, for crying out loud. But Pete likes the kid, and the rest of the Green Street Elite (that’s the name of their firm) soon gets over his American-ness and takes him in as one of their own. All except Bover (Leo Gregory), that is, the scar-faced psycho in the group who doesn’t trust anyone not born on his street, let alone in America.

As the timid and polite Matt is drawn into this world of ruffianism; as he gets into his first battle and throws his first punches; as he grows accustomed to waking up bloody and sore; as he does all this, his confidence improves and he finds himself happier than he’s been in a long time. His absentee father (Henry Goodman), a globe-trotting journalist, urges his son to keep writing, but Matt doesn’t care about reporting anymore. He loves his violent, fearsome new lifestyle.

We’re told early on that football hooligans hate journalists. I don’t know if this is true in real life or not; it seems random, like hating telephone operators or dentists. But in the movie, they hate ’em, and so Matt fibs about what he studied at Harvard. Inevitably, the truth comes out, and there is a schism within the ranks of the Green Street Elite.

It’s hard not to be amused at how seriously everyone treats it. They react to the news that Matt is a journalist in the same way that villains react when they learn one of their own is an undercover cop, or the way Tony Soprano did when he found out Adriana was working with the Feds. All because he’s … A JOURNALIST! DUNH-DUNH-DUNNNNNNH!

The screenplay — by director Lexi Alexander, Dougie Brimson and Josh Shelov — has other pedestrian elements, too, notably in some of the dialogue. Matt’s voice-over narration that begins the film includes the pretentious declaration “What I was about to learn no Ivy League school could teach me.” Later, someone tells him he needs to go back home and he replies, “I don’t know where my home is anymore.” It’s one of those sentiments that is easy to feel — we’ve all felt displaced before — but hard to express in a way that doesn’t sound cheesy.

But the fight scenes are well-choreographed by Alexander, and cut together in a way that enhances their bloody, often graphic, details. It’s a visceral, macho film, and if the message seems to be that violence IS the answer, it’s hard to resist the grimy, eloquent way that the point is made.

Eve & the Fire Horse

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A little girl asks: “Are the Buddha and Jesus friends?” There are a hundred possible answers to that question, but to the girl who asked it, the obvious choice is “yes.” Why wouldn’t they be? They’re both so big on being a good neighbor and doing good deeds. In the girl’s imagination, they hang out every night in her kitchen and shoot the breeze. Sometimes they even dance.

This is “Eve & the Fire Horse,” a remarkably good-natured and gentle film about spirituality’s place in a family’s life. It was written and directed by Julia Kwan, who drew on her own experiences growing up in Canada in the 1970s and seeing Western and Eastern ideas blend together.

The Engs are a traditional multi-generational Chinese family in Vancouver. Grandmother (Ping Sun Wong) lived in China for most of her life and maintains a number of Buddhist traditions and superstitions, including pouring tea for the gods every morning, though they never seem to be thirsty. Her son Frank (Lester Chit-Man Chan) is a good husband and father but a luckless fellow in his business dealings. Frank’s wife May Lin (Vivian Wu) cuts down an apple tree — which is said to be bad luck — and soon thereafter suffers a miscarriage and becomes bedridden.

Frank and May Lin’s two children are 11-year-old Karena (Hollie Lo) and 9-year-old Eve (Phoebe Jojo Kut). Eve was born in 1966, the Year of the Fire Horse, an every-60-years event that is said to herald the birth of the most troublesome children. But Eve isn’t troublesome. She’s just … precocious.

While Mom recuperates and Dad tries to improve his luck, the girls undergo their own spiritual journeys. After Christian missionaries visit the house, Karena does a school book report on one of their publications, and soon joins a Sunday School class. Catholic artifacts start to find their way into the Eng home, little crucifixes on the mantel next to the Buddha icons. May Lin doesn’t discourage any of this; her own religious observance is more cultural than doctrinal, and if Christianity makes the kids happy, so be it. Frank is not pleased, and it causes a rift between him and his daughters. Grandmother might have opposed, but she has passed away (leading Eve to believe her new goldfish is her reincarnation, by the way).

The superstitions of Buddhism and traditional Chinese culture are shown in the film’s early scenes, and then Kwan nudges us toward a realization: Christianity has its share of superstitions, too. Religion observance in general, viewed from the outside, can appear foolish and silly.

But that’s not Kwan’s point at all. Her point is that Eastern philosophy is not necessarily more bizarre or “foreign” than what Westerners are used to, and that having faith in something and worshipping the God of one’s choosing can be a comfort and a source of strength. Few films dare to promote such old-fashioned ideas, and it’s especially satisfying to see it done in a film that is as entertaining and technically proficient as this one.

Kwan has an affectionate view of her childhood, and she composes scenes with an air of love and nostalgia. She also has enough characters — an aunt and uncle are in the picture, too — to maintain several small subplots and mini-themes, keeping the story fresh and lively without becoming cluttered.

Eve and Karena’s newfound devotion to Catholicism has its amusing aspects, but their innate desire to find happiness and peace is touching, too. I love this exchange between Eve and a schoolmate, a Sikh boy whom she wants to convert as a means of saving his soul:

“I’m Sikh.”
“That’s not your fault.”
“I’m not into Jesus.”
“But you can have everlasting life!”
“No thanks.”

Where two adults might wind up screaming at each other, two children merely state their positions, shrug their shoulders, and leave it at that.

The performances by Phoebe Jojo Kut and Hollie Lo as Eve and Karena are wonderfully unaffected. Neither girl has acted before, and it shows: Trained, experienced actresses probably wouldn’t have been as natural, as effortlessly honest, as these two are. What a perfectly pleasant, emotionally resonant movie this is.

Touch the Sound (documentary)

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Evelyn Glennie is a red-haired Scottish lass whose interest in music is the vibrations it causes. A percussionist by trade, she enjoys creating music by striking unusual objects against other unusual objects; indeed, upon entering a vast German warehouse that will serve as her recording studio, the first thing she does is take off her shoe and whack it against a railing.

The subject of Thomas Riedelsheimer’s documentary “Touch the Sound,” Evelyn is one of those free-spirited bohemian types with a propensity for public exhibitions like playing a snare drum in the middle of Grand Central Station. (She plays well, but all I could think was: How annoying for the people around her.) In that warehouse, she joins musician Fred Frith to record a CD of improvised music played by the two of them using mostly non-instruments. You can be sure it will be a bestseller.

So far, Evelyn’s New Age touchy-feeliness doesn’t do much for me. She seems like the type who would be selling hand-made jewelry from a booth at the swap meet on Saturday, and maybe working part-time at a hemp store the rest of the week. Then the film reveals a crucial piece of information: She’s deaf. She lost most of her hearing in childhood and now gets by with the tiny bit of hearing that’s left, her almost supernatural lip-reading skills, and her uncanny ability to feel the vibration of things.

“I feel sound through my body,” she says. High-pitched sounds make different vibrations from lower ones; hence, while she can’t “hear” the two tones, she can sense the difference, sense which sounds make pleasant harmonies together, and thus play beautiful music on the xylophone. She can’t really explain it any better than that, but she points out that hearing people can really explain how they hear, either. (“With my ears” isn’t a very thorough explanation of the process, is it?)

“Touch the Sound” now becomes a far more interesting thing. Rather than being the story of a hippie chick who plays drums on a street corner, it’s the story of a deaf woman who’s also a musician! The curiosity factor goes up a thousand percent.

Riedelsheimer follows Evelyn all over the world as she engages in jam sessions with improvisational musicians in Japan, visits her childhood farm in Scotland, and records that album with Frith in Cologne. Through it all, he includes frequent long shots of the environment: city streets in New York, a rippling pond, and so forth, capturing their ambient sound and letting their natural rhythms emerge. The film takes on a dreamy, druggy feel that way, and you’ll either sail along with it contentedly, or you’ll start to think halfway through that maybe the movie could have been a lot shorter and made its points just as well.

Ask Eric Stuff 20

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W007! 17’$ 71M3 F0R M0R3 QU3$710N$ & 4N$W3R$ W17# 7#3 P0PU74R “4$K 3R1[ $7UFF”!

Wow, I was even annoying myself there. In “Ask Eric Stuff,” people just like you, only dumber, ask Eric for advice. Since Eric is smart, he gives smart-aleck answers, thus continuing the circle of life. You can submit questions here. It’s fun and nutritious!

Dear Eric: Is it OK to be racist if you’re racist against your own race? — Anonymous
Dear “Anonymous” (if that is your real name): Yes, unless you’re Jewish, in which case you’d be an anti-Semite, and everyone knows that’s bad.

Dear Eric: When I woke up and found out that New Orleans is under 25 feet of water, my first thought was, “HA! Now my ex-fiancé won’t be able to go on his vacation and have fun without me!” On a scale of one to 10, how evil am I? — Suffering from Schadenfreude
Dear Shady Fries: Probably a 10, considering the reason he’s no longer your fiancé is that you made out with his 15-year-old mentally disabled girl cousin.

Dear Eric: What do you want done with your body when you die? — Barry in Boise
Dear Boyz: I want it shot out of a cannon at a Dodger game, unless that’s how I died in the first place, in which case I want the Dodgers to pay my family $50,000,000 in reparations.

Dear Eric: What do you want done with your body when you die? — Barry in Boise
Dear Boyz: I want it donated to science. If science doesn’t want it, then Goodwill.

Dear Eric: What do you want done with your body when you die? — Barry in Boise
Dear Boyz: I want it reassembled as best as possible and the hyenas who killed me hunted down and shot.

Dear Eric: What do you want done with your body when you die? — Barry in Boise
Dear Boyz: Nothing, you sicko! What did you have in mind?!

Dear Eric: What do you want done with your body when you die? — Barry in Boise
Dear Boyz: I want it dressed up and dragged around for purposes of comedy, a la “Weekend at Bernie’s.”

Dear Eric: What do you want done with your body when you die? — Barry in Boise
Dear Boyz: I want it propped up in a booth at the county fair under a sign that says, “Have your picture taken with the corpse of Eric D. Snider! $1,” with all the proceeds going to charity.

Dear Eric: Do you like children? — Sarah
Dear “Sarah”: Yes! Especially the children of cows. They’re delicious.

Dear Eric: I’m having trouble with my new digital camera. How can I tell if the camera is defective, or I’m just doing something wrong? — Digital Disaster Dame
Dear Damey: If the pictures are turning out blurry, the camera may be defective. If the pictures are turning out wet because you have put the camera in the bathtub, then you are doing something wrong.

Dear Eric: Should I get a housecat for my kids? — Indecisive in Indiana
Dear Indy: Whoa, whoa, friend! Slow down a minute! First get your kids back from Social Services, then we’ll talk about a cat.

Dear Eric: Why is it always so hot in Las Vegas? — Frying in Vegas
Dear Veggie: So Satan has someplace to send people who have been extra-EXTRA-bad.

Dear Eric: Will you ever give up on writing and find a different job? — Need to Pay the Bills
Dear Dad: I told you to quit using this e-mail address!

Dear Eric: How can I get my adult children to get jobs, grow up, and move out of the house? — Deadbeat Dependents Driving Me Destitute
Dear Mom: You too!

Dear Eric: Why do old people smell funny? — Young in Yelm
Dear Jung: They don’t just smell funny. They see and hear funny, too.

Dear Eric: How do I stop people from taking advantage of me? — Charity
Dear Chair: Send me $50 and I’ll explain how.

Dear Eric: Why is it that elephants can remember everything and I can’t? — Elephant Idis
Dear Ellie: You forget stuff because you’re too fat. No, wait, so are elephants. I don’t know, then.

Angry Letter: ‘Undiscovered’

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Though no one saw the movie (it grossed only $676,000 its opening weekend), rest assured my dissing of “Undiscovered” did not go undiscovered. I received this e-mail from one Christa Lee, angry at what I’d said about Ashlee Simpson and her retarded, buck-toothed sister Jessica. I have replaced all of Christa Lee’s swear words with the word PANCAKE.

Are you flipping kidding me? How dare you put down Ashlee Simpson or Jessica Simpson. How the hell do you think that Jessica Simpson is buck-toothed? [I guess “buck-toothed” isn’t really the term I want. She’s got that big overbite, I mean. On the other hand, if “buck-toothed” is a colloquialism for “dumb and hickish,” then it still fits.] and she only acts retarded because you stupid men put that impression out there that you think that its cute when a girl acts dumb or ditzy. And all you PANCAKE critics are so PANCAKE insecure. you guys are just so jealous because most of you guys are dead beet old ugly men who cant get a woman or a life so you guys need to put down the people with real talent like ashlee simpson. she is the best thing to ever hit hollywood. [I want you to read that sentence again: Ashlee Simpson is the BEST THING TO EVER HIT HOLLYWOOD. The best thing. EVER.] she is so awesome and she’s just herself. she’s not some wannabe trying to act like something that she’s not. [Except when she tries to act like she’s an actress. Or a singer.] she relates with so many people in reality. and all of you guys make some big deal over that PANCAKE that happened on saturday night live. [Who are “you guys”? I didn’t mention the “SNL” thing in my review…] well guess what, she had something wrong with her throat. she was forced to lip sync. it wasnt her fault. and why dont you guys go ahead and put down people like lindsay lohan or hillary duff? every concert they’ve ever done or anywhere they’ve ever sung… they were lip synching. they only have a singing carreer because they started off as actresses and theyre PANCAKE producers want more money so they give them that image and then give them some fake little voice and fix every little thing about them to make people idol them. maybe you should start critising them instead of the people like ashlee simpson who had a rough life to begin with and then is trying to make it as a singer and also has a wonderful voice . i love ashlee simpson and her sister so much [really?!] and you have no right to PANCAKE say that PANCAKE because they are 100% better people than you will ever hope to be PANCAKE.

My goodness, Christa Lee! Do you kiss your mother with that mouth? I’ve met Tijuana hookers who didn’t swear as much as you!

I replied to Christa Lee to let her know that I do criticize people like Lindsay Lohan and Hilary Duff when the situation calls for it, and also to tell her about the First Amendment, which says I do, in fact, have the right to rip on Ashlee Simpson if I so choose. I told her I was baffled that someone could be so ANGRY at something a movie critic had written. Then I wished her luck with high school. She replied:

why do you think im in highschool? and another thing ,, i get so defensive because u didnt just put down her movie,, you put down her and why the hell would you want to put someone down like that? [The funny part is, no I didn’t. All I said about her in the review was that I’m no fan of hers, that “Undiscovered” — in which she is a secondary character anyway — is no good, and that buying her CD would be a waste of money.] she is about as real as anyone out there because she really did have a hard time growing up && shes not just one of those singers who has people write her music for her ,, she writes it .. its 100% real. and 100% from her heart . thats something that can never be put down and i cant believe that you would want to. and jessica simpson is not buck toothed. and she has her reasons to act ditsy like she does. so… critisize that

I guess I should critisize that. I am a critis, after all.

Hurricane Katrina

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It is heartening to see so many foreign nations pledging aid to the U.S. in the wake of Hurricane Katrina. You expect it from our buddies like Japan and Canada, and they are joined by all the major nations from Mexico to Belgium, Australia to Italy, all over the world.

But look who else is on the list: China, Cuba and Venezuela. China doesn’t really cooperate with anyone, of course, and everyone knows we don’t see eye-to-eye with Cuba, not since whatever it was that happened with that bay and those pigs 40 years ago. And you probably forgot that we don’t get along with Venezuela, until Pat Robertson declared that their president, Hugo Chavez, should be assassinated (followed by Robertson saying he didn’t say that, followed by Robertson apologizing for saying it). Yet there they are, China, Cuba and Venezuela, pledging money and other aid. Chavez even offered to send troops to New Orleans to help quell looters, though I suspect the U.S. will politely decline the offer.

Even little Sri Lanka has donated $25,000 — a true widow’s mite, coming from the impoverished country that was hit so hard by the tsunami last winter. Other countries from that area have also pledged aid, eager to return the generosity shown by the U.S. in December.

Foreign nations, as well as many of our own leaders, have expressed outrage at the sloppy manner in which our agencies have responded to the disaster. Unlike a terrorist attack, Katrina was foreseeable and, in fact, foreseen. And even if she hadn’t been, it was clear once she struck that the devastation was beyond precedent. And yet days later, chaos is still the rule as survivors struggle to find food, shelter and medical treatment.

President Bush has been criticized for not responding to the crisis more quickly and with greater force. And I have to say that in this case, I agree with his critics. Bush managed to leave a vacation with miraculous speed to fly to Washington to try to save Terri Schiavo’s life, an action that was both unnecessary (he could have signed the bill from wherever he was) and with obvious political ramifications. Yet here he is vacationing when Katrina hits and it takes days to respond in any meaningful way. (Flying over the annihilation doesn’t count. That is approximately the same as watching it on CNN.)

Now, I wasn’t aware of the caliber of Katrina’s devastation at first, either. I don’t watch TV news, so it was the next morning’s paper that clued me in. For the first 24 hours, I was ignorant of just how bad things were down there.

Thing is, I’m not the president. The president has staff and advisers to alert him to these things, and to let him know how bad things are when a crisis emerges. And, let’s face it, he probably watches TV news, too. There is no excuse for him not to have known the level of destruction, and if he did know, then there’s no excuse for him not to have acted more swiftly.

But issues like Bush’s leadership and FEMA’s preparedness and all that can wait for the hearings that will inevitably occur in the coming weeks. Right now, the important thing is to do what we can to help. Money seems to be the most precious commodity at the moment. The Red Cross is at the ready, as ever, and they have made the following banner ad available. (You’ve probably already seen it on other sites; due to the Red Cross’s server being overloaded, this is the soonest I’ve been able to get to it.) Please click on it and give whatever you can spare. I have no doubt that all donations are welcome, no matter how small, and no matter how much you normally hate America.

Underclassman

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As fate would have it, I forgot to bring my Cop Movie Cliché bingo card to the “Underclassman” screening. It’s a shame, because I know I’d have won.

Tracy Stokes (Nick Cannon) is a reckless, over-eager young bicycle cop in Los Angeles, where his blustery captain (SCORE) regards him as something of a loose cannon (SCORE), the sort of cop who gets the job done but who leaves destruction in his path (SCORE). Stokes’ dad was a cop (SCORE), though, and he wants to honor the memory of the old man (BINGO!).

When a student at a snooty private school is killed, the cops borrow a page from “21 Jump Street” and enroll the baby-faced Stokes as a student so he can infiltrate the group of cool kids who may have been responsible. Stokes is urged to blend in and not draw attention to himself; however, he is 1) black in a mostly white school, and 2) a goof-off and a screw-up. (Cop in a disguise or undercover situation that would never fool anyone: SCORE.) He makes literally no effort whatsoever to blend in. The reason? This is a comedy, and making him a fish-out-of-water is “funnier” than having him do his job and fit in.

He gets a crush on his Spanish teacher (undercover cop falling for one of the people he’s deceiving: SCORE), befriends the Big Man on Campus who might be involved in the killing, and thinks he’s about to bust the case wide open when in fact he’s just screwing up a Drug Enforcement Agency sting. (Local cop unwittingly blows “four months of deep-cover work!” by another agency: SCORE.)

But there IS something larger afoot here, involving a stolen-car ring and a drug deal and a few other standard procedural-drama plots, and darned if Stokes isn’t going to solve it. Unfortunately, that blustery boss of his (played by Cheech Marin) tells him he’s screwed up one too many times and takes him off the case (SCORE). Actually, he says he’s firing him altogether, but then Stokes keeps hanging around the police station, so maybe he’s only suspended. However it works, Stokes keeps working the case even though he was thrown off it. (BINGO!)

Everything works out OK in the end, of course. He gets the girl, the case is solved, and he even finishes that last semester of high school he needed to finally officially graduate! (I’m not making that up, either.) There are car chases (SCORE), cars that blow up at the slightest provocation (SCORE), a sequence where two men fistfight on a speeding motorboat (SCORE), and deployment of two of the oldest chestnuts in the box: When a character says, “If I get so much as a scratch on this car, my dad will kill me!,” that means the car will be destroyed, probably via explosion (SCORE); and if a movie has only one character who speaks with a British accent, that character is always the bad guy (BINGO!).

Through it all, there is Nick Cannon cracking wise, always quick with a jokey one-liner no matter how dire the situation. This is the sort of action comedy that usually stars Chris Tucker or Martin Lawrence or somebody like that; I guess Cannon got it because they needed someone youthful and not on drugs. Cannon’s a likable actor, and his skinny, unassuming charm goes a long way toward making “Underclassman” tolerable. But his efforts are hampered by an absolutely terrible script by David Wagner and Brent Goldberg (authors of the equally terrible “National Lampoon’s Van Wilder” and “My Baby’s Daddy”), who, apart from ticking off the clichés wherever possible, set up one desperate, unbelievable situation after another. Here’s Stokes being forced to play rugby! Here’s Stokes having an impromptu teen party at the captain’s house! Here’s Stokes’ backup being delayed during a stakeout because he’s taking a dump in the bushes! Huzzah!

They also do the thing that I noticed recently in “The Longest Yard” but that happens often in lame comedies. One of Stokes’ fellow cops is chubby and bald. Why? So that Stokes can make lots of jokes about his weight and his hairline. This is cheating, of course: The only reason the poor guy has a big gut and a bald head is that the script called for it. The character exists only so the main character can abuse him. Where’s the fun in seeing Don Rickles take an audience member apart if Rickles planted the guy in the audience in the first place?

Anyway, that’s three bingos for me. I’m taking my winnings and going home.

Transporter 2

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“Transporter 2” has dropped the unwieldy “The” from its title, but that’s the only thing that’s been streamlined from its 2002 high-energy predecessor. Most of what made “The Transporter” work — quick-cut editing, well-choreographed fights and a super-cool demeanor from the title character — is back, but in smaller doses. They’ve gone back to the well only to discover that most of the good stuff was used up the first time around.

Frank Martin (Jason Statham) is back as the Transporter, a British military-trained driver, fighter and all-around handyman who makes a living on the underground delivering dangerous people and goods to their destinations. He is currently lying low in Miami, chauffeuring the adorable young son (Hunter Clary) of the U.S. government’s drug czar, Jefferson Billings (Matthew Modine), to and from school. What led him to this decidedly non-dangerous task is not explained, nor do we learned why he switched from a BMW to an Audi between movies. (Hey, that’s like recasting a role in films like these.)

But it turns out there is danger in guarding a Cabinet member’s son after all, when young Jack’s pediatrician is replaced by bad guys who seek to inject him with something. Frank smells something fishy, and the bad guys are fairly stupid, but they do succeed in moving to Plan B, which is to abduct the boy. (Their master plan eventually has to do with drugs, which is true of 100 percent of action movies set in Miami.) Frank is vaguely suspected of being in on the kidnapping plot, which forces him to work under the radar on his own to bring the boy to safety.

Written again by Luc Besson and Robert Mark Kamen but with a new director (“Unleashed’s” Louis Leterrier), this sequel suffers from the usual symptoms of sequelitis: too neglectful of what made its predecessor entertaining; too worried about out-doing itself. “The Transporter” was no great work of art, believe me, but the fight scenes were cleverly arranged and expertly performed, with Frank showing a resourcefulness that would make MacGyver envious. Here, his fights are few and brief, the one good one (involving ingenious use of a firehose) not occurring until near the end. His fondness for driving maniacally is similarly forsaken. Basically, there’s not enough action in this movie that is essentially all about action.

It is also interesting to note that even in a film composed of nothing but unbelievable, improbable, even impossible things, there are a few events that stand out as being SO impossible that they pull you out of the movie. Think of it. You’re watching “Transporter 2,” and there are things that actually make you go, “Wait a second….”

In one extraordinary coincidence, Frank uses an iPod to store a digital photo that he pulls from a computer. That in itself is noteworthy, but the really amazing part is that the iPod WAS JUST SITTING THERE. It’s not his; he didn’t bring it with him; it just happens to have been left on the desk.

The best scene, however — the one where you say, “OK, I know the whole movie is farfetched, but THIS is too much” — is when someone has affixed a bomb to the bottom of Frank’s car and he removes it by driving off a jump that turns the car sideways in the air, and the bomb gets scraped off by the hook of a construction-site crane, and the car finishes its revolution and ends up right-side up again and lands perfectly. And he does all that ON PURPOSE. He intentionally drives off the jump, knowing the car will twist at just the right angle so the crane can remove the bomb. You get the feeling he’s done this exact thing before.

Which he sort of has, I guess. Re-watch the original for some good times. All they have to offer the second time around is more of the same, only less.

A Sound of Thunder

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It’s hard to get excited about a movie when even the people IN the movie don’t seem very interested. Such is the case with “A Sound of Thunder,” a trivial sci-fi thriller in which Edward Burns can barely muster an excited yell even when he is leaping from a skyscraper.

The movie, made in 2002 by Peter Hyams (“The Musketeer,” “End of Days”) and delayed until now because of problems both financial and creative, does not suck as bad as do most movies that are delayed for three years. Its basic story is neat-o, being based on a piece by Ray Bradbury, who knows his sci-fi. But the characters are all ciphers and nobodies, and even the ones in the leading roles shuffle through their scenes mechanically. It’s as if they knew the film might never be released and were saving their energy for more fruitful endeavors.

The year is 2055 and the place is Chicago. A company called Time Safari, run by a campy, insane billionaire (Ben Kingsley), sends paying customers back to the time of dinosaurs, one of which they are allowed to shoot and kill. Time Safari is anxious to avoid disrupting the flow of history, however, and the allosaur being hunted (it’s the same one each time) was chosen because it was about to be killed by a volcanic eruption anyway. So you send rich thrill-seekers back, let them kill a doomed dino, take their money, and everybody’s happy.

The customers don’t go alone, of course. The head of the time-traveling team is Travis Ryer (Edward Burns), and it’s up to him to fire the first shot at the allosaur (which he always does at precisely the same time). There’s a doctor on hand to monitor the rigors of time-travel and a girl named Jenny (Jemima Rooper) who videotapes everything and who is something like a god-daughter to Travis, in the remnants of a subplot that was lost in the editing. (There’s another one involving a hot woman who shows up in Travis’ apartment — and is never seen again.)

Much is made of the fact that altering the course of history even slightly could be catastrophic, and so wouldn’t you know it, on one of the hunting excursions someone does something slight, and yep, there are catastrophes. Back home in 2055, species of flora and fauna sprout overnight, including a vicious simian reptile best described as a monkeysaurus, which now roams the parks of Chicago and is more deadly than the gangs that normally live there.

Travis enlists the aid of Dr. Sonia Rand (Catherine McCormack), who created the time-traveling software and is appalled at the uses to which Time Safari has put it. They need to go back and undo whatever went wrong on the failed expedition or else it will be the end of life as we know it!!!!!!!!!!!!!

Now, some of those exclamation points were sarcastic (the 2nd, 5th and 8-11th ones, specifically), but I do love me some time-travel sci-fi shenanigans. The premise here is perfectly reasonable; I just wish they hadn’t killed it with plot tangents and boring characters. The screenplay (by “Sahara’s” Thomas Dean Donnelly and Joshua Oppenheimer and former porn-flick writer Gregory Poirier) has numerous obstacles pop up to slow Sonia and Travis in their quest to go back in time and fix the future, mostly in the form of dangerous new animal species like the aforementioned monkeysauruses. The problem? Despite a reported budget of something like $80 million, all the special effects look ridiculously fake. Even a simple scene of Travis and Jenny walking down a futuristic city street is quite obviously the actors walking in place in front of a green screen. It’s literally laughable (as in, I literally laughed at it).

Some enthusiasm would have helped, but could not have saved, this troubled production. However, even in its comatose state, it still has that nifty story and those sci-fi twists. It’s the kind of bad movie that’s so inoffensive and harmless that it almost seems unfair to point out how bad it is.

P.S. The title “A Sound of Thunder” is never explained or alluded to.

Margaret Cho: Assassin

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The first sign that take-no-prisoners comedian Margaret Cho has lost her way comes in the first five seconds of her latest concert film, “Assassin.” While man-on-the-street interviews praise her fearlessness, Cho herself uses a voice-over narration to brag about how edgy she is. Why was “Assassin” chosen as the title? Because that was the edgiest thing she could think of! Look at how edgy I am!!

I ask you: Isn’t that kind of self-important attitude the sort of thing Cho should be making fun of, not indulging in? I kept waiting for the punch line, for her to acknowledge that she was being pretentious, but it never happened. A career dedicated to knocking icons off their high horses, and now she’s in the saddle herself. Sad.

Filmed in May 2005, “Assassin” is a checklist of what was in the news at the time — Terri Schiavo, the Pope’s death, some leftover 2004 election angst — and very little of the material is timeless. A year from now, it will feel anemic and dated.

Even now, when it’s fresh, it’s not particularly funny. Unlike her previous films “I’m the One That I Want” and (especially) “Notorious C.H.O.,” which were scabrously funny as well as trenchant, Cho now seems more strident than satirical. “Assassin” is full of “jokes” that are really nothing more than obvious platitudes. OK, so George Bush is dumb. WHAT ABOUT IT? Just calling him a retard is not, by itself, a joke.

She does hit the mark a few times, though. She says people who oppose gay marriage but laugh at “Will & Grace” are hypocrites, comparing them to whites in the 1950s who embraced rock ‘n’ roll while remaining segregationist. (“I love that song, but could you please not use that drinking fountain?”) Some of her non-political material is pretty funny too (including a hilarious Bjork impression), though by now she’s pandering to her large gay fan base so thoroughly that the show is almost exclusively for that demographic.

And I just can’t get past her self-importance. You know, the surest way to stop being considered “edgy” is to brag constantly about how edgy you are. “Martha Stewart went to jail for being a b****,” she says. “I’m glad I wasn’t on trial, because I would be serving consecutive life sentences!” And the audience responds with cheers and whoops, because yeah, she IS really bitchy! She’ll say ANYTHING! She ain’t afraid!

Ugh. Get over yourself and get back to writing good jokes. “Assassin” has its moments, but most of its tone is all wrong. Maybe you’ll applaud, if you agree with her social and political views, but you won’t laugh much.

Prison Break flatulence

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So I’m watching the new Fox show “Prison Break” (for people who felt “24” was just a little too realistic), and I see this sign posted on a fence in the prison yard:


And I think: Why is the man in the picture farting? Has the sound of shots being fired scared it out of him? Good heavens, what a scary place this prison must be!

The Constant Gardener

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There is a sense of urgency in “The Constant Gardener,” the feeling that a lot is happening that must be discovered and dealt with immediately. It’s a thriller — political, criminal and marital — but it’s laden not so much with surprises as with realizations, both for the characters and for the audience.

It’s the first film by Brazilian director Fernando Meirelles since his deservedly praised “City of God” three years ago, and his first-ever film in English. Based on a John Le Carre novel and adapted by Jeffrey Caine (“GoldenEye”), “The Constant Gardener” can boast of prime cinematography by Cesar Charlone (Meirelles’ regular), an engaging and multi-layered storyline, and a handsome, controlled performance by Ralph Fiennes.

Fiennes plays Justin Quayle, a British diplomat who helps oversee Her Majesty’s humanitarian efforts in Africa. He is, to paraphrase W.S. Gilbert, the very model of a modern British diplomat, unflappable and polite, with a ready smile and friendly manners. He is in many ways the opposite of his fiery new wife Tessa (Rachel Weisz), a liberal do-gooder who first catches his attention when she shouts him down after he gives an overly tactful speech.

With her friend Arnold Bluhm (Hubert Kounde), she spends much of her time in Kenya, crusading against uncaring pharmaceutical companies and, to paraphrase Cake, using a machete to cut through red tape. She cares deeply about the suffering people of Kenya. She sees them not as an underprivileged group but as a collection of underprivileged individual human beings. When she wants to give three villagers a ride back to their homes, Justin reminds her that it’s impossible to help everyone. “Yes, but here are three that we CAN help!” she cries. But Justin doesn’t stop the car.

Then Tessa is killed and Arnold is nowhere to be found. We learn this early in the film because so much of the story is revealed out of sequence. The murder appears to have been the work of looters or bandits, but then evidence emerges that suggests it was more personal than that. Justin is left to learn what his wife was doing, to unmask her killers, and to finish her mission himself.

These are tall orders for a grieving widower, and he is not helped much by his friends. His pal Sandy (Danny Huston), a fellow diplomat, may have been sleeping with Tessa. Justin had reason to believe, even before her death, that she was having an affair with Arnold, too. Furthermore, Tessa had irritated a lot of British diplomats with her questions about what the drug companies were doing during their supposedly selfless attempts to bring medical treatment to the Kenyans.

We don’t learn anything before Justin does, which means we see it all through Ralph Fiennes’ performance, which is wonderfully reserved with emotion bubbling just beneath the surface. Justin overhears something that seems to imply one thing, only to learn later that it meant something else. Another point of information that he (and we) had assumed as fact is revealed to be false. And on and on. We get the impression he had not known Tessa very long before she died, maybe a few years. He still had a lot to learn about her, a fact she recognizes when, in flashback, she first asks to accompany him to Africa. “You can learn me,” she says. Sadly, he never truly does until she is gone.

The Young and the Viewerless

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When I was a kid, I would sometimes spend a week or so in the summer at my grandparents’ house, where my two maiden aunts also lived. Grandpa worked; one of the aunts slept all day; and my grandma and the other aunt watched soap operas from 11 a.m. to 3 p.m., starting with “Ryan’s Hope” and ending with “General Hospital.”

Well, one day both ladies were going to be away from the house for some reason (I don’t know how, since neither of them could drive) during “One Life to Live,” so I stayed behind to jot down notes on what they had missed. Whether they asked me to do this or whether I suggested it, I don’t recall. But I remember enjoying the experience of trying to make sense of a show where I had no idea what was going on. It was fun.

I got to thinking about this recently when I read an article about falling soap opera viewership. In the late ’70s and early ’80s, 12 million people were watching “General Hospital” every day, and 30 million tuned in to see rapist Luke marry his victim Laura in 1981. Today, all nine daytime soaps COMBINED garner only about 25 million viewers, with the top-rated show, “The Young and the Restless,” getting only 4 million.

What’s more, viewership is steadily declining. “The Young and the Restless” has been at the top of the heap since 1988, yet has seen its ratings drop 25 percent in that time. One-fourth of its viewers are gone, yet it remains on top! Which means the other shows are faring even worse.

So how can a show attract new viewers? Soap operas require daily attendance. To convince someone to add a time commitment of five hours a week, you’d better be offering something compelling. Are the soaps doing that?

To find out, I watched “The Young and the Restless” last Monday, to see whether I would be hooked, or at least interested enough to tune in the next day. I took notes on the episode, much as I did for my grandma and my aunt, and I present them here as evidence.

* * * *

Sad music plays as an ill-looking woman shakily pours a glass of something then drops the glass, which shatters. She is comforted by a rugged, gray-haired man. He reminds her that she has been through something traumatic, and that such after-effects are to be expected. He does not mention what this event was, but I take his word for it that it was traumatic, if it causes glass-dropping.

A blond woman enters, inquiring as to the whereabouts of Nicholas. She either does not notice or does not care that she has interrupted a moment between Shaky Woman and Rugged Man. Rugged Man figured Nick would be at the courthouse, but Blond Woman says nope, she just came from there, and the verdict is about to be announced! (Apparently the courthouse is next door.)

Cut to an empty courtroom, where another blond woman (a lawyer, we are expected to believe), blandly attractive in appearance, sits at a table and writes things on a yellow legal pad (because she’s a lawyer, you know). Another woman, a brassy, don’t-mess-with-me type, barges in and says, “Christine, why did that coon take my son?” I curse myself for having missed Friday’s episode, wherein a raccoon apparently made off with this woman’s son. Christine replies, without looking up, “Because you wouldn’t stop talking to Daniel, and that’s not allowed.”

Then they talk about the case, whatever it was, and Christine asks Coon Woman if she knows where Sharon went. Coon Woman says that when it became apparent the judge was going to come back with a “not guilty” verdict, Sharon went off to “warn Nicholas.”

Recap: So far, Christine is looking for Sharon and Sharon is looking for Nicholas.

Cut to a man — Nicholas? The raccoon? — in a wooded area (well, a fake wooded area on a Los Angeles sound stage), digging a hole. He appears distressed. He is handsome the way all soap actors are, i.e., in a very soft, half-heartedly gay fashion. He looks like the type of soap actor who could take his shirt off at any moment. Is this Nicholas, digging his own grave, the consequence of the judge’s foretold “not guilty” verdict? That doesn’t make any sense. I contemplate it as the opening credits roll.

Two men in a house. One of them is about 30 and wears glasses; the second, younger, asks whether Glasses actually saw Sheila Carter in the mental facility. Glasses indicates yes, and that Sheila is completely insane, not to mention locked up, and so Lauren (whoever that is) has no need to fear. “Sheila Carter is locked up tighter than Hannibal Lecter,” Glasses says.

“That’s good,” replies Other Guy. “Because Hannibal Lecter escaped.”

This should be a punch line, but the music gets very serious, and Glasses gets a thoughtful look on his face. Apparently this show doesn’t “do” punch lines.

Cut to a young man named Scott asking someone named Brenda if she’ll go with him to visit his mom. Brenda looks like she could BE Scott’s mom. I don’t like the looks of these two.

Back in the courtroom, Coon Woman wonders aloud how Nicholas will react if — nay, WHEN — her son (the one abducted by raccoons) is found not guilty. Christine’s lawyer friend enters and sits with her. Two more people, a professional-looking black man and an old bejeweled matriarch, enter. They’re waiting for the verdict, too. The old woman is Kay, and she’s pretty sure Daniel is guilty. Daniel’s mom, Coon Woman, is like, “Nu-uh, I don’t think so.” They are interrupted by an officer of the court, who wants to speak to Christine privately. The others stand and pose melodramatically while the conversation takes place in a corner of the room, and we go to a commercial.

When we come back, Coon Woman is reading Christine’s body language to mean that it’s good news. Kay is not so sure, and she tells us, quite irrelevantly, that Daniel’s grandfather was once her husband, though if this old lady is like all the other old ladies on soap operas, she’s had about a dozen husbands. Also, the actress is probably 60 while her character should be about 110. Coon Woman, whose name we learn is Phyllis, points out that Kay is there supporting the Newmans and hence wants Daniel in prison. Evidently the Newmans are known for their pro-prison position where Daniel is concerned. But Daniel is innocent, Phyllis says. He wasn’t driving the car that night!

Everyone keeps talking about waiting to see what the judge says, and I wonder why a jury wasn’t involved in what was obviously a criminal proceeding.

Christine returns from her conversation with the court officer to report that the judge had a family emergency and had to leave. Apparently you can just DO that when you’re a judge. (“No, keep the guy in jail a while longer before I declare him innocent. I’ve got things to do.”) Phyllis is livid. “Did he tell the goon what the verdict is?” (Ah, GOON. Maybe she said “goon” before, too. I swear it sounded like “coon,” though. I even replayed it several times.) Christine says no, he did not tell the goon what the verdict is. “The judge will read it in court when he gets back. That’s how it works.” Actually, I think the way it works is that a jury reads the verdict, but whatever.

During this, the well-dressed black fellow pretends to talk on his cell phone in the background.

Phyllis hurries off, still assured her son is innocent, and Christine and her lawyer friend leave, too. Now elderly Kay and her well-dressed black friend, Neil, are alone in the courtroom. I wonder if he is her lawyer, or perhaps her lover. I cannot really picture these two hanging out in everyday life. She asks him about Lily, specifically, how is she?

Cut to … what? A Mexican cantina, maybe? There are deck chairs on which people in bathing suits sun themselves, and a nearby table where sit two women and a man. One of the women, quiet and forlorn, is Lily. In a dramatic moment, she indicates to the other lady that she does not want any more iced tea.

The man tells Lily to lighten up, and she says she just wants to go to the courthouse to be there with Daniel when the verdict is read. The guy tells her, “They wouldn’t let you through the front door.” Lily must be pretty hardcore, if they wouldn’t even let her enter a public building like a courthouse. Is she banned from the library too? She calls the man Damon, with the emphasis on the second syllable: Da-MON. This is not a real name. Who are these people?

Cut back to Glasses and Other Guy. Glasses, apparently having spent the last several moments mulling the Hannibal Lecter remark, says angrily, “Do me a favor, don’t ever joke about Sheila Carter being out on the loose again!” Other Guy asks what it was like coming face-to-face with the notorious Sheila. Glasses says it was disturbing, being that close to a “monster, someone who tormented someone I love.”

Glasses, whose name is now Mike, says Lauren was so relieved to learn that Sheila is safely locked up that she cried. Oh, and now she wants to go to the nuthouse, too, to see for herself. These seem like contradictory responses to me — “I’m so relieved! Thank goodness this is over!”/”I want to see for myself.” — but whatever. Other Guy doesn’t think it is a good idea, but what does he know? He’s just Mike’s houseboy or something.

Back to Scott and Brenda. If she’ll go with him to “Genoa City” (fake), it will solve everything. He can see his mom, and he and Brenda can get a lot of work done on their novel. Brenda says, modestly, that it’s HIS novel, not theirs. I gather that they have some kind of true-life story waiting to be told, apparently Brenda’s story, with Scott being merely the vessel to put it in writing. He gets her excited about the possibilities of publishing the account. I still don’t like the looks of them. I wish they weren’t on this show.

Cut back to the first scene, where Shaky Woman and Rugged Man are still sitting on the couch and Blond Woman (now known as Sharon) hangs up the phone, having just gotten the news about the judge being called away. She hasn’t seen Nicholas all day. He left court because he couldn’t stand hearing them talk about Cassie.

Cut to Nicholas, now finished digging whatever he was digging, entering his home and gazing longingly at a photo on the mantel. He has flashbacks: him and Sharon talking about adopting the girl in the photo (Cassie?), going to the school’s Daddy-Daughter Dance (where he half-jokingly tells Cassie HE wants to be the daughter, I kid you not), her telling him sometimes she’s afraid she’ll be left all alone. On this last flashback, he says he’ll never leave her: “You have my word on that.” The final sentence echoes as we return to the present.

Did Daniel kill Cassie? Is that what this is all about?

Back to the courtroom, where gaudy old Kay and Neil are talking about Lily. She’s had her troubles with the law, but it could have been worse, Neil says. Mainly he wants her — his daughter, evidently — to stay away from Daniel (who he thinks his guilty). Kay and Neil talk about Lily, and how she’s 17, and they grow up so fast, and so forth.

Back at the cantina/restaurant, Lily frets and still doesn’t want any more iced tea.

Back at Nicholas’ house, he has more flashbacks about Cassie, including some less-happy ones of her teenage rebellion. The flashbacks are like a tour of Nicholas’ facial hair through the years: goatee, jaw-line beard, clean-shaven, and so forth. In the present, he’s got a little chin-beard and mustache that don’t meet.

Phyllis barges into Nicholas’ house without knocking. He asks, not without cause, what the H she’s doing there. She tells him the verdict’s due to come in, and she wants to know, if Daniel is found innocent, will Nicholas be able to deal with that? In response, Nicholas goes to commercial.

Upon our return, Nicholas says there’s no way Daniel will be found not guilty. Phyllis says Daniel wasn’t driving the car, that yes, he might have been drunk, but he wasn’t driving. (Is Daniel underage? Is that why there’s no jury? Is this family court?) Phyllis softens a bit and tells Nicholas that the kind of justice he seeks — where Cassie is alive again — ain’t gonna happen. Plus, she says, she KNOWS Nicholas has evidence that he’s been hiding, evidence that would apparently exonerate Daniel.

Back to Scott and Brenda, blabbing about this story of theirs, and how he wants her to accompany him to Genoa City. She’s reluctant. It occurs to me that this episode is half-over, and these two are never going to leave the apartment they’ve been standing in the whole time.

We cut to Mike and his houseboy, another pair that seems destined to stand around all day. Apparently tired of discussing crazy Sheila Carter, Houseboy tells Mike that he (Mike) should be happy, because with the Sheila thing almost behind her, Lauren can now lighten up, and the wedding’s back on, and Lauren’s son will even be in attendance! Mike tells Houseboy (named Kevin now) that he’s thinking of asking Lauren to move in soon, before the wedding. This means Kevin would have to move out. I don’t know what Kevin and Mike’s relationship has been, but it sounds unsavory. “I’ve enjoyed having you here. I never thought it would work out as well as it has,” Mike says. On a dime, Kevin turns angry and says, “I can’t believe you’re kicking me out!” On that absurd note, we go to commercial.

Neil arrives at the cantina, joining his wife and Lily (his daughter) and DaMON (I don’t know who he is). They discuss the impending verdict, how Daniel either was or wasn’t driving that night, blah blah blah.

Across the room, Christine and her lawyer friend are eating lunch. Lawyer Friend says Christine did a bang-up job defending Daniel, but what they could have used was some solid evidence that Cassie was driving that night, not Daniel. (Ah-ha! They were together. I’d been assuming Daniel had run Cassie over.) Christine says, “Maybe there was no evidence, or maybe we found all there was to find, or maybe it doesn’t exist,” not realizing that the first and third options mean the same thing. (“Maybe there wasn’t any, or maybe we found it, or maybe there wasn’t any!”)

Back to Phyllis still pestering Nicholas. She mentions how Nicholas’ family threw her out of her house, and how Nicholas once fired her. She handled that, but she will NOT put up with Nicholas harassing Daniel after he’s found not guilty. A gal’s gotta draw the line somewhere.

More Shaky Woman and Rugged Man (named Victor), still sitting there, two more people who aren’t goin’ anywhere today. Sharon couldn’t care less that Shaky Woman is looking more and more ill as time goes on. She rambles about how Nick pulled away when Cassie died, and she doesn’t know how to reach him, and so forth. Maybe Nick pulled away because you talk too stinkin’ much, Sharon.

Commercial. Then, Neil orders a turkey wrap with extra mayo and tells Lily she may NOT go to the courthouse to hear the verdict. Lily appeals to DaMON, now being called DeVON, for help. Her parents won’t budge. Neil goes to make some phone calls, leaving me to wonder what will become of his turkey wrap.

Nicholas broods about the death of Cassie some more, Phyllis urges him to leave her son alone, and then Sharon comes home. She is surprised to see Nicholas there, even though it’s his home, too. Sharon’s presence doesn’t seem to faze her.

Oh! Kevin is Mike’s BROTHER. Turns out Kevin was kidding about being upset, a shameless ploy to create drama where there was none. (I never fell for it, by the way.) He says he’ll move out right away.

Now Brenda is saying she can’t leave for Genoa City after all, which means she and Scott have gone nowhere today, physically or conversationally.

With Sharon finally gone, Victor can get back to addressing Shaky Woman’s shakiness. But before he does, we cut to:

Sharon demanding to know where Nicholas wandered off to earlier. Before he can answer, we cut to:

Lily arguing with her mom. And then we pan over to:

Christine and Lawyer Friend at their table, where Christine realizes something about the case that she has to check out immediately. A clue? A piece of evidence? A raccoon? She dials her cell phone and the show ends.

* * * *

My findings? This show is boring.

No wonder soaps are losing viewers. A whole hour of “Young and the Restless,” and no evil twin, no presumed-dead person returning from the grave, no medical crisis, no sex. No sex! What kind of soap opera is this?

I was able to pick up on the major plot threads, mediocre though they were, but nothing compelled me to tune in the next day to see what happened next. And it wasn’t until I poked around on the Internet that I found out the REALLY interesting parts, like how “Brenda” that Scott was talking to is actually Sheila Carter — the one who’s supposed to be locked up like Hannibal Lecter! Who’s locked up in Sheila’s place, I don’t know. The real Brenda, probably. Now, THAT’S a good story! But you wouldn’t know it from watching this episode, where Scott and not-Brenda just stood around all day talking about nothing.

Not every episode can be a barn-burner, I realize, but on the other hand, how are you going to hook new viewers? Deciding to watch a soap opera is like joining a church. It’s a conscious decision. You think, “I’m missing something in my life. I remember gaining some satisfaction by [attending this church/watching this soap opera] as a young person. Perhaps I should return.” And so you have another look at whichever church/soap you used to frequent. You notice that most of the people are different (though a few old-timers are still there), but that the format and content are more or less the same as you remember them. And if the first time back isn’t especially fulfilling, you keep with it anyway, because hey, this stuff is important.

I’m doing OK without any soap operas in my life. (Church is still useful.) I have TiVo, and I have free time. But five hours a week? And not an evil twin in sight? Forget it, you young, restless people. If I wanted to spend my weekdays being bored, I’d get a job.

Season premieres

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It’s the magical time of year again: time for the networks to bring our shows back for the fall season. Cliffhangers will be resolved, double-length season premieres will be padded, tears will be shed, hearts will be touched.

Following is a list, by date, of all the major networks’ season premieres. Omitted are cable shows, because they don’t usually adhere to a “fall season,” and because I don’t care about most of them.

Shows that are brand-new this fall are marked with an asterisk. Give ’em a spin! See if they stink! I know I will. (Give ’em a spin, I mean, not stink.)

Monday
*8/29 – Prison Break – FOX

Thursday
9/8 – The O.C. – FOX
*9/8 – Reunion – FOX

Sunday
9/11 – The Simpsons – FOX
*9/11 – The War at Home – FOX
9/11 – Family Guy – FOX
9/11 – American Dad – FOX

Monday
9/12 – Wife Swap – ABC

Tuesday
9/13 – The Biggest Loser – NBC
*9/13 – Bones – FOX
9/13 – Gilmore Girls – WB
9/13 – House – FOX
*9/13 – Supernatural – WB

Wednesday
*9/14 – Head Cases – FOX

Thursday
9/15 – Survivor – CBS

Friday
9/16 – What I Like About You – WB
*9/16 – Twins – WB
9/16 – Reba – WB
*9/16 – Threshold – CBS
9/16 – Living with Fran – WB

Monday
9/19 – Arrested Development – FOX
9/19 – King of Queens – CBS
9/19 – One on One – UPN
9/19 – Seventh Heaven – WB
*9/19 – Surface – NBC
9/19 – All of Us – UPN
*9/19 – How I Met Your Mother – CBS
*9/19 – Kitchen Confidential – FOX
9/19 – Girlfriends – UPN
*9/19 – Just Legal – WB
9/19 – Las Vegas – NBC
9/19 – Two and a Half Men – CBS
9/19 – Half & Half – UPN
*9/19 – Out of Practice – CBS
9/19 – CSI: Miami – CBS
9/19 – Medium – NBC

Tuesday
9/20 – According to Jim – ABC
9/20 – N.C.I.S. – CBS
*9/20 – My Name is Earl – NBC
9/20 – The Office – NBC
9/20 – Law & Order: SVU – NBC

Wednesday
9/21 – America’s Next Top Model – UPN
*9/21 – The Apprentice: Martha Stewart – NBC
9/21 – Lost – ABC
9/21 – Still Standing – CBS
9/21 – Yes, Dear – CBS
*9/21 – E-Ring – NBC
9/21 – CSI: New York – CBS
*9/21 – Invasion – ABC
9/21 – Law & Order – NBC

Thursday
*9/22 – Everybody Hates Chris – UPN
9/22 – Joey – NBC
9/22 – Eve – UPN
9/22 – The Apprentice – NBC
9/22 – CSI – CBS
9/22 – Cuts – UPN
*9/22 – Love, Inc. – UPN
*9/22 – Criminal Minds – CBS
9/22 – ER – NBC

Friday
9/23 – Bernie Mac Show – FOX
*9/23 – Ghost Whisperer – CCBS
9/23 – Supernanny – ABC
9/23 – Malcolm in the Middle – FOX
*9/23 – Killer Instinct – FOX
*9/23 – Three Wishes – NBC
*9/23 – Inconceivable – NBC
9/23 – Numbers – CBS

Sunday
9/25 – Extreme Makeover: Home Edition – ABC
9/25 – Charmed – WB
9/25 – Cold Case – CBS
9/25 – The West Wing – NBC
9/25 – Blue Collar TV – WB
9/25 – Desperate Housewives – ABC
9/25 – Law & Order: CI – NBC
9/25 – Crossing Jordan – NBC
9/25 – Grey’s Anatomy – ABC

Tuesday
9/27 – The Amazing Race – CBS
*9/27 – Commander-in-Chief – ABC
*9/27 – Sex, Love and Secrets – UPN
9/27 – Boston Legal – ABC

Wednesday
9/28 – George Lopez Show – ABC
9/28 – Veronica Mars – UPN

Thursday
9/29 – Alias – ABC
9/29 – Smallville – WB
9/29 – Will & Grace – NBC (Premiere will be LIVE!)
9/29 – Everwood – WB
*9/29 – The Night Stalkers – ABC
9/29 – Without a Trace – CBS

Friday
9/30 – Hope & Faith – ABC

Tuesday
10/4 – Rodney – ABC
*10/4 – Close to Home – CBS

Wednesday
10/5 – One Tree Hill – WB
*10/5 – Freddie – ABC
*10/5 – Related – WB

Friday
*10/7 – Hot Properties – ABC

Tuesday
11/8 – That ’70s Show – FOX

Wednesday
11/9 – Stacked – FOX

Eric recommends: ‘The Light of Falling Stars,’ ‘On the Night Plain’

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I have now read all four works by J. Robert Lennon, and I loved them all. Here’s an author no one seems to have heard of who is, nonetheless, astonishingly good.

Let me briefly mention my first two exposures to him. “The Funnies” is a humorous novel about a man who must take over his father’s “Family Circus”-style comic strip when the old man dies, forcing him to face head-on the fact that the idealized version of the family in the cartoon in no way resembles his real-life dysfunctional family. (For example, his brother, the one Dad never liked, doesn’t even have a counterpart in the strip. All other real-life events were mirrored in the comic, except for the birth and subsequent life of that brother.)

Then I read “Mailman,” about a small-town postman who sometimes keeps people’s letters for himself to read. We wander through his memories and his current, cranky musings, and follow him as he flees the wrath of his supervisors and as his world (and his sanity) slowly crumbles around him. Very funny at times, but extremely poignant, too, and a perfect rendering of small-town life.

And now for the other two books by Lennon:

“The Light of Falling Stars” was his first novel, published in 1997. It begins with a small plane crashing in the woods in Montana. From there it follows several threads: the young married couple who live in the house near those woods, who saw the whole thing, and whose marriage was in trouble; the boyfriend of one of the victims; the ex-wife of one of the victims; and a survivor. Lennon’s writing is rich with metaphors, each of them perfectly worded so as to be exactly evocative. You feel what the characters feel — which in this case means sadness, grief, love and hope. It’s truly a beautiful novel.

“On the Night Plain” is nearly as beautiful. It’s set just after World War II and follows a man who leaves his family’s sheep farm to find himself in the world, only to eventually return and inherit the sheep business with his brother. Like the just-mentioned book, it is highly internal and introspective, again brimming with well-constructed similes and metaphors. You think you could never care about a character who runs a sheep farm, but then you read “On the Night Plain” and you care deeply.

Matando Cabos (Spanish)

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America has its share of Quentin Tarantino wannabes; why shouldn’t Mexico? Alejandro Lozano is pretty good as wannabes go, though, and his first feature film, “Matando Cabos,” is an enjoyably violent and vulgar dark comedy in the vein of “Pulp Fiction.” (It even includes a character who objects to storing a dead body, and a specialist who gets called in to solve difficult problems.)

Taking place over the course of one night, “Matando Cabos” is about two kidnappings that go awry (one of them before it even gets off the ground, insofar as they grab up the wrong guy). Cabos (Pedro Armendariz Jr.) is a ruthless tyrant of a businessman who was recently angry to find his daughter having sex with her boyfriend Jaque (Tony Dalton), who is also one of Cabos’ employees. Jaque and his buddy Mudo (the single-named Kristoff) go to confront Cabos one night and sort of accidentally wind up with him unconscious and in the trunk of their car.

Meanwhile, there is Cabos’ life-long best friend, who is now his low-paid janitor. The janitor’s son, Botcha (Raul Méndez), furious to see his father treated so poorly, enlists a hitman named Nico (Gustavo Sanchez Parra) to help him kidnap Cabos and teach him a lesson. Alas, Nico mistakes Botcha’s janitor father for Cabos and takes him instead, and by the time Botcha sees the victim, he has a bag over his head.

Various women get involved, but this is mostly a man’s movie, the sort of sardonic film where the characters speak in a detached, calm manner even when someone is coming around the corner to kill them. It is not realistic, obviously; it is stylized, and Lozano keeps the pace buoyant, even when the plot abandons all logic and goes freestyling down the road of random events.

There are amputated fingers. There is a spectacular car crash in a soccer stadium. There is a talkative parrot with a murderous owner. There is a retired masked wrestler named Ruben (Joaqui­n Cosio) who does NOT like to be called by his ring name of Mascarita anymore.

On top of all this quirkiness and lunacy, Lozano employs flashbacks, fantasy sequences and quick glimpses of what’s happening elsewhere, all in the name of violent, vulgar dark comedy. But in the end, maybe it’s TOO dark: It seems the only ones who actually get hurt are the ones who don’t deserve it. Black humor is one thing, but sometimes it can cross over into pure ugliness. Speaking of ugliness, did I mention the retired wrestler? ¡Que feo!

(Note: I saw this film at Sundance. I assume that if it is ever released theatrically, someone will give the subtitles a once-over, as they are currently rife with typos and misspellings. If you need to someone to help you out, give me a call.)

Undiscovered

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The Internet Movie Database reports that “Undiscovered” was originally titled “Wannabe” but was renamed to match the title of a song that Ashlee Simpson sings in the movie. “Wannabe” and “Undiscovered” both work OK, but it would have been better if Ashlee had a song called “Dull Generic Crap Pile.”

Please understand up front that while I am no fan of Ashlee Simpson, nor of her retarded, buck-toothed sister, those opinions have nothing to do with my assessment of “Undiscovered.” This lazy late-summer throwaway, from music video director Meiert Avis and new writer John Galt, is an innocuous “Fame” wannabe that would be just as bad if it were Ashlee-free.

Ashlee’s only a secondary character anyway (though that doesn’t stop them from wedging TWO songs sung by her character in at the end). Our hero is Luke Falcon, played by Steven Strait, which marks the first time I can think of that an actor with a porn-star name has played a character with a porn-star name. Strait was recently seen in “Sky High,” but apparently his real ambition is to rock and/or roll. He fronts a band in real life; here he plays a fairly talented, if scruffy (he looks like a gardener) singer/songwriter who moves to Los Angeles to make it big. His brother Euan (Kip Pardue), also a musician but not quite as serious about it, moves to L.A., too, I think just to make fun of him.

Luke becomes friends with Ashlee’s character, an actress/singer named Clea, and with Clea’s pal Brier (Pell James), a dappled blond model-wannabe-actress newly arrived from New York. Luke has a crush on Brier, but she has a policy of not dating musicians, learned from experience with her sometime-boyfriend, rock star Mick Benson (Stephen Moyer).

So instead of dating Luke, Brier has an idea. She and Clea use the Internet and their social connections — Brier’s agent (played by Carrie Fisher) knows a few people — to create a false “buzz” for Luke, who’s been performing regularly at a dingy bar. They shill for him on blogs and message boards, and soon impressionable young people, believing him to be a big deal, are treating him like he’s a big deal.

This attracts the attention of a weaselly record exec named Garrett Schweck (Fisher Stevens), who signs Luke to a contract and urges him to forget his friends and focus on the money, the way agents in movies always do. Luke promptly begins snubbing his brother and behaving like a jackass, and the perils of fame are once again demonstrated.

Ah, but I have made the film’s plot sound more cohesive than it is. In truth, it wanders over several paths, all of them familiar and uninteresting. Is it the story of Luke and Brier’s relationship? Is it about the high price of fame? Is it about chasing one’s dreams? It is actually all those things and less, with every thread given only cursory attention. The whole thing feels like an outline for a movie, not a movie.

Steve Strait, a forgettable but not-unpleasant actor, surely signed onto this film when it was laid out for him this way: “You get to sing songs that will appear on the soundtrack, and the movie is 90 minutes of other characters telling you that you’re really cute and you have a great voice.” Who WOULDN’T do a film like that?

Unfortunately for him and his music career, no one put much effort into it. It’s an afterthought of a movie, slow-paced and obvious, and a shameless grab at teenagers’ disposable income. Better they should spend their dough on an Ashlee Simpson CD. (It costs more than a movie, and the poor experience will teach them the value of a dollar.)

The Brothers Grimm

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Terry Gilliam’s first film in seven years, and what a mess he’s made of it! “The Brothers Grimm” is not just weird, but randomly, elaborately weird. Much of the weirdness obviously took a lot of time and money to create, and to what end? Oddness is fun, but not for two whole hours, and not at the expense of the story. This has all the kooky trappings of a Monty Python flick, but without the punchlines. It’s a total wreck.

Well, maybe not total. As ever in a fanciful Gilliam film — we’re talking “Time Bandits” and “The Adventures of Baron Munchausen” and “Twelve Monkeys” — the production values are high, and the sets and costumes are imaginative. In this case, we are transported to the small villages and forests of early 19th-century French-occupied Germany, and the details — the mud, the filth, the poverty — feel accurate.

The film has a great premise, too, written by hack-of-the-year Ehren Kruger (“The Ring Two,” “Skeleton Key”). The title brothers, Will (Matt Damon) and Jake (Heath Ledger), are con artists who travel the countryside ridding villages of witches, trolls and such — all non-existent phenomena created by the Grimms themselves, of course, and they charge a handsome sum for exterminating the monsters.

Then they are caught in their lies by French general Delatombe (Jonathan Pryce), and he makes them an offer they can’t refuse: Help him root out the like-minded impostors who are tormenting the good people of nearby Marbaden, and he won’t imprison the Grimms for their chicanery. Whoever is doing as the Grimms do in Marbaden is doing a good job of it, though. Ten girls have disappeared already, and everyone believes the forest is haunted.

The Grimms discover, as you might have guessed, that the supernatural events in Marbaden are not the work of people like them, but of actual, well, supernatural forces — supernatural forces that they have no actual experience fighting. All the ghosts and goblins they’ve conquered in the past have been ones they made up.

A Marbaden girl named Angelika (Lena Headey, who also appears in this week’s other crappy new release, “The Cave”) guides the Grimms into the woods and may or may not fall in love with one or both brothers; the movie hedges its bets on that point. Her skill is knowing that if she gets lost in the forest, she can lick a particular toad and it will point the way home.

Yes, a toad. That’s funky, that’s goofy, and OK, whatever. But you cram your movie with one queer thing after another and you’re going to wind up with an exhausting two hours. And that’s exactly what Kruger and Gilliam have done here. The screenplay’s story loses focus as soon as Angelika leads the boys into the woods, with bizarre, barely explained legends about rotting old queens and other ancient prophecies muddying the waters. So it’s hard enough to follow what’s going on, and then Gilliam compounds the problem with his exasperating refusal to cut out the daftness and just tell the damn story.

Here’s a horse that spontaneously sprouts fangs; here are the Grimms inexplicably wearing bonnets; there’s a boy being turned into a Gingerbread Man for no reason; there’s a complicated, overdone basement-slash-torture-chamber where prisoners are suspended from the ceilings by their waists, and one guy is moaning in the background for no other reason than to BE DISTRACTING! SHUT UP!!

Which brings us to a subject on which I am afraid I will speak with much fervor, and that is the subject of how much I hated, hated, HATED Peter Stormare’s performance in this movie. Stormare is a Swedish actor whose face you will recognize, whether you know his name or not. He’s appeared in “Bad Boys II,” “Minority Report,” “Windtalkers,” “Bad Company,” “Chocolat,” “Armageddon” … the list goes on. He’s a good actor, and usually a funny one on the rare occasions when he is called upon to be so.

In “The Brothers Grimm,” he plays an Italian man named Cavaldi who is some kind of subordinate to Delatombe. He is meant as comic relief, but considering how much wackiness has already been shoehorned into this movie, what we could have used was some dramatic relief. Stormare steps, fetches, stammers, overacts, stumbles, cavorts, minces, gambols, pratfalls, bumbles, prances, flounces, capers and just generally makes a nuisance of himself. Not only are most of his actions baffling — why does he tie up Angelika in one scene? — but when he speaks, it is with too many loud, shouted lines, all in an exaggerated Italian accent, all full of stuttering, all adding up to nothing. He began to grate on my nerves every time he entered the frame. Even now, as I write this, I begin to clench up just remembering his frustrating, aggravating performance.

Damon and Ledger don’t do any damage. This is all Gilliam’s mistake to make — first in taking on such a confused screenplay, second in doing nothing to improve it in the filming, and third in letting Stormare run rampant through the thing, like a frantic rat scampering around a sinking ship.

The Cave

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Late summer means two things: Everyone has finally seen whatever the big blockbuster was, so it’s safe to talk about the ending (Anakin totally gets burned up by lava); and a mediocre horror film will be dumped into theaters a week or so before Labor Day.

This year the honors go to “The Cave,” a yawning load about a group of pretty explorers who get stuck in an underground labyrinth where they are preyed upon by a beast of some kind. It is not unlike “Anacondas: The Hunt for the Blood Orchid” (release date: Aug. 27, 2004), which had essentially the same plot and even shared a cast member, Morris Chestnut.

We begin 30 years ago in what is helpfully described as “Cold War Romania,” though what other kind of Romania there was 30 years ago, and why the Cold War is even relevant to the story, I don’t know. Anyway, some scruffy Europeans dig themselves into a cave hidden beneath an ancient church, and are never heard from again. Good for them.

In the present day, the site is excavated again, this time by the vaguely foreign Dr. Nicolai (Marcel Iures). One of his associates says, “We’re going to need cave divers,” and Dr. Nicolai replies, “I know just who to call.” (Who, Dr. Nicolai? Cave divers?)

Sure enough, he calls cave divers. Led by the handsome-but-dull Jack (Cole Hauser), they are an elite team of expert swimmers, divers, rock-climbers and general spelunkers. Jack’s hot-shot brother Tyler (Eddie Cibrian) is on the team, as is an Australian guy (Kieran Darcy-Smith), an all-American guy (Rick Ravanello), a hot blonde rock-climber (Piper Perabo), and a black guy (Morris Chestnut). They join Dr. Nicolai in Romania and, accompanied by him and his pretty scientist lady friend Katherine (Lena Headey) and her photographer (Daniel Dae Kim), they head into the abyss to see what’s down there.

You can guess what’s down there: monsters. Or animals. Creatures of some kind, anyway, and they’re hungry and vicious and they pick people off one by one. They seem to be amphibious, too. Whether our heroes are in the water or on dry land in one of the many underground caves, they are easy prey for the Alien-like beasts. In fact, as we discover from Piper Perabo’s best line — “They fly! They friggin’ fly!” — the monsters can also fly. They’ve evolved pretty well for a species that lives in total darkness at the top of a food chain that includes no other flying animals.

If I seem more interested in the creatures than in the humans, please don’t misunderstand: The creatures are boring, too. It’s just that they get more screen time than, say, Morris Chestnut, who is present for about 11 seconds total. And it’s not because he dies early, either. They just introduce his character and then let him wander off for a while. Maybe Chestnut had to leave the set for a few days and they just kept shooting without him.

The script (by newbies Michael Steinberg and Tegan West) has people shouting lines like “What the hell’s going on?!” and “There’s something in the water!” a lot, and Bruce Hunt’s direction during the action scenes is jittery and chaotic. There’s nothing scary about blurry things jumping around the screen while people holler, and there’s nothing surprising about teams of explorers being killed one at a time in a remote location. So without “scary” and “surprising,” what is “The Cave” left with? Flying amphibian monsters. Which are great things to have in a movie, I’ll grant you, but not by themselves.

The Baxter

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What a fine idea “The Baxter” has, and how sad that it blows it. Written and directed by Michael Showalter (of “Wet Hot American Summer” and Comedy Central’s “Stella”), it purports to be a gentle spoof of cookie-cutter romantic comedies, but soon becomes — you guessed it — a cookie-cutter romantic comedy itself.

Showalter plays Elliot Sherman, who tells us in the narration that he is a Baxter. A Baxter is the guy in the movies whom the girl DOESN’T choose in the end. He’s usually a nice enough guy, decent and boring, but clearly not the right man for the heroine, who of course always chooses the hero. She usually does this in a scene of high emotion and cuteness: Her former boyfriend arrives with a sign saying “I’m sorry,” or he interrupts her wedding to the Baxter to proclaim his love, or he stops her at the airport as she is boarding a flight to the city where the Baxter awaits her. Elliot’s romantic life has been a series of these climactic, end-of-the-movie-type scenes, with him forever on the losing side.

He’s a mild-mannered accountant, somewhat resigned to his fate as a Baxter, yet never fully giving up hope for everlasting love. Early in the film, he meets Cecil Mills (Michelle Williams), a temporary secretary at his office who, like him, reads the dictionary for fun. She is clearly the right woman for him. Alas, moments later, he meets a client named Caroline Swann (Elizabeth Banks), who is more beautiful and glamourous than Cecil and whom he pursues instead, leaving Cecil by the wayside.

Elliot learns almost at once that there is Baxter potential here: As is often the case with him, Caroline has a handsome ex-boyfriend with a more exciting job and better credentials. His name is Bradley (Justin Theroux), and much to Elliot’s chagrin, Caroline begins spending time with him again, even while becoming engaged to Elliot. Bradley’s gonna show up at the wedding, proclaim his love, and take Caroline away, isn’t he?

Further complications: Bradley has a current girlfriend, clearly destined for Baxter-hood herself when he ultimately dumps her and goes for Caroline (which of course will make Elliot a Baxter, too). But Bradley’s current girlfriend has an ex-boyfriend TOO, making it one huge chain of people who are presently coupled with the wrong partners, waiting for destiny to force them into the arms of the right person.

This idea of showing multiple relationships from different points of view is clever; after all, how often do we see a film from the Baxter’s perspective? But Showalter fails to fully exploit the possibilities, only occasionally satirizing rom-coms or even subverting their clichés. Halfway through, the film stops trying to be a parody and simply BECOMES a romantic-comedy, with all the usual exasperating formalities.

I note one scene where Elliot has spent a platonic evening with Cecil and wishes to hide her presence in his apartment from Caroline, who will surely misunderstand. The slapsticky farce that ensues is the sort of thing “The Baxter” should be making fun of, not indulging in.

There is also the matter of Showalter’s onscreen persona. It is heavily mannered and affected, a sort of surreally polite man who bears no resemblance to any actual person. This works on “Stella” (fans of that show, of which I am one, will delight in the film’s cameos by David Wain and Michael Ian Black), which lasts only 30 minutes and which is bizarre in its every detail. “The Baxter” is meant to be more grounded — not realistic, exactly, but at least the Movie World version of realistic. And so Showalter winds up sticking out like a sore thumb, a Baxter even in his own film.

The Memory of a Killer (Dutch/French)

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Here’s a nifty idea: An aging hitman tries to continue his life as an assassin even while his mind disintegrates Alzheimer’s. Maybe he realizes he doesn’t have much time left and decides to right a few wrongs before he dies. Maybe it all takes place in Belgium. (Why not?)

That’s “The Memory of a Killer,” a Belgian film as energetic and clever as many a Hollywood production — though ultimately as clichéd as one, too. You think these foreigns jobs are going to be refined and unusual, but not always. Sometimes they’re just good ol’ American bombast, repackaged in a foreign language.

The year is 1995 (for no discernible reason), the place is Antwerp. The assassin is Angelo Ledda (Jan Decleir), a Frenchman who traipses through Europe dispatching victims when called upon to do so. He is beginning to suffer the ravages of age, though, and he guesses at what his fate will be: His brother Paolo (Roland De Jonghe) is already in a nursing home and already doesn’t recognize him.

He’s given two assignments in Antwerp. One is Bob Van Camp (Lucas van den Eijnde), a bigwig in local politics. The other is a 13-year-old girl name Bieke (Laurien Van den Broeck), who until recently was an unwilling child prostitute under the direction of her sleazy father (Dirk Roofthooft). Angelo has no problem killing the politician. But he draws the line at shooting a young girl. Would the Angelo of yesteryear have had such qualms, or is this the old man’s conscience springing to life, a budding cognizance of his own mortality?

Whatever it is, his superiors aren’t happy with it, and soon Angelo himself becomes a target. This necessitates a few self-defense killings, which, combined with the other murders that comprise the overall mission (Angelo’s two assignments were only the beginning), means the local police suddenly have a lot of dead bodies on their hands.

Those lawmen are the noble Eric Vincke (Koen De Bouw) and his goofball partner Freddy (Werner De Smedt), a pair of detectives who guide the film through its police-procedural elements, which are flashy but no more substantive than a typical episode of “CSI.” Angelo, seeking justice against his former associates and employers, even offers subtle help to the cops — from a distance, of course, since they probably have a few awkward questions for him, too.

The director, Erik Van Looy, may well be the best Belgian filmmaker currently working (not that there is a lot of competition), enthusiastically and confidently guiding this pulpy story through its twists and turns. Standard though it all may be, it is nonetheless executed with crafty precision. In the inevitable Hollywood remake, I want Michael Caine as Angelo.

I saw a pirate

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I saw a pirate yesterday in downtown Portland. He walked past me while I was waiting for the MAX. He had a bandana on his head, hoop earrings, and an eyepatch. He did not have a parrot or a wooden leg or a hook for a hand, nor did I see him blow anyone down or shiver anyone’s timbers, so maybe he is just a pirate-in-training. But still! It was pretty exciting to see a pirate. I never saw them in SLC, what with Utah being a landlocked state.

Uncle Eric’s Grab Bag

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This week, I’m gonna reach into Uncle Eric’s Grab Bag and pull out a few leftover items that did not fit in previous columns because they were oddly shaped or just plain too fat.

I’ve been saving this first item for nearly a year, but it’s been sealed in a freezer bag so it’s still fresh. On Aug. 28, 2004, The Salt Lake Tribune ran an obituary that began as follows:

“Mary Earleen Labrum died August 26, 2004 and joined her beloved husband, Ken, who unexpectedly died almost eight years ago. Mom passed away from a broken heart and complication of diabetes.”

The medical explanation is compelling. “Mr. Labrum? I’m Dr. Kensington. I’m afraid your mother has passed away. The cause? A broken heart. Well, and diabetes. But mostly the broken heart.”

Are you already making up your own alternate versions of this? I know I am.

“Mom died of loneliness, and a heart attack.”

“Mom died of melancholy with a side of being hit by a bus.”

“Mom died of depression and sadness and cancer and grief.”

But it is not my place to mock the obituaries of deceased Utahns. No, wait. Yes it is! But that’s the only one I have handy. So instead I will tell you about the bumper sticker I saw on a pickup truck a few months ago. It had an image of a fireman, accompanied by these words: “I volunteer to fight what you fear.”

That is awesome, Mr. Fireman. It is awesome that you have volunteered for the fire department so that you can fight the things I am afraid of. And you know what the most awesome part is? That you posted a bumper sticker bragging about it.

“Yeah, I’m a fireman. I totally fight things. You know the things you’re the most terrified of? Yeah, that’s what I fight. Oh, and I volunteered. I don’t get paid or anything. I just volunteered to go fight scary things. Nah, I’m not a hero or anything. I mean, OK, you can call me that if you want. But I would never call myself that. I’m just a guy who volunteers to risk his life. Volunteers, mind you. Did I mention that?”

You volunteer to fight what I fear? What do you fight, spiders?

Next we come to the matter of Entenmann’s. This maker of fine baked goods has been around since 1898. Well, the boxes that their products come in say “Quality Since 1898,” anyway. Maybe they’ve been around longer than that but the stuff they made before 1898 was crap.

Anyway, like most 107-year-olds, Entenmann’s has a hard time using the toilet or appealing to young people, though it is the latter problem that has caught my eye recently. In an effort to seem cool to teenagers, Entenmann’s has introduced a line of “Extreme” snacks, each bearing the “Extreme” logo and a drawing of a guy on a skateboard. One of the snacks is called “Grab ‘Ems,” described as an “extra tasty donut 4-pack.” In other words, instead of the normal eight donuts to a box, these Grab ‘Ems come with only four. This is to facilitate easier grabbing. Goodness knows we’ve all tried to grab a box that contained eight of something, only to be frustrated at its unwieldiness. But four! That’s perfect for grabbing. You grab your skateboard in one hand and your box of Grab ‘Ems in the other and you’re set, dude.

Also in the donut family, there is a product called “Shrunken Donuts,” described as “super tasty mini donuts,” and there are 12 of them. In other words, they are the same donuts as in the other boxes, only smaller. The key here, though, is that they are shrunken: Entenmann’s didn’t make a smaller donut; they made a regular donut and then shrank it. HOW DID THEY DO THAT?!?! AND ALSO WHY?!?!

But my favorite in Entenmann’s line of Extreme-ly desperate attempts to woo young people is a box of cookies called “Extreme Skarf ‘Ems.” That’s right, they are little chocolate chip cookies meant for skarfing, even though “skarf” is not a word. If they’d called them “Scarf ‘Ems,” that wouldn’t have been extreme enough. But spelling stuff with a “k” is totally extreme. Or should I say “ekkstreme”? (Answer: No.)

And how do all these things tie together, to make this a cohesive, well-structured column? They don’t! But now Uncle Eric’s Grab Bag is empty, so we can finally launder it and put it back on the shelf in the hall closet, where it’s out of the way. See you next time!


[ The “background” for this column is pretty much IN the column: I had some items lying around, waiting to be included, and so I tossed them into one article. I suppose they all fall under the heading of “Things I Read Somewhere,” but that’s pretty broad. And you know who else is a pretty broad? Julianne Moore. ]

 

The 40-Year-Old Virgin

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Andy Stitzer is not dumb, unattractive, or even socially awkward, at least not especially. He has an unsexy fondness for collecting action figures and playing video games, but so do thousands of other relatively average men. Yet for some reason, Andy Stitzer is 40 years old and still a virgin.

“The 40-Year-Old Virgin,” apart from having a near-perfect title, is also a near-perfect sex comedy, made by smart people who understand that crassness itself is not funny, but that crassness with a dash of cleverness is.

It will also prove to be a career-making performance for Steve Carell, who started out on “The Daily Show,” nearly stole “Bruce Almighty” from Jim Carrey and “Anchorman” from Will Ferrell, did the impossible by making the American version of “The Office” nearly as good as the original, and is now being given a chance at leading-man stardom. He plays the titular greenhorn, a stock supervisor at a Circuit City-type store in Los Angeles, and almost everything out of his mouth is funny. Carell can underplay like nobody’s business, with an officious, inherently nerdy quality that makes him perfectly suited for a role like this.

Andy’s situation comes to light at a late-night poker game with his co-workers, gnarly-dude stockboy Cal (Seth Rogen), playa/cheata Jay (Romany Malco), and David (Paul Rudd), who has not gotten over being dumped two years ago and who loves and hates his ex-girlfriend with equal passion. They make fun of Andy for being a virgin, of course, but only briefly. Soon they are rallying around him, trying to get him into bed with someone before he becomes an old man. Andy doesn’t want the attention or the assistance, but what can you do? These co-workers, whom he has barely socialized with until now, are essentially his only friends.

The guys explore the various ways of hooking up, offering advice that would be offensive to me as a man if it weren’t for the fact that, shamefully, they represent the way most men really think. They try speed-dating, they take Andy to a bar and urge him to get a girl really drunk — they even arrange for an encounter with a hooker, but everything goes awry, and the deed is never done.

In a scene destined for fame, they urge Andy to get a makeover, which includes having his chest waxed. Carell demonstrates an admirable dedication to his comedy here: The waxing scenes are of his actual chest hair actually being yanked off, and his reactions are among the film’s most hysterical moments. (The things he yells at that poor beautician….)

While his buddies are trying to initiate him into manhood, Andy meets a woman named Trish (the always marvelous Catherine Keener) who runs a store across the street and who likes him. They date, and sex is almost achieved, but Trish wants to wait until they know each other better. Andy is relieved: He’s terrified to tell her it will be his first time.

Written by Carell and Judd Apatow and directed by Apatow, the film achieves greatness most obviously by being flat-out, fall-down, laugh-out-loud funny. All four of the leading men spout fantastic dialogue, frequently vulgar, often at least partially improvised, and always with an undercurrent of playfulness. Some scenes have Andy slipping out of the limelight so the other characters can spar with each other, as in the priceless bit where Cal and David play video games and take turns making up reasons why the other is gay. The film has a sense of community in that regard, that while it’s Carell’s starring vehicle, it’s a team effort.

But another success is in the film’s attitude, which is not as sexist and Neanderthal as you might expect. In fact, I kid you not, the movie makes a real case for chastity. Not only do Andy and Trish have a relationship that is not all about sex, but Andy’s horndog friends realize there is more to life than gettin’ it on, too, as they all encounter problems with their freewheeling lifestyles.

Finally, I want to point something out to Adam Sandler (who surely visits this Web site regularly): “The 40-Year-Old Virgin” is a prime example of how to let all your buddies be in your movie, yet still have it turn out well. Judd Apatow, director and co-writer of this film, produced “Anchorman,” which co-starred Carell and Rudd. It also featured David Koechner, who has a cameo here in the same scene as Nancy Walls, Koechner’s former “SNL” castmate and Carell’s wife; Koechner and Walls both earn laughs. Apatow’s wife, Leslie Mann, has a couple scenes, too, as a hilariously drunk woman Andy meets at a bar who insists on driving herself home; her inebriated monologue as she careens through traffic is one of the film’s highlights. Seth Rogan worked with Apatow on “Freaks and Geeks” and “Undeclared” and had a bit part in “Anchorman,” yet no one would suggest he’d gotten his part in “40-Year-Old Virgin” simply because he’s pals with Apatow.

In short, the movie is fun to watch, but it also seems like it was fun to make — not in the sense of a bunch of idiots mugging for cameras without direction, but in the sense that someone wrote a deceptively intelligent script full of sharp dialogue, called friends who knew how to treat such a script, and assembled a drop-dead funny sex comedy. So far, this is the one to beat for Funniest Movie of 2005.

Valiant

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There is precisely one clever moment in “Valiant,” the animated film about pigeons who help the Allies in World War II, and it’s at the very beginning. It’s a newsreel, in convincing black-and-white, in which an excited narrator urges young birds to enlist in the Royal Homing Pigeon Society. The pretty nurses are all doves! It is the duty of every British bird to come to the aid of his country!

The rest of “Valiant” is slack and unimaginative, nicely animated (on computers, not by hand) but with no great characters or any amusing dialogue. It feels obligatory, like the boss barged in and said, “I want a movie about pigeons who help the British war effort on my desk by Monday morning!,” and so everyone had to do it even though they didn’t have any good ideas for it.

The title character (voice of Ewan McGregor) is an eager young pigeon who wants to join up and work alongside his hero, Gutsy (Hugh Laurie), a dashing and rugged carrier pigeon who has successfully delivered many messages over the course of the war. Valiant is small and scrawny, but he enlists anyway, alongside a filthy pigeon (pardon the redundancy) named Bugsy (Ricky Gervais), a con artist who works the streets of London who joins the RHPS only because his new pal Valiant leads him into it.

There are three other recruits, a bookworm named Lofty (Pip Torrens) and two jock brothers named Toughwood (Brian Lonsdale) and Tailfeather (Dan Roberts). All three are utterly devoid of personality — a real shame when you consider that with only five recruits in the platoon, it would have been easy for the film to give them all something fun to do.

Trained by the indefatigable Sergeant (Jim Broadbent), the birds are sent out into the skies before they’re fully ready, the urgency of the war demanding their help immediately. They go to Paris, meet with the mouse division of the French Resistence, and avoid the Nazi falcons (real falcons, not airplanes called falcons).

Ricky Gervais, known as the buffoonish boss on “The Office,” plays the same sort of idiot here, to mixed results. Bugsy is an amusing character, but he’s too one-note — a lazy coward — to sustain himself for the whole film. And no one else is even mildly interesting.

Written by Jordan Katz, George Webster and George Melrod and directed by Gary Chapman — none of them with any significant animated-film experience — “Valiant” moves quickly and with focus, but to no great purpose. The jokes you would expect, where the standard elements of a war movie are translated to the world of birds, are largely absent; a Nazi falcon interrogator telling a captured pigeon “We haff vays of making you squawk!” is the best they can come up with.

The birds get into scrapes and eventually save the day, but obviously you need more than that to make something worth watching. This lacks the fervor and wit that an animated film for kids ought to have. But, then, the boss didn’t say the pigeon movie had to be any GOOD, he just said he had to be done by Monday.

Red Eye

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Spare, unadorned and competent is “Red Eye,” a compact thriller about an innocent woman being used as a pawn in a deadly game of cat and mouse, or something like that. It’s barely 80 minutes long, it avoids extraneous characters, or even unnecessary traits for the characters it does have, and it has a scene where a female victim stabs her attacker in the neck with a pen. You want a thriller should give you more than that?!

Directed by alleged horror-master Wes Craven, there’s nothing supernatural in “Red Eye,” unless you count Cillian Murphy and Brian Cox struggling against nature to achieve American accents. It is, rather, a straightforward suspense film about Lisa Reisert (Rachel McAdams), manager of Miami’s Lux Atlantic Resort and an expert in customer satisfaction. While returning to Miami from Dallas, she is befriended by a handsome stranger named Jackson Rippner (Murphy) who is evasive about his line of work.

Once they’re airborne, with Jackson sitting next to Lisa, he tells her what’s up. The deputy secretary of the Department of Homeland Security is about to arrive for a stay at Lisa’s hotel. Lisa is to call from the plane and have him moved to a different suite, one specified by Jackson, where it will presumably be easier to kill him. If Lisa does not do this, Jackson will tell the hitman currently stationed outside Lisa’s father’s house to go inside and kill him.

There are all the usual shenanigans while they’re still in the air, with Lisa making desperate attempts to deceive or disable Jackson or to alert authorities to her plight. None of it adds up to much suspense; we’re too smart to believe everything will be resolved and the film will end with Lisa and Jackson still cruising at 30,000 feet.

Sure enough, the plane lands and that’s when the actual excitement begins. Lisa’s dad (Cox) is in danger, as is the deputy secretary of Homeland Security, as are all the guests at the Lux Atlantic. And only Lisa can save the day!!!!!!!!!!

This isn’t much better than his recent horror efforts, but Craven (working from a script by Carl Ellsworth) has an admirable work ethic, cranking through the movie’s standard twists and turns without ever losing pace. There is not a single bit of the plot that is not predictable, but there is always a giddy thrill in seeing someone pop out from behind something where you had not expected him to be.

Asylum

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I think I actually groaned out loud during “Asylum” when it became apparent (only 10 minutes in) that the repressed housewife was going to sleep with the dangerous but handsome stranger she had just met, and that the resultant adultery melodrama would be as formal and crisp as its 1950s English setting.

Having accepted my fate, however, I was pleased to find myself intrigued by Natasha Richardson’s performance as Stella, an icy woman whose cold husband (Hugh Bonneville) moves them to the grounds of a cheerless asylum where he has just been appointed deputy superintendent. Stella goes through so much hell, and Richardson pulls it off so ably, you forget that all you’re watching is a buffet of laughable insanity. (It’s like “Grizzly Man”: You know right off that these people are crazy; the only question is how crazy they’re going to get.)

It is among the patients at the facility that Stella accidentally finds her lover; he is Edgar (Marton Csokas), a great Frankenstein-monster of a man with meaty hands and an unnervingly calm manner who is permitted, with other patients, to do gardening and other handy work on the asylum grounds. A former sculptor, he is in the nuthouse because, in his own words, “I killed my wife. She betrayed me.”

It takes very little common sense to avoid becoming involved with such a man, yet before long he and Stella are having a brief, animalistic encounter in an unfinished greenhouse, and meeting thereafter for other tawdry yet thrilling encounters. They talk very little, focusing their relationship instead on the sex, which makes Edgar’s impractical dream of Stella running off with him permanently all the more ridiculous.

And yet — well, let’s just say Edgar’s not the only one behaving irrationally around here. Over time, Stella becomes infected with a kind of madness herself, and it is the cause of much suffering for her and her loved ones. (She has a son, too, a 10-year-old lad named Charlie.) Her husband may be insensitive — his idea of an apology is to say, “Forgive me,” and to immediately start engaging her in sex — but surely he does not deserve to be tossed aside for a murderer.

There is a tasty supporting performance by Ian McKellen as Edgar’s psychologist, tart of tongue and ambiguous of sexuality, who plays a key role in the film’s conclusion. In fact, it is this character who proves to be the most manipulative — no mean feat given how obsessed some of the other figures are.

Directed by David Mackenzie (from the equally dour adultery drama “Young Adam”) and adapted from Patrick McGrath’s novel by Patrick Marber (“Closer,” a fairly dour adultery drama in its own right) and Chrysanthy Balis, “Asylum” doesn’t quite reach the depths of love-induced delirium that it aims for, but it tells its gritty, weepy story well enough to satisfy those who crave a little more melodrama and madness in their lives.

El Crimen Perfecto (Spanish)

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I’m not acquainted with the works of Alex de la Iglesia, the Spanish filmmaker whose “El Crimen Perfecto” (“The Perfect Crime”) is now in U.S. theaters, but he seems to have a bit of a cult following in his native land. And no wonder: “El Crimen Perfecto” is a well-oiled machine of wit, sex and violence, as darkly funny as the Coen Bros. (almost) and as visually interesting as Tarantino (almost).

De la Iglesia (co-writing with frequent collaborator Jorge Guerricaechevarrí­a) gives us the brightly colored, falsely cheerful world of Yeyo’s, a Madrid department store where the rakish señorita’s man Rafael (Guillermo Toledo) runs Women’s Clothing the way Hugh Hefner runs the Playboy mansion. He sleeps with all the salesgirls and is revered by his male co-workers. He claims to have been born in this very store (his mother went into labor while shopping), and he makes ample use of its resources to give his consumer-driven lifestyle a facade of luxury. Can’t afford a nice suit? No problem! Just take one home. He is, as he puts it in one of his monologues delivered to the camera, “the priest in a pagan temple, surrounded by my followers.”

A new floor manager is needed, and Rafael is passed over for the promotion in favor of Don Antonio (Luis Varela), the prissy, embittered head of Men’s Clothing. A scuffle in the dressing rooms leads to an accidental death for Don Antonio and a crisis for Rafael. It was an accident, of course, but everyone knows they were arguing, and Rafael certainly had a motive for killing him. He can’t allow his happy existence to be upset by something so trivial as the death of his rival. A cover-up is called for.

Panic sets in. Rafael stops speaking directly to the camera, forgetting us now that he has no time for suaveness or charm. He hear his thoughts via voice-over, though, and de la Iglesia swirls the camera around Yeyo’s as Rafael realizes the mess he’s in. Did anyone see what happened? Can he get rid of the body? Wait — Where did the body go?!

I thought of Alfred Hitchcock’s quote, about “what a messy thing it is to kill a man,” not easy and clean like it usually is in the movies. Rafael discovers that, and the movie goes from stylish and blithe to suspenseful and tense in a matter of moments. And then it becomes something else again: Lourdes (Monica Cervera), the only plain-looking salesgirl on Rafael’s staff, comes forward and says she saw the whole thing, she hid the body for him, and she’ll help him dispose of it. In exchange for what, you ask? In exchange for Rafael becoming a one-woman man, with her being the one woman.

Now it’s a farce, as Lourdes and Rafael — both opportunistic and loathsome — use each other for what they need, each at least partially despising the other. Rafael can’t stand being her sex slave, but he doesn’t want her going to the police, either. Lourdes, for her part, sees Rafael as a stepping-stone on the path to her true goal of running the store.

The film begins fantastically, as funny and interesting as you please, and downright Hitchcockian when Don Antonio dies. It’s a step down, then, when Lourdes enters the picture. (The transition from murder thriller to dark farce is always a bit jarring, in movies just as in life.) De la Iglesia walks a fine line with that character — you run the risk of appearing misogynistic when every woman in the movie is either a slut or a man-hungry wallflower — but Monica Cervera pulls it off fiercely, a combination of mental instability and pure evil that is wondrous to behold.

And in the lead, Guillermo Toledo: perfectly at home as a womanizer, as a fawning (and highly effective) salesman, and then as a man whose life is falling apart piece by piece, a man coming unglued before our eyes. Toledo plays it all with equal panache, the perfect guide on our journey through the giddy world of murder, extortion and fashion.

Dead & Breakfast

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I know you. You’ve been saying, “I wish there were MORE zombie movies being released.” You feel the current rate of one per week is not enough. You are glad the genre has seen a resurgence in recent years because it means more zombie movies are being made than ever before.

Well, you’re in luck, because “Dead & Breakfast” is here, and it is a zombie movie. It is, in fact, the new post-Romero kind of zombie movie, where characters acknowledge the existence of other zombie movies and actually call the creatures “zombies.” (“This is like a bad horror movie!” exclaims one character, all too truthfully.)

Written and directed on an indie budget by Matthew Leutwyler, “Dead & Breakfast” is not without its gruesome pleasures, and it does something most flesh-eater flicks don’t: It presents an actual SOLUTION to the zombie infestation, rather than the usual plan of destroying them and just hoping whatever produced them in the first place doesn’t make any more.

But first things first. Six friends in an RV headed to Texas for a wedding get lost and must stay overnight in a tiny town called Lovelock, where the only hotel is a bed-and-breakfast called, um, Bed & Breakfast. The place is run by old Mr. Wise (David Carradine), who is hospitable but strange and who seems to dabble in some kind of mysticism, a fact that will prove useful later.

An ancillary character is killed in the night, leading to an investigation by the suspicious small-town sheriff (Jeffrey Dean Morgan) and his bumbling small-town deputy (Mark Kelly). No one knows who did it or why, and before you know it the townspeople have become possessed. Still conscious and talking (unlike most zombies), they are overtaken by an impulse to kill and eat their fellow man. Johnny (Oz Perkins), the oddball of the out-of-town sextet, becomes leader of the zombies, taking them on a mission to destroy the remaining five, who are holed up back at Bed & Breakfast and making ad-hoc shotguns out of lead pipes.

The heroes, all young and pretty, are played by Jeremy Sisto, Erik Palladino, Bianca Lawson, Gina Philips and Ever Carradine (niece of David), though it is only the latter who gets any real attention paid to her. Her character, Sara, emerges in the last act as a tank-topped Uma Thurman “Kill Bill” type, taking the zombies on single-handedly … for about 30 seconds, before the movie shifts its focus to two other characters, rooting through a cemetery to locate the items necessary to stop the zombie-making curse. Both ideas, the kick-butt girl and the curse-reversing, are excellent; Leutwyler just doesn’t develop either of them far enough to matter.

The film is often hampered by ham-fisted comedy attempts, but it has some breezy, witty moments too. I like that it’s narrated by a country-rock troubadour named Randall Keith Randall (Zach Selwyn), who appears frequently to sing about what’s afoot. The tongue-in-cheek attitude is fun for a movie like this, but it takes more than a singing narrator and an unusual finale to set you apart from the dozens of other zombie flicks being released every week in this country.

Sympathy for Mr. Vengeance (Korean)

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There are actually two men seeking revenge in “Sympathy for Mr. Vengeance,” though I guess “Sympathy for Messrs. Vengeance” would have been a strange title. Ah — or perhaps we are meant to sympathize with one vengeance-seeker and not the other. So many mysteries, and we haven’t even gotten to the actual movie yet!

Chan-wook Park’s 2002 film is the first in his Revenge Trilogy, followed by “Oldboy” and “Lady Vengeance,” and while “Oldboy” is a better and more fully realized film, you can see Park’s sensibilities emerging in “Sympathy for Mr. Vengeance.”

He introduces a deaf and mute young man named Ryu (Ha-kyun Shin) whose sister (Ji-Eun Lim) is desperately in need of a kidney transplant. An effort to obtain one on the black market is botched, leading Ryu and his anarchist girlfriend Cha (Du-na Bae) to hatch a truly hare-brained scheme: kidnap a businessman’s daughter and use the ransom money to buy an organ.

The businessman, Park Dong-jin (Kang-ho Song), becomes the focus of the film after the kidnapping, too, is mishandled. He wants revenge against the man who kidnapped his daughter, while the kidnapper wants revenge against the black-market organ dealers. Both men are surprisingly adept at getting what they want, using methods that are somewhere between Tarantino and Abu Ghraib. But vengeance, as the film reminds us in what must amount to its “point” or “message,” only inspires more vengeance.

Park (who co-wrote the film with Jae-sun Lee, Mu-yeong Lee and Yong-jong Lee) uses a placid, calm visual style to belie the film’s frequent violence. The camera rarely moves, and he favors long, unbroken takes, though often from a canted angle or a peculiar vantage point, making the whole thing feel slightly surreal and dreamlike.

Alfred Hitchcock said he liked to shoot his murders like loves scenes and his love scenes like murders. Park shoots his loves scenes like murders, and his murders like murders, and everything else like murders. In “Oldboy,” he shoots a dinner-eating scene like a murder. Yet he does it all so casually, with enviable coolness and visual flair.

He also does it, at least in this film, without much purpose, except insofar as well-filmed violence is its own reward. He clearly has talent, and he’s clearly very confident in his talent (though not to the point of being a showoff, thank goodness). But our sympathy for these characters is mostly generic. We feel bad for their respective losses, but we aren’t inside their heads enough, identifying with them as people, to condone their choices. It’s more of a freak show — although freak shows can be fun, too.

Angry Letter: ‘Protocols of Zion’ (aka A creepy exchange with an anti-Semite)

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I saw a film at Sundance called “Protocols of Zion,” about modern-day anti-Semitism, which has seen an upsurge since 9/11. (Amazingly, some lunatics blame the Jews for the terrorist attacks.) The headline I wrote for the review at HollywoodB****slap.com was: “Alas, the idiots who actually believe this crap probably won’t see the film.” Someone named Ken Mathews (vkenod@hotmail.com) sent me this disturbing e-mail:

I read your review of the film Protocols of Zion and I can’t wait to see it for myself. I don’t blame the Jews for 9/11; it is hard to believe any of the conspiracies that you read from the internet and elsewhere. Being the anti-semite that I am I look forward to seeing yet another point of view on who is or who is not to blame for 9/11. I know very little facts about 9/11, I have read everything from remote controlled aircraft, bush family conspiracies, and just about every other article of bulls*** available on the internet. I haven’t read much about the Jewish conspiracy concerning 9/11. I don’t think I have to go into what has changed me into being an anti-semite, as I don’t believe that you care. I just wanted to compliment you on a good review, and to let you know you’re sorely wrong in making this statement “Alas, the idiots who actually believe this crap probably won’t see the film”, You couldn’t be further from the truth.

Ken Mathews

What alarmed me about this e-mail was that he identified himself as an anti-Semite so casually, the way you might mention that you’re from Montana or that your dad is a cardiologist. And where you expect hatemongers to be vitriolic and ranting, he’s very calm.

I replied to him as follows:

Well, if you are one of the idiots who believes anti-Semitic crap, and you do see the movie, then perhaps it will convince you that believing anti-Semitic crap makes you an idiot. I still hold out hope.

Best wishes,
Eric D. Snider

He replied simply:

I watch films for entertainment, and I thought that you said you have very little knowledge of anti-semitism.

I believe the last part means, “How do you get off telling me I’m an idiot for being an anti-Semite when you claim not to know much about anti-Semitism? How do you know it’s not a perfectly valid belief system?”

I replied:

I know only the basics: That anyone who is an anti-something where the “something” is a race of people (anti-black, anti-Arab, anti-Semite, etc.), is an idiot. Regardless of what books or pamphlets you may have read on the subject, there is no reason to hate another class of people, period.

His reply:

I disagree.

Good review though, good luck on your future endeavors

Is anyone else creeped out by this? Someone so calm and seemingly rational, yet possessed of an irrational hatred of Jews? In other words, someone who’s wrong, yet who steadfastly refuses to believe that he is?

Supercross

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“Supercross” is like a porno where all the sex scenes have been replaced with motorcycle scenes. People talk awkwardly and stiffly, the plot consists only of obvious things and foregone conclusions, and every couple minutes they stop what they’re doing to go ridin’. (I’ve never seen porn, of course. I’m basing this on the Wikipedia entry on the subject.)

Evidently, there is a real-life sport called supercross, similar to motocross except that it emphasizes jumps, turns and other xxxtreme accouterments. Calling a movie “Supercross,” then, is like calling a movie “NASCAR” or “Soccer,” i.e., it’s stupid.

Speaking of stupid, our heroes are the Carlyle brothers, K.C. (Steve Howey) and Trip (Mike Vogel), both barely post-adolescent and living on their own in the California desert town of Palmdale. Dad was a supercross racer but now he’s dead; I don’t know what happened to Mom. Both boys are racers, but they have different outlooks. K.C., the older one, is safer and more responsible. Trip is reckless and impetuous. Their day job is cleaning pools, though sometimes Trip likes to take off his shirt and jump in instead. Tee hee! It’s fun!

The brothers are competitive when they race, but you can tell there’s a lot of love between them because they always call each other “dawg,” “dude” or “bro.” Still, Trip is jealous when K.C. gets a spot on a factory team, riding as the No. 2 man for frequent winner Rowdy Sparks (Channing Tatum). K.C. is told that he’s not going to win any races; his job will be to get in the way of the other riders so that Rowdy can win. But hey, it’s a factory team, with money and stuff.

Trip, meanwhile, acquires an over-freckled, too-blond girlfriend named Piper Cole (Cameron Richardson), one of the few female racers on the circuit. Her brother (singer Aaron Carter, who you will notice is not an actor) is a hotshot racer, too, as was their father (Robert Patrick) back in the day. The Cole family offers to sponsor Trip so that he can race against his brother and Rowdy. The ultimate goal is to reach the finals in Las Vegas, which Mr. Cole says is “the Super Bowl and the World Series rolled into one,” which makes no sense when you hear it and even less sense the more you think about it.

And through it all, there are motorcycles. Whether on supercross tracks or on private practice runs or in illegal street races, the boys will always find an excuse to give the audience what they want by riding fast and loud. The racing scenes, directed by stuntman-turned-auteur Steve Boyum, are not especially exciting, but they do have lots of motorcycles in them. Of course, if you really love watching motorcycles in action, there are probably DVDs you can rent that feature such activities exclusively, unburdened with plots or characters.

So intent is this movie on showing motorcycles riding and jumping and sliding that it sometimes forgets what meager plot it does have. In one scene, K.C. is pining for a girl he likes named Zoe (Sophia Bush). In the next scene, with no discernible time having passed, they are boyfriend and girlfriend.

The acting is laughably dull, to the point that I assumed some of the characters were being played by real-life supercross stars. That would have explained the stilted, ungraceful delivery of the hackneyed dialogue (written by Bart Baker and Ken Solarz). But no, nearly every role is played by an actor, not a motorcycle star, which leads me to my second theory, which is that everyone is just retarded.

Why do you haunt me, Raven-Symone?

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I received an e-mail from someone named “Keyamaz,” at the address Shakeemagirl8@aol.com. The e-mail read:

Hey,
Can you e-mail me Raven-symone
e-mail address so i can keep in touch with my god sister!!!

Now, if you are a regular reader of this blog, you are thinking: Eric just wrote an item on people who foolishly think he has celebrities’ e-mail addresses just because he reviews their movies. And in fact, Raven-Symone was the very celebrity who prompted that blog entry!

I thought the same thing. I figured this person, this “Keyamaz,” had to be kidding. So I responded:

Um… You’re kidding, right?

[link to above-cited blog entry]

I assume you have read that and you are making a joke in reference to it.
If you have not read it, please do.

Eric

Keyamaz then sent two replies. In one of them, he/she pasted the entire page I had referred him/her to and then said, “it did not tell raven-symone email address.” In the other reply, he/she said:

Well I read it and couldn’t find Raven-symone e-mail address well can you e-mail me her e-mail please god bless….

To this one I replied thus:

OK, now I KNOW you must be joking.

If you read it, then that means you now know the following things:

1. I do not have the e-mail address for Raven Symone or for any other celebrity.

2. Even if I did, I would not give it out.

So either you are playing a joke on me, or else you did not actually read the link I gave you, or else you are very, very stupid. Please let me know which it is.

Eric

Keyamaz replied:

ummm you tell me and ok bye-bye now and 4ever

I give Keyamaz credit, though. Most people establish their stupidity in only one e-mail; he/she managed to drag it out to four e-mails before his/her stupidity was confirmed.

The Blog Cabin

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This week, I wanted to let all my readers know about an amazing historic find that has just come to my attention: “The Blog Cabin,” a Web-log kept by President Abraham Lincoln during the latter days of his presidency. Read it and be amazed at the depth of information now available to us about our 16th president, written in his own words and posted to his own Blogger account! (Entries are in reverse chronological order, of course, so start at the bottom and work your way up.)

Critical Mess: ‘Stealth’

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Over at MoviePoopShoot.com, Derek Miner does a feature called “Critical Mess,” where he compiles negative quotes about poorly received movies and makes a fake poster for that movie.

To my great honor, I have been included in his latest work, a poster for “Stealth.” My quote is at the bottom, right underneath Roger Ebert! (He’s not fat anymore, so whatever joke you’re thinking of, it doesn’t work.)

See it here.

(By the way, I was previously featured in the Critical Mess poster for “From Justin to Kelly.”)

Pretty Persuasion

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So Evan Rachel Wood has found her niche: trashy, devious teenage girls who appear in “edgy” movies at Sundance. First there was “Thirteen”; now she’s a bit older (though not old enough, considering what she’s called upon to do in this movie) and appearing in “Pretty Persuasion,” a dark high school satire in the vein of “Heathers” and “Mean Girls,” though not nearly as well-crafted as either of those films. It does have its moments, though, and Wood has emerged as a real talent.

She plays Kimberly Joyce, a student at a snobby private high school called Roxbury. Unlike the blond, bubbly girls who populate Roxbury, Kimberly has dark hair and an even darker psyche. Her wealthy father (James Woods), a raving bigot, anti-semite and homophobe, is on his third marriage, to a woman (Jaime King) much younger than he. The family dinner table is a surreal affair, all three of them speaking, but not to each other. Kimberly’s best friend Brittany (Elisabeth Harnois) is dating her ex-boyfriend Troy (Stark Sands), a fact she claims to find unalarming, though Kimberly herself is now dating a guy whom she freely admits she doesn’t even like.

Kimberly’s dream is to become an actress. She certainly gets enough practice at it, pretending not to care what happens to her, pretending to be aloof from the daily tragedies of high school, and manipulating facts to her advantage.

Which brings us to the meat of the plot. A slimy teacher at Roxbury (played by Ron Livingston) is accused of sexual misconduct by Kimberly, Brittany and their new Muslim friend Randa (Adi Schnall). Kimberly is the driving force behind the charges, seeing the inevitable news coverage and court proceedings as potentially beneficial to her acting career. And who knows, the allegations might even have some basis in truth.

What “Pretty Persuasion” seems to want most of all is to be outrageous, from James Woods’ hilariously hateful ranting (until it becomes overused) to the random shocking lines of dialogue spoken by the girls. Sometimes I suspect the screenwriter, Skander Halim, doesn’t care if we laugh as long as we’re appalled. When Brittany says, “You’re not going to make us write letters to Amnesty International again are you? I swear, most of those people deserve to be in prison,” we’re supposed to think, “Amnesty International as the butt of a joke?! Oh no she di’int!” It’s not the laugh that’s important, you see. It’s the “fearlessness” of the movie for being brave enough to shoot at sacred cows.

The thing is, it doesn’t take bravery to make fun of things. I make fun of things all the time, and I’m a coward. To do a good job at it — to make it not just shocking, but funny — that’s something else, and it takes skill. Halim’s writing often demonstrates it, and even when it’s just shocking for the sake of being shocking, I’m usually laughing along with everyone else, even though I know I’m being had.

Once the court case begins, though, the movie turns a corner and realizes it doesn’t know what neighborhood it’s in anymore. Marcos Siega, a TV director making his big-screen debut, loses focus: Are we mocking the horrors of modern-day teenage-hood? Or are we satirizing media hysteria and public trials?

It goes downhill even further at the end, when the movie stops being a dark comedy and becomes a Serious And Important film instead. Why, it turns out there’s a MESSAGE here! And we’re supposed to take it to heart!

Well, bullcrap. It doesn’t work that way. A change in tone this abrupt must be handled carefully, and the events within the plot that catalyze it must be honest and uncontrived. “Pretty Persuasion” goes the opposite route, throwing sad, ugly things at us that barely even make sense within the framework of the film, situations where you think, “That character would NOT do that.” It wants to have its cake and eat it, too, to make us laugh at its audacious effrontery for 85 minutes, then make us cry at its tragedy for the last 20. But I refuse. I’m a tough customer that way.

Deuce Bigalow: European Gigolo

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Having been kindly disposed toward “Deuce Bigalow: Male Gigolo,” which I found amusing and even rather sweet way back in 1999, I spent the first 20 minutes of its sequel often laughing and figuring the bad parts were a case of solid comedic minds occasionally slipping. Then I realized I had it backwards: These were unfunny, moronic people with appalling movie-making sensibilities, and the funny parts — which increasingly became very, very rare — were accidents.

Rob Schneider (who co-wrote the film with “Corky Romano” scribes David Garrett and Jason Ward) is back in “European Gigolo” as Deuce Bigalow, once a man-whore but now retired and mourning the shark-related death of his wife, carrying her wooden leg around with him as his only reminder of her. While vacationing in bacchanalian Amsterdam (“like Disneyland for college students,” someone calls it), he meets up with T.J. (Eddie Griffin), his former pimp who, though prostitution is legal in Holland, works outside the union with his own harem of he-b****es (as they are known; I giggle every time someone says it).

It is not a good time to be in the man-whore union, actually, as a serial killer is bumping them off one by one. When T.J. falls under suspicion not just of the murders but also of being gay — he is more vigorous in protesting the latter charge, of course — he goes into hiding and persuades Deuce to rejoin the prosti-dude business in order to smoke out the killer.

In re-reading my review of the first film (for I have not seen the movie since 1999), I note that Deuce was a sweet, nice guy who helped the women he serviced by listening to them and being kind to them, not by having sex with them (which he never actually did). The intervening years have not been good to him. Now he is gratingly dim-witted and clueless, completely oblivious to his surroundings. At one point his dinner companion, a fellow gigolo, is choking on a piece of food and Deuce thinks he’s demonstrating a love-making technique: Yes, the movie is THAT desperate, using the old I’m-choking-but-this-idiot-thinks-I’m-doing-something-else gag. I’m fairly certain that bit was already overplayed when Rob Schneider’s grandparents were seeing it in vaudeville shows.

And while he meets the same cavalcade of freaks, the emphasis this time is not on gently helping them gain some self-esteem, but on ridiculing them. There’s a hopelessly obsessive-compulsive woman, a girl with giant ears, a woman with a tracheotomy hole in her neck that spews out whatever liquid she drinks, and a lady with a penis for a nose that grows erect when she is excited and which — well, when she sneezes, you’d better call a dry cleaner and the movie ratings board.

It gets grosser and more vile as it goes on, and the fact that some of the jokes are actually funny and even clever — all the business with the man-whore union and most of what Eddie Griffin says, for example — makes it all the more frustrating. Why waste good jokes on a bad movie? Why put diamonds in an outhouse? Speaking of which, why include a scene where Eddie Griffin accidentally drops an order of fries into a toilet and then eats them anyway? WHY?!

(I mean that “WHY?!” quite literally, by the way. There is no reason, even within the twisted logic of the movie, for him to eat them. He’s not starving, and they’re not the World’s Best French Fries, or anything like that. He eats them only because someone thought it would be funny to watch a man eat fries out of a toilet. THAT’S HOW DESPERATE THIS MOVIE IS.)

It is the first work by a director named Mike Bigelow. I assume he got the job because of his name. That or he slept his way to the top. Either way, one day he’ll look back on this, his first movie, and weep bitter, salty tears. I hope I can become friends with him so that I can be there when it occurs so that I can laugh at him and maybe also punch him.

Four Brothers

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So much of “Four Brothers” sounds unbelievable on paper, an exercise in preposterous “gritty drama” clichés. Yet the realistic lead performances and John Singleton’s level-headed direction make it feel plausible, even likely, that all these events could happen just as they’re described. I imagine the studio figured it was getting another dumb, mass-marketable mediocrity and was surprised when the movie actually turned out good.

It is set in November and December in the mean streets of Detroit, where a beloved community fixture named “Mama” Evelyn Mercer (Fionnula Flanagan) was recently killed during a convenience-store robbery. Evelyn, a warm but tough old woman, was foster mother to many underprivileged children of all races over the years, and she legally adopted four who were too incorrigible to attract other long-term parents.

Now these four, all grown and still in various stages of reform, reunite for Mama Evelyn’s funeral and, these being the mean streets, to track down her killer themselves. Bobby (Mark Wahlberg), just out of prison, is their leader; Jack (Garrett Hedlund), the baby of the improvised family, follows him faithfully. Jerry (Andre Benjamin), now a responsible businessman, husband and father, wants no part in a revenge plan. And Angel (Tyrese Gibson) is the wild card, more thuggish than the others, and a no-show at the funeral. He has a wild-card girlfriend, too, a fiery Latina named Sofi (Sofia Vergara).

These four tough guys, who joke and wrestle with a vulgar affection for one another that is quintessentially fraternal, know the local hoodlums and have little problem determining that the murder was not an act of theirs. In fact, after watching the convenience store’s surveillance tape, Bobby declares, “That wasn’t no gang shooting. That was an execution!” (Double negatives aside, one wonders why the store owner still had the tape when surely the police would have taken it.) At any rate, Evelyn appears to have been not an innocent bystander but a target. But who would want to kill dear old Mama Evelyn?

Leads are pursued and plots are thickened and a few goons are dispatched by the merciless Mercer boys in their quest for the truth. They sidestep the police (led by another of Evelyn’s former charges, played by Terrence Howard) and they harass local crime bosses. In short, things proceed approximately the way they always do in these films, with the requisite red herrings and false suspects and third-act revelations.

But instead of feeling trite and overdone, the film achieves some of superiority over many of its kind. These actors — Wahlberg, Gibson, Benjamin and Hedlund — they take the material seriously, not like throwaway figures in a by-the-numbers revenge thriller, but like real brothers who each deal with crises differently. They are as likely to argue about which game to watch on TV as they are to bicker over plans for avenging their mother’s death. Murder plots as elaborate as the one that killed Evelyn don’t happen much in real life, but these characters seem real anyway.

Plus, there’s that John Singleton magic (which, granted, does not always work, e.g., “2 Fast 2 Furious”). The “Boyz N the Hood” director is famous for knowing the minds and motives of inner-city dwellers, and “Four Brothers” (with a screenplay by David Elliot and Paul Lovett) is alive with the coldness of the streets, the sense that the police have failed them in finding the killers, the grim realization that justice sometimes is not automatic but manual. As Hollywood-ized as the details are, the overall picture feels independent and honest.

The Great Raid

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With all the battles, victories, skirmishes and missions that have comprised America’s wars, Hollywood may never run out of stories to tell. But considering the nature of the most recent films — all the speechifying and cliches and self-importance of movies like “We Were Soldiers” and “Windtalkers” — I’m not sure an unlimited supply of source material is such a good thing.

Here is “The Great Raid,” filmed a few years ago and sitting on the shelf until now, when the impending Miramax/Disney split has prompted a rush to get all their jointly owned products into theaters or onto DVD. “The Great Raid” is not a bad movie, nor are its intentions anything less than noble. The event it addresses has not already been over-done by other films. But it still feels like countless movies before it, reliant on conventional war-movie devices and stock characters.

In January 1945, several hundred American POWs were liberated from Cabanatuan, one of Japan’s prison camps in the Philippines. These were the survivors of the Bataan Death March, of which you may have heard tell; Cabanatuan was where they were marching to, unaware that Japan’s official policy was that it would rather kill every POW than let even one escape.

Leading the prisoners is Maj. Daniel Gibson (Joseph Fiennes), who is dying of malaria while wallowing in love with Margaret Utinsky (Connie Nielsen), the widow of Gibson’s former fellow officer and now a figure in the Underground movement in Japan-occupied Manila. She sneaks quinine into the camp to help the soldiers, mostly unaware that her husband’s old friend has fallen for her.

Gibson has been warned by his Japanese jailers that if any one soldier attempts to escape, they will execute 10 more in his place. The Japanese know that in a few weeks’ time, they’ll have lost the war and the camp will be liberated anyway. Gibson is told to simply keep his soldiers quiet until then. What he doesn’t know is that Japan’s real plan is to kill them all before that time arrives.

Luckily, someone does know that. Lt. Col. Mucci (Benjamin Bratt) and Capt. Prince (James Franco), Rangers stationed not far from Cabanatuan, learn of Japan’s evil intent and set out to rescue the POWs before it’s too late.

It is Mucci who makes all the rousing speeches about glory, making history, and so forth, and all I can say is I’m glad the real Mucci was more inspiring than Benjamin Bratt is. His character is utterly without dimension, a trait unfortunately shared by most of these noble, beleaguered figures.

As directed by John Dahl, the raid itself is pretty impressive, bringing the intense excitement that would have served the rest of the movie well if it had been introduced earlier. As it stands, it is your standard war drama, with numerous story angles and character relationships set against the backdrop of a specific event. Men declare themselves to be beyond saving and urge their compatriots to go on without them; commanding officers insist that no one is going to die, not today; the Japanese are nameless, evil overlords.

To criticize a movie such as this, however gently, is to make oneself look like a cad, I know. How dare I diminish the suffering of those POWs! This was an important event in military history! Which indeed it was. All the more reason why it ought to be given grand cinematic treatment, not wasted on an effort that is, however well-intentioned, sub-par.

The Skeleton Key

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Like most movies that come out these days, “The Skeleton Key” is about a young woman who moves into a creepy house where weird stuff happens. What sets it apart is that the source of the creepiness is NOT a wet dead girl who crawls out of bathtubs. I cannot tell you how relieved I was to discover this.

The source this time is something else, though of course I won’t say what. But hoodoo is involved — not voodoo, which is one thing, but hoodoo, which is corrupt variant of it. Set in an old, rotting estate on the bayous of Louisiana, the film focuses on Caroline Ellis (Kate Hudson), a nursing student who is hired by a lawyer (Peter Sarsgaard) to help Violet Deveraux (Gena Rowlands) care for her dying husband Ben (John Hurt). Ben suffered a stroke and can no longer speak, but his faculties are still with him. With panicked eyes and weak gestures, he indicates to Caroline that Something Is Wrong.

Caroline knows this, though. She can tell by the fact that there are no mirrors anywhere in the old house, and that religious iconography fills the place to an alarming degree. Additionally, she was given a skeleton key that fits all the doors in the house — except one, to a secret room at the far end of the attic. What’s in that room? Why does Violet pretend not to know?

Directed by Iain Softley (“K-PAX”) and written by high-rent hack Ehren Kruger (“Arlington Road,” “Impostor,” “The Ring” and its sequel), the movie lays out its clues quietly, carefully making us think we’ve guessed the answer — and we’re right, except there’s another part of it that we wouldn’t have guessed. You predict some of the surprises, but I’d wager there are a few you won’t see coming.

The problem is that with only four main characters, the movie feels small. If there are humans involved in any of these mystical goings-on, the pool of suspects is disappointingly shallow, and it’s not hard to work out most of the details. But seeing old indie pro Gena Rowlands wallow in a straightforward potboiler is fun, and if the movie doesn’t exactly compliment your intelligence, at least it doesn’t insult it, either.

Grizzly Man (documentary)

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Timothy Treadwell appeared on “Late Show with David Letterman” in 2001 to talk about his book, “Among Grizzlies,” and how he’d spent each of the previous 10-plus summers living with the bears in Alaska. Letterman jokes, “Are we gonna read an article someday that you’ve been eaten by one of these bears?” And everyone laughs, and Treadwell says no, and then sure enough, two years later, one of the bears eats him.

The story is so perfect you’d think it was fiction. The fact that the director, Werner Herzog, was involved in a faux documentary last year (“Incident at Loch Ness”) invites further suspicion. And yet this story is true. News stories covering Treadwell’s ironical death are readily available; obviously the Letterman footage is real. What Herzog has is the ability to know a good story when he sees one, and except for providing narration (in his hilariously precise German accent), he mostly stays out of the way of this one.

The story of Tim Treadwell, Malibu hippie and wildlife enthusiast, is a tragic but predictable one. None of his friends was surprised when his remains were discovered in the fall of 2003. They knew he was slipping further from reality with each passing year, growing too intense in his love for the bears and in his distaste for human society. The bears didn’t know his mission was to protect them from hunters and poachers, that he loved them more than anything. They were wild animals. Sooner or later, one of them was going to kill him.

Treadwell documented himself and the bears extensively with video footage, and Herzog’s distillation of those tapes comprises the bulk of the film. We see him giving Crocodile Hunter-style dissertations in the foreground while bears do their thing in the background, apathetic to him. He often mentions the possibility of being hurt by the bears, but always glibly, the way kids in a carnival’s spook alley refer to encountering ghosts: it’s a thrilling idea, but you don’t really think it will happen.

Some of this footage is astonishing. He had absolutely no fear of these animals, facing the camera with his back to the bears, who were often no more than 10 or 15 feet away. He spoke endlessly of how he loved them and would gladly die for them. He gave them adorable names like Aunt Melissa and Mr. Chocolate. The film doesn’t mention it, but he had no formal training in any field remotely related to what he was doing. He was, like Tracy Morgan’s “Brian Fellow’s Safari Planet” character on “Saturday Night Live,” just a guy who loved animals and hardly knew a thing about them. A wildlife official interviewed by Herzog says it best: “The only reason he lasted as long as he did is the bears probably thought there was something wrong with him, like he was mentally retarded or something.”

Treadwell, who looked younger than his 46 years, a blond combination of Carson Kressley and Crispin Glover, talked often of wanting to BE a bear. He was also a fastidious amateur filmmaker, often re-doing his narrations several times to get them just right. Though his girlfriend Amie Huguenard often spent the summers with him, he generally gave the impression on-camera that he was alone. Amie was killed with him, but she appears only briefly in any of the footage leading up to it.

You are wondering whether this very thorough amateur wildlife photographer captured his own death on camera, and the answer is sort of. The camera was on, but so was the lens cap, suggesting the attack occurred at a time when Treadwell was not shooting and that he barely had time to get the camera started when things turned bad. There is a scene in the movie of Herzog listening to the audio footage captured by the lens-capped camera, followed by Herzog urging the friend of Treadwell’s who had it never to listen to it, to destroy the tape. Maybe she did. Either way, we never hear it. I’m a little annoyed that Herzog shows himself listening to it, as if to taunt us: “I got to hear it; you don’t.” I’m sure it’s horrific, but part of me really wants to know what it sounds like.

Treadwell’s footage shows him to be unaccepting of the realities of nature. A drought that threatens some of the bears infuriates him to the point of childish raving. At other times, he seems in denial of the fact that bears are omnivores that sometimes eat other animals and yes, even other bears. He rhapsodizes on the beauty and majesty of animals, yet dissolves into an embarrassing tantrum when a fox steals his hat. I wouldn’t let this man own a puppy, let alone live with bears.

Herzog points out in the narration that he is accustomed to seeing actors behave this erratically; those familiar with Herzog’s long-standing relationship with the insane Klaus Kinski will smile at the comparison. Yet Treadwell’s madness and obsession are more disturbing than funny. This is a riveting film, made all the more fascinating because it’s true. Sure as bears crap in the woods, one of them was crapping Timothy Treadwell for days. And Treadwell was probably honored.

Note: A Republic

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Today’s column is about getting things notarized, and how it’s dumb.

After I was issued my $431 speeding ticket mere seconds after arriving in Oregon in June, my friend Rob (who is a cop) suggested I fight the ticket through a process called trial by affidavit. This is where, rather than driving all the way back to the city where the incident occurred — a journey that would surely result in my receiving another speeding ticket — I write a letter to the judge and say the things I would say if I were actually in his courtroom. Rob even offered to write a letter to accompany mine, where he would enumerate the errors in the citing officer’s procedure, explaining that if he, as a field-training officer, were to see one of his trainees write a ticket this carelessly, he would declare it unacceptable and shoot the trainee in the head, execution-style.

This seemed like a good idea to me. (Writing the letters, I mean.) Even if the judge were unyielding, at least I would have delayed my having to pay the $431 by a few weeks. There are prisoners who have been on Death Row for decades, putting off their punishment simply by continuing to file appeals. Perhaps I could avoid paying the $431 just as indefinitely.

Rob said that since I’m the professional writer, I should write my letter myself. I held that he should write the letter, on the grounds that he is a police officer and that I didn’t feel like it. He refused, saying he had to write his own letter and besides, he wasn’t the one who was speeding. I pointed out that even if he HAD been speeding, I bet he still wouldn’t have gotten a ticket, what with professional courtesy, and that the system is thus inherently unfair. He said I get to see free movies. I told him to quit throwing that in my face. We reached an impasse.

I wrote my letter as follows:

Dear Judge:

I do not wish to pay this $431 ticket. Please do not make me.

Love,
Eric

Rob deemed this letter wholly unacceptable and agreed to help me with the gist of what I should say, but that I should put it in my own words. I accepted these terms and typed up everything Rob told me, word-for-word. He wrote his own letter, too. I proofread his work, and we were nearly finished.

All that remained was for us to get the letters notarized, which you’ll recall is the topic of today’s column, i.e., that it’s dumb. We went to Washington Mutual, where Rob and I are both customers and where there are known to be notaries public lurking about.

Now, in case you have never dealt with a notary public — I was 30 before I ever did — I will explain how it works. Basically, you go to this person, this notary public, and you show him the document you intend to sign, and he watches you sign it, and then he puts a stamp on the document indicating that yep, sure enough, you signed it.

Occasionally, this sort of thing is useful. For example, when I divested myself of the condo I owned by handing it over to my parents, the bank that held the mortgage needed us to sign lots of documents, of course, and since no representatives from the bank were on hand to see us do it — everything was conducted by fax and FedEx — they wanted the documents notarized. That way, they’d have proof that it was my parents and myself who were actually doing all this, and not impostors.

Now, in the present instance, of writing to a judge to ask for clemency, the notarization process is somewhat less useful. Even if it were someone writing the judge merely pretending to be me — well, that would actually be OK. In fact, it would have been better, because it would have saved me from having to write the letter myself.

But anyway, what’s funny about notaries public is how seriously they take the whole thing. You have to be licensed, and you have a license number, and your stamp has your name and number on it, and you can have your license revoked. They don’t seem to realize the simplicity of their duty, which is to watch people sign their names.

To become a notary public, you must actually take a state-administered exam. I cannot imagine what this exam entails. The only skills necessary to being a notary, as far as I can tell, are that you must be capable of seeing, and also capable of putting a stamp on a piece of paper. You will immediately recognize that chimpanzees — literal, actual monkeys — can do these things with almost no training whatsoever.

STATE NOTARY EXAM

Question 1: Can you see?
Question 2: If someone were signing his or her name on a piece of paper in front of you, would you be able to watch this without turning away, being distracted, eating a banana, etc.?
Question 3: Do you have religious or personal beliefs that prevent you from applying rubber-stamped messages to documents?
Question 4: Do you want to be a notary public?
Question 5: Really? Why?

So Rob and I were at Washington Mutual, and we waited for one of the notaries to emerge from a back room. One eventually did so, a young man clearly no older than Rob or myself. We showed him our letters, and he said in order for him to notarize something, it must have a particular stamp on it, a stamp that has certain terminology about “the foregoing” and “solemnly swear,” with some herebys and wherefores and such. Many notaries have a stamp that says those things, which they affix to the document in addition to their own personalized notary stamp. But the bank did not have it, he said. Baffled, he called for backup.

Out came another notary, a woman this time, but just as youthful. She reiterated the first notary’s position, that the documents must bear these certain words. She even found a document that contained the terminology necessary — three or four sentences with a place for us to sign. All of this would need to be part of the letters before she could notarize them.

I asked, “Couldn’t we just take this” — indicating the sheet of paper she had produced, the one with the special terminology on it — “and staple a copy of it to each of the letters?”

“No, it needs to be part of the actual document.”

“Then couldn’t we rubber-cement it to the bottom of each of the letters, where there is plenty of extra space, and then photocopy the letters, thus producing new versions that have the special terminology as part of the actual documents?”

“No, I’m sorry, we can’t do that.”

“Why not?”

“They have very specific rules about what we can and can’t notarize –”

“Are you telling me they actually covered this in notary class? They were like, ‘If anyone ever comes in with a document that doesn’t have the official notary language on it, you can NOT just stick the official notary language to the bottom of the document and then notarize it’? That seems awfully specific….”

“I’m sorry, we can’t do it.”

“Could we go home and, on the computer where we typed these letters in the first place, type in the official language at the bottom, then print out new copies and bring them down?”

“Yes.”

“How would that be different from just photocopying the official language onto the bottom right now?”

“Well, they have very specific rules about what we can and can’t notarize…”

Clearly we were getting nowhere. Clearly we had reached the point where the notary knew she had made a mistake — there would have been nothing wrong with photocopying the language onto the letters, as I’d suggested — but didn’t want to admit it. She was now hiding behind her office as a notary, declaring there to be arcane rules that did not actually exist, hoping we would give up and say, “Well, obviously the world of notarizing is foreign to us and we will take you at your word, good notary.”

Having no choice, we left the bank and returned home to type the official language onto the letters. I briefly considered going to Kinko’s and photocopying it onto the originals and getting the bank woman to notarize them before revealing that we had tricked her and had done exactly what she’d told us not to do, but I decided against it. For all I know, it’s against the law to deceive a notary.

I typed the fancy terminology exactly as it appeared in the sample the notary had given us, printed new copies of the letters, and Rob and I returned to the bank. These documents she gladly notarized, making small talk about the upcoming weekend as she did so. She did not acknowledge how silly the whole thing had been. And the proud tradition of notaries lives on.

Postscript: Nine days later, I received a form letter from the Baker County Justice Court indicating my correspondence had been received, examined, and ignored. I was ordered to pay $431 by Sept. 30 (two months after the original deadline, so at least part of my goal was achieved). In the space where the letter should have been signed, the judge had used a rubber stamp to apply his “signature.” Not only was the letter not notarized, it wasn’t even really signed. The system, as I mentioned, is inherently unfair.

The Chumscrubber

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“Desperate Housewives” has made it trendy again, but the notion of exploring the darkness that lurks beneath the sunny tree-lined streets of suburbia has been around for as long as there has been a suburbia. “The Chumscrubber” is only the latest in a series that has included “Donnie Darko” and “Blue Velvet,” but it is one of the best.

Set in the fictional Southern California (where else?) town of Hillside, this is a surreal, stylized, satirized version of picket-fence America, where no one cares about anyone else, where the adults are oblivious and off-kilter, and where the kids are all on drugs either prescribed or illicit (the line between the two categories is thin).

It begins with the suicide of Troy (Josh Janowicz), a high-schooler who was the best friend, or at least closest acquaintance, of the mostly friendless Dean (Jamie Bell). Dean’s father, Dr. Bill Stiffle (William Fichtner), pop psychologist and author of the everything-is-connected bestseller “The Happy Accident,” is concerned that Dean does not seem to be grieving. His mother (Allison Janney), who sells vitamins through a multi-level marketing program, is worried, too, and the good doctor puts Dean on Viloprex. But Dean has been taking that drug for some time already, having obtained it from Troy, who dealt in such things.

Meanwhile, Dean’s fellow students Billy (Justin Chatwin) and Lee (Lou Taylor Pucci) are heirs to Troy’s prescription-drug-dealing throne and they want Dean to get into Troy’s house to get his leftover cache of pills. When he refuses, they plot to kidnap Dean’s little brother Charlie (Rory Culkin) and hold him until Dean complies. This plan is botched when they kidnap the wrong Charlie (Thomas Curtis), a boy whose mother, Terri (Rita Wilson), is so preoccupied with her upcoming wedding to the town’s mayor (Ralph Fiennes) that she doesn’t realize her son is gone.

With the wedding scheduled as Hillside’s social event of the season, Troy’s bereaved mother (Glenn Close) wanders from home to home, assuring everyone in a sweet, eerie tone that she in no way blames them for her son’s suicide. She seems to have lost her grip on reality, the shocking death of her son making her realize that she, like everyone else in town, doesn’t really KNOW anyone. A memorial for Troy is planned, unfortunately for the same day as the wedding.

Through it all is the Chumscrubber, a popular video-game character who wages battle in a post-apocalyptic suburban nightmare that is apparently a reflection of Hillside’s repressed anxieties and fears. This unsettling figure, who is seen occasionally as Charlie Stiffle plays the video game, reinforces the movie’s “Donnie Darko” connections: the cynical view of suburban America, the disaffected teen protagonist, the plots that fold on top of each other — and now the hellish fictional character, too.

At only 18 years old, Jamie Bell has already played the lead character in one transcendent film, “Billy Elliot.” Now here he is carrying a movie that is, in its own way, just as noteworthy. His performance as the numb, overmedicated Dean is very astute, even adult — exactly what is called for in this movie where the kids have grown up too fast and the adults have not grown up at all.

In his first feature film, director Arie Posin explores the parallel realms of dark comedy and true pathos to marvelous effect. We can laugh at the caustic, incisive satire of modern America even while we sympathize with the characters who mourn Troy’s death. Like all good satire, it is an exaggeration but not an extreme one.

Zac Stanford’s screenplay is very shrewdly written, its plots and subplots foreshadowing one another and eventually coming together in wonderfully unexpected ways. There is a sort of magical realism to the film, a suggestion that there is a cosmic hand ensuring that everything happens as it should. Characters are set up and given the downfalls of Greek tragedy figures, and those who are in need of solace do eventually find it.

The Dukes of Hazzard

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Another week, another TV remake that can’t decide whether to mock its cheesy source material or embrace it, and thus winds up uncomfortably in between. A new one comes out every seven days. You can set your watch by it. If you viewed that tape in “The Ring” right now, you’d be dead just moments before the next TV remake comes out.

It’s “The Dukes of Hazzard” this time, written by John O’Brien (“Starsky & Hutch”) and directed by Jay Chandrasekhar, of the comedy troupe Broken Lizard and the very funny film “Super Troopers.” He’s directed a few episodes of “Arrested Development,” too, which makes me wonder what happened here. Very little of his slyness or subtly has made it into this tale of two good ol’ boys. It is instead simply car crashes and slapstick, the elements that comprised the bulk of the original series. Which is fine, except that Chandrasekhar and company have executed them differently, with an archness, a sarcasm. The film wants to entertain you with mayhem and silliness, but also to mock you for finding mayhem and silliness entertaining.

Luke and Bo Duke are cousins, of course, who live with their other cousin Daisy and their Uncle Jesse on a farm in Hazzard County, Georgia. In a world where casting your TV update is more important than writing the script, Luke and Bo are played by Johnny Knoxville and Seann William Scott, while Jessica Simpson plays Daisy and Willie Nelson is Uncle Jesse. This means Luke is a daredevil ladies’ man, Bo is sweetly stupid, Daisy is a ho, and Uncle Jesse smokes pot. You can see why it’s important to cast first and write screenplays later.

Luke and Bo plan to race their souped-up Charger, the General Lee, in the annual Hazzard Rally this weekend, but true to form, they get caught up in some do-gooding in the meantime. Seems Boss Hogg (Burt Reynolds), the county commissioner with everyone in his pocket, is planning something nefarious, confiscating the Duke family farm and eyeing others. Luke and Bo evade the police (led by Sheriff Roscoe P. Coltrane, played without an ounce of personality by M.C. Gainey), flirt with hot women, find clues and save the day, all while regularly causing the General Lee to be airborne. YEE-HAW!

Many of the details are what fans of the TV show will expect. Police cars wind up in ponds that were jumped over safely by the General Lee; Deputy Enos (Michael Weston) is easily manipulated by his lust for Daisy; Cooter (David Koechner) fixes the cars and provides general Duke support; there are brawls in the Boar’s Nest; Uncle Jesse runs moonshine.

Then there are the jokes about the Dukes being in a modern world. They catch flak for having a Confederate flag on the General Lee, for example, and someone scolds Boss Hogg for wearing white after Labor Day. It’s Chandrasekhar trying to please both camps, those who genuinely enjoy “The Dukes of Hazzard” on TV for its simple charm and broad humor, and those who like it for its camp value only, who watch it ironically.

It is very hard to have it both ways, and this movie doesn’t achieve it. Its biggest mistake: The characters of Boss Hogg and Roscoe. In the TV series, they were a Laurel and Hardy sort of pair, bumbling and blustering and sputtering like idiots. In this version, Burt Reynolds is far too slick (not to mention thin), and M.C. Gainey makes Roscoe slimy and evil, not at all the lovable stammerer that James Best was.

I don’t mean to say Boss Hogg and Roscoe were a classic TV pair, only that their relationship was fodder for a lot of comedy. But it was the kind of comedy that this movie would rather make fun of than indulge in, and so the characters — such a huge part of the original — are ciphers now, completely forgettable.

Yet the film insists on keeping the details intact. Boss Hogg is still portrayed as a glutton, even though he’s no longer fat. And Roscoe, sure enough, has a basset hound named Flash, even though this Roscoe doesn’t seem like the type who would.

Knoxville and Scott, for their part, aren’t playing characters named Luke and Bo so much as doing impressions of people playing characters named Luke and Bo. They commit to the characters only on a superficial level, going through the motions gamely but casually. They have a certain dumb-guy charm and humor to them, and the movie is not without its chuckles. But considering how funny the film could have been — either as a faithful big-screen adaptation or as a winking parody — this sloppy mix of both styles is as shameful as a pig in an outhouse, or something.

Saint Ralph

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Here is another feel-good movie that’s awkwardly written and staged, all knees and elbows, figuratively speaking, but you feel guilty criticizing it because it’s about a kid running a marathon to save his mom from dying of cancer. CANCER, for crying out loud! What am I supposed to do with that?

It’s an indie film, too, made on a shoestring by Michael McGowan, who managed to get a couple of famous people (Campbell Scott and Jennifer Tilly) to be in it. It’s a movie that wants to be better than it actually is, but at least it wants to be something. A lot of movies don’t care what they are, as long as they make money.

It is 1953 and we are at St. Magnus Catholic High School in Hamilton, Ontario. Ralph Walker (Adam Butcher), 14, is a lanky adolescent whose weekly confessionals include many counts of impure thoughts and other venal sins. He’s a clever kid, able to find solutions to most of the problems he finds himself in, probably smarter than many of his classmates but prone to goofing off instead of working.

His father died in the war, and his mother is in the hospital with cancer. Early in the film, she falls into a coma. Her primary nurse, Alice (Jennifer Tilly), tells Ralph, “It would take a miracle to wake her up.”

Meanwhile, it is only through basic sympathy that the head of St. Magnus, the crusty Father Fitzpatrick (Gordon Pinsent), has not expelled the soon-to-be-orphaned Ralph. Nonetheless, he has no patience for the lad’s shenanigans and orders him to practice with the cross-country team to burn off some of his excess energy. The coach, moody and doubting Father Hibbert (Campbell Scott), makes a joking reference to preparing for the Boston Marathon. Ralph asks if they’re really going to go, and if there’s a chance one of them could win. Father Hibbert says, “Winning the Boston Marathon would be a miracle.”

And there’s your film: Ralph figures if he can win the Boston Marathon, it will be just the miracle prescribed by Nurse Alice to wake up his mom.

I think Ralph has fundamentally misunderstood what Alice said. “It would take a miracle to wake her up” just means, “If she woke up, it would be miracle.” But Ralph takes it to mean, “If a miracle occurred, whatever its nature, that would be the catalyst needed to wake up your mother.” Hence, if he can produce a miracle, it will do the trick. Semantics, maybe, but I know I wouldn’t spend six months training for a marathon unless I was absolutely certain I had not misinterpreted my instructions, you know?

Father Hibbert thinks Ralph is nuts but agrees to train him for the marathon anyway; Father Fitzpatrick, villainous simply because the movie thinks it should have a villain, doesn’t want either of them engaged in this foolishness. I bet I know someone due for a comeuppance….

The movie has now painted itself into a corner from which only the most expert filmmaking can rescue it. If Ralph wins the marathon, or even comes close — I should think placing second or third would be a miracle, too — and if his mother does indeed wake up, then it’s a slap in the face to all the people who have prayed and had faith and whose loved ones have died anyway. If you suggest such a simple cause-and-effect with God’s mercy — I do Thing A and God gives me Thing B — you’re oversimplifying the way life works. But on the other hand, if his mom doesn’t wake up, then the movie is depressing and perhaps even pointless.

McGowan is not the genius necessary to make this scenario play out cleanly, though I give him credit for making a valiant attempt. The climax makes the best use of Leonard Cohen’s “Hallelujah” — a much-overused song in recent years — that I’ve ever heard in a film, matching the scene as if it had been written for it.

But much of the film feels hesitant, as if it’s unsure how to proceed. Scenes play out perfunctorily, many of them without any particular power or energy to them. The story gets told, and with able performances by the leads; I just wonder how long I’ll remember it.

Undead

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You could make a case for all zombie movies being unnecessary, of course, but even fans of the genre will have to admit that “Undead” is struggling to exist in a world that doesn’t need it.

Made on the cheap by quirky Australians who have clearly seen their countryman Peter Jackson’s “Dead Alive” a time or two, “Undead” is brimming with the usual antipodean whimsy and slapstick, plus a lot of gore and violence. What it doesn’t have, in particular, is anything frightening, nor is any of it anything beyond mildly funny. Were it the first of its genre, it would be spectacular, but of course that is not the case.

Set in the small town of Berkeley, Australia, we focus on a handful of folks who wind up barricading themselves against zombies that are created when small meteorites fall from the sky. Whatever living thing the rock hits when it arrives in the Earth’s atmosphere, that thing becomes undead. In one amusing flashback, it’s a fish, and zombie fish are always good for a laugh.

The survivors are led by a weird rugged man named Marion (Mungo McKay), who I gather wants to be Ash from the “Evil Dead” movies. There’s also a skittish cop (Emma Randall) enduring her first day on the job, and a local beauty queen (Felicity Mason), among others. They do a lot of screaming and shooting and arguing and running, and then later, some aliens show up. I crap you not, aliens.

The style of comedy employed by brothers Michael and Peter Spierig, who wrote and directed the film, is not one that I find successful. It involves a lot of exaggerated reactions and steppin’ and fetchin’, all the regular people behaving almost as stupidly and cow-like as the monsters they flee. It’s that obsession so many Australian filmmakers seem to have with their own country, finding it just a wacky, wacky place, and just look at how wacky we are! Fine, we get it, you’re a bunch of kooks whose Christmas is warm and whose August is cold. Now cut it out.

Still, the Spierig boys can be inventive with the special effects and assemble a witty exchange of dialogue when the mood strikes them. I was impressed several times, in fact, with the quality of the gore on what must have been a paltry budget. If an application were required to break into filmmaking, a videotape of “Undead” be a fine thing for them to include with their resume: not something you’d ever release, of course, but something that shows they’ve got skills.

Broken Flowers

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After his taciturn performances in “Lost in Translation” and “The Life Aquatic,” Bill Murray may now have reached the point where he is simply imitating himself. In “Broken Flowers,” the new film from indie writer/director Jim Jarmusch, Murray does his thing — the silences, the blank face that occasionally dissolves into a subtle expression of some kind, the seeming befuddlement and weariness at the lot life has cast him — but he does it to not nearly as great effect as in the just-mentioned films. With a minimalist approach, you run the risk of becoming so minimal as to be non-existent, you know.

That isn’t to say I didn’t like the film, because I mostly did. It has a straightforward, cleanly structured story and a few solid laughs amid the existential agonizing. But Murray and the other actors are often filmed giving looks that are clearly meant to be meaningful, yet I often have no idea what that meaning is.

OK, we’re looking at someone, and she’s making a face, and that face means … surprise? Compassion? Irritation? Plenty of time to figure it out, because the camera has been lingering for 15 seconds now, and we’re not being interrupted by dialogue … but what IS that face?

Murray’s better at it than his co-stars, that much is certain. He plays Don Johnston, a well-off man who made his fortune in computers yet doesn’t own one, who lives alone and putters around his tastefully decorated, dimly lit house in an expensive-looking track suit. He was a notorious Lothario back in the day, and still gets comparisons to Don Juan from his neighbor Winston (Jeffrey Wright). Winston is happily married with many children and seems to think, however subtly and cheerfully, that Don needs to grow up.

Don’s latest girlfriend, Sherry (Julie Delpy), would agree. She leaves him as the film begins, citing the usual film-cliché reasons of You’ll Never Change and Why Can’t You Just Settle Down? “I’m like your mistress, except you’re not even married,” she says. Don doesn’t try very hard to stop her from leaving.

He then receives a letter with no signature and no return address. It purports to be from a former lover who tells him he has a 19-year-old son who may be trying to find him now. Winston, an amateur sleuth, loves the mystery. Extracting from Don the list of possible suspects — women he was intimate with 20 years ago — he assembles an itinerary of flights, rental cars and maps so that Don can visit each woman, one by one, and find the mother of his son, this son he never knew he had. Don is reluctant, but Don is also governed by inertia. Once Winston drives him to the airport, the path of least resistance is to simply take the trip. So he does.

There are four women on his list. Each lives in a different unnamed city, far enough apart to require an airplane trip each time, though Jarmusch has intentionally left each location vague and faceless. With each old flame he encounters, Don gets a less-friendly reception. NASCAR widow Laura (Sharon Stone) is happy to see him; tamped-down real estate agent Dora (Frances Conroy) is baffled but not unhappy; pet psychic Carmen (Jessica Lange) is cordial but unhospitable; and he leaves the home of white-trash Penny (Tilda Swinton) with a black eye.

Each woman gets a scene or two, a vignette of reminiscences and general conversation, and Don sees four different lives that would now be unrecognizable if he had stayed in the picture 20 years ago. Should he have settled down with one of these women? Is one of them the mother of this alleged son?

Don never asks any of the women, “Did you send me a letter?” Instead, he simply looks for clues. I find this highly improbable. Why travel all that distance just to beat around the bush? Why not come out and ask the question?

Now, when you point out an apparent flaw this basic in a movie like “Stealth,” people laugh and say, “Yeah, what a dumb movie.” But when you mention something that seems so illogical in a Jim Jarmusch movie, you are accused of having missed the point.

In the case of “Broken Flowers,” the point would, in fact, be hard to miss. It’s about a man with a mostly meaningless life who is now, at this late stage, searching for meaning. Don has begun to realize he needs to DO something, to stop loving ’em and leaving ’em and to start making his life worthwhile. The point of the film is not in question, and Jarmusch and Murray execute it well enough, as far as it goes.

But the whole thing ultimately leaves me wanting. The resolution is singularly unsatisfying, and what’s worse, I can see it coming, and that it’s going to be unsatisfying, a mile away. And though Murray can say a lot with a well-timed reaction or a judicially employed shy smile, there are times when more is called for. I note one instance when he is visiting the grave of a former lover and tears begin to well up in his eyes. It is about to be a very emotional moment for both the character and the audience, and then Jarmusch cuts away. Why, in a film clearly meant to engage us emotionally, prevent us from getting there?

The worst job in the world

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I learned a terrible thing tonight. I was chatting with Don, who is the studio rep for many of the press/promo screenings here in Portland. He’s there to make sure the screening goes smoothly, and to jot down audience comments as people file out of the theater afterward. (That last part is pointless, since everyone loves everything if they saw it for free.)

Even without the comment-writing-down afterward, he still has to stay for the whole movie, in case there’s a problem. Like last night, during “Red Eye,” a fight broke out between two audience members, a man and a woman. An actual, honest-to-goodness fistfight, with yelling and screaming and everything, right there in the aisle. Luckily, there was a studio rep on hand to get security personnel immediately. If there’d been no rep, you just know we’d all have ignored the movie and watched the fight until it had run its due course.

(By the way, if you live in Portland you probably will not be surprised to learn that the above-mentioned fistfight occurred at the Lloyd Center.)

Anyway, some movies have multiple advance screenings, to build more word-of-mouth. For example, tonight we were seeing “Four Brothers,” and it was the third time for Don. Luckily, he thinks it’s a good movie. He had to sit through “Stealth” FOUR TIMES, and that was a bad movie. And I said, “Wow, and I thought my job sucked sometimes. At least I only have to see these things once!”

And that’s when he told me: Remember “Are We There Yet?,” starring Ice Cube and two evil children? Don had to see it ELEVEN TIMES. ELEVEN!! I think that may be a violation of the Geneva Convention. I wept for Don when he told me that, and for the parts of his soul that were destroyed.

The Backstroke of the West

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Someone in China picked up a DVD bootleg of “Star Wars: Episode III — Revenge of the Sith” on the street and has posted some hilarious screen shots from it. The subtitles are English translations of the Chinese translations of the original English; you can imagine the hilarity.

See it here.

NOTE: Some of the subtitles contain swear words.

ALSO NOTE: If you haven’t seen “Revenge of the Sith,” don’t click on the above link, as it contains spoilers.

Junebug

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An affectionate, unexaggerated view of the American South is so rare that by featuring it, “Junebug” almost seems groundbreaking. The people in this charming, wonderful little film are ordinary Red Staters, decent folk, screwed up in their own ways and eminently real.

The setting is rural North Carolina, where a British-born Chicago art dealer named Madeleine (Embeth Davidtz) has come to court a mentally defective painter named David Wark (Frank Hoyt Taylor), hoping to get his obscene, Civil War-centric paintings into her gallery. (All the figures are painted naked, and Robert E. Lee is depicted most, um, generously.)

Coincidentally, Mr. Wark lives not far from the hometown of Madeleine’s new husband, George (Alessandro Nivola), making this the perfect chance for her to meet her in-laws. Eager to please, she memorizes their names in the car before she and George go in. She greets them with kisses on both cheeks, and she affects an immediate kinship with them. They are family, after all.

The Johnstens are unsure what to make of Madeleine. She is cosmopolitan and refined; they are down-home, blue-collar types. The mother, Peg (Celia Weston), busies herself with cooking and fussing over her family. Dad (Scott Wilson), who has the appearance of someone who is content with life, hardly says a word and spends most of his time downstairs in the woodshop. George’s younger brother Johnny (Ben McKenzie), with whom he has an ongoing feud, takes after their father for speechlessness, reading the sports page at the kitchen table and regarding everyone around him with surly impatience.

This includes his wife, George’s sister-in-law Ashley (Amy Adams), who is nine months pregnant and the exact opposite of Johnny. She bubbles with stream-of-thought chatter, her innocent, simply constructed mind flitting from one topic to the next without pausing. She instantly adores Madeleine, but you get the feeling she instantly adores everyone she meets. At her baby shower a few days after Madeleine’s arrival, Ashley greets all her guests with kisses on both cheeks.

The plot is elegantly unimportant. Madeleine woos the eccentric artist; Johnny develops a crush on Madeleine; Ashley eventually goes into labor — all the things you expect to happen, happen, but they’re not the point. What’s key is Madeleine’s discovery that her values are different from her husband’s, that life in the South is richer and more nuanced than she had realized.

But this isn’t a rah-rah, the South is awesome pep rally, either. Written by Angus MacLachlan and directed by Phil Morrison (both Southerners), it’s far more honest than that. The exaggerations you would expect to find are not here. Madeleine is citified, but not to the point of absurdity. There are no scenes of her hilariously milking a cow, or having tobacco juice spat on her, or anything like that, nor do the locals react to her like she’s some kind of space alien. The laughs in the film come honestly, not through contrivances or farce. (Those things have their place, of course, but this film isn’t about them.)

The greatest performance in the film, and one of the best performances I’ve seen all year, is Amy Adams as the pregnant, chipper Ashley. What a revelation she is! Scanning her resume at Internet Movie Database, I learn that I’ve seen her in seven movies before this one, yet I don’t remember her in any of them. And now I’ll never forget her. The character of Ashley is what you might call cinematically charismatic: the people around her barely notice her, but the movie audience can’t take their eyes off her. She’s funny, sad and unbelievable, all at once.

Perhaps her finest scene is a conversation with Madeleine. She tells her sister-in-law that she thinks the baby will change things between her and Johnny, that it will help their troubled marriage. You think, “Wow, this desperate notion that some people cling to subconsciously, she’s actually articulating it.” Then Ashley goes on to say she doesn’t really THINK it will help, she merely HOPES it does. Then she wavers some more, going back to blind optimism. The girl’s mind is an open book, and you love her for it.

Seeing the subtle ways that living in Chicago has changed George, or the way Johnny comes to life when he gets out of the house and into his warehouse job, or the comfortable marriage between Peg and her husband Eugene — these details enrich the film with both humor and sadness. Its minor flaws (Ben McKenzie’s questionable Southern accent, for example) detract only slightly, and the movie is deeply satisfying.

Angry Letter: ‘Mulholland Drive’

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I received this letter concerning my review of David Lynch’s “Mulholland Drive,” from the e-mail address dmnxia@hotmail.com:

I just watched Mulholand Drive earlier tonight and it made perfect sense to me. It’s not a linear plot, but it isn’t difficult to unravel if you have even HALF a brain. There really isn’t much to it. You were right in that it wasn’t a great movie, but it’s not a lousy movie because you don’t have the mental faculty to understand it, what makes it kindof weak is that all of the “mysteries” that you proclaim unsolvable are quite easily solvable, and are mostly there just to point out how to reorder the scenes so that things DO make sense. If you really are too stupid to figure it out, and not just incredibly lazy beg me and I might explain it to you! There is also some biblical creation parallelism in the dream(and some other biblical symbolism elsewhere), which makes sense as what diane is DOING in her dream is recreating the world to her liking. You’re review was completyly pathetic and a waste of my time. I feel dumber having taken the time to even read your opinion, and I certainly never will bother to read anything written by you again!

DmNxIa

This seemed excessively harsh, so I did not bother composing a complete rebuttal. Instead, I replied with merely this:

You’re review was completyly pathetic and a waste of my time. I feel dumber having taken the time to even read your opinion,

Imagine how I feel having to read your e-mail!

Eric

Less than an hour later, emboldened by my apparent weakness, he fired back this diatribe:

Wow, that was a response that my 7 year old little sister could have come up with. Thanks for further validating my point. You can’t write OR argue effectivley. I have no respect for people who attempt to foist their opinion on others without even thinking about why THEY hold a particular belief. [Yeah, sorry I tied you down and made you read my review, then.] Imagine how you feel…I’d imagine that you feel pretty pathetic and ashamed when you read my email, because you realize that you aren’t very good at what you do and weren’t smart enough to figure out a simple plot on your own simply because it was non-linear. On the other hand maybe you just can’t read english above a 2nd grade level…although I considered that in advance and DID try not to use too many big words for you. The most likely option in your case, is that you ARE ashamed of how pathetic you are at your job deep down inside, but you will TRY to shrug it off and act like your pathetic egotistical self. Here’s a tip, confidence is only appropriate if you can back it up. False bravado will be seen through by many of us and we will think even LESS of you for your inability to recognize your own failings. It’s just sad that you’re not even capable of doing actual work of any sort, other than making silly comments on things other people have done and that you could never HOPE to do yourself…and you aren’t even good at that

DmNxIa

OK, now enough was enough. I responded as follows:

So, let me get this straight. You write an e-mail, not even bothering to sign your name to it, in which you call me a bad writer and a stupid person — all on the basis of ONE movie review (out of 1,400) — and to that you expect a well-reasoned, mature reply? You write something condescending, mean-spirited, insulting and outrageously uncalled for … yet you expect something intelligent in response?

I wonder what it is that has happened to make you the way you are. I mean, I’ve certainly disagreed with movie critics before, and thought they were missing the boat on something. And I guess I can see writing to a critic to offer my opposing viewpoint, to point out a detail or two that he seemed to have missed, something that might make him see the film differently. But I CANNOT imagine being SO upset that a critic disagreed with me that I would say he was stupid, lazy and bad at being a movie critic.

I mean, what makes a person become so vitriolic at something as simple as a difference of opinion? You’re just someone who watched the movie and liked it. I watched it and did not like it, for the reasons stated in the review. SO WHAT? Where in any of that is there cause for a 196-word diatribe on the various ways that I am stupid?

Now, as to your original e-mail, which apparently I am obligated to respond to point-by-point, despite its rancor. If indeed “all of the ‘mysteries’ that [I] proclaim unsolvable are quite easily solvable,” you are more than welcome to explain them to me. I’ve noticed numerous theories on various Web sites in which people attempt to explain it, and I’d be glad to read your theory. I understand that for some people, that is the fun of a movie such as this, the post-viewing dissection, the attempt to discover its meaning. For myself, as I said in the review, I have no problem with a film that requires a little thought from its audience. Where I have no patience is where I strongly suspect that such analysis will be fruitless, because the film is not meant to be understood.

Roger Ebert also did not “get” the film, as you must have noticed from the portions of his review that I quoted in mine. (I assume you sent him an equally impertinent e-mail, berating him for his ignorance?) He wrote: “‘Mulholland Drive’ isn’t like ‘Memento,’ where if you watch it closely enough, you can hope to explain the mystery. There is no explanation. There may not even be a mystery.”

That’s how I feel, too. Only unlike Ebert, I don’t consider the film being unexplainable to be a selling point. Why watch something that there is no hope of understanding?

Again, if you believe you have unraveled David Lynch’s meaning in the film, then hooray for you. I did not find the sense in it, nor did I believe Lynch himself even knew where all the pieces fit. I thought he was being self-indulgent, and I didn’t like the film.

Now here we are, disagreeing on a film, and yet one of us is still being civilized! How about that!

Best wishes,
Eric

And guess what? This time, he never replied! Apparently, once he discovered I was not an easy target who could be bullied by his angry, faux-educated rants, he lost his false sense of bravery.

The Lease I Could Do

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I finally found a place to live in Portland, but it took a while. It’s so hard finding the right apartment. You find one that’s a great price, but it’s too small. Or it’s the perfect size, but it’s in the wrong part of town. Or it’s in a great location, but it’s built on an ancient Indian burial ground.

Foolishly, I thought that, being a single person living alone, I might be able to make do with a studio apartment. Many of the ads I read indicated their studios were “huge” and/or “spacious.” I soon learned that, as with so many things in life, this is a bald-faced lie. There is no such thing as a “huge” or “spacious” studio apartment. If it were truly huge or spacious, it would have been split into two rooms, thus making it a one-bedroom.

Of course, there is great variance in the sizes of one-bedrooms, too. In some cases, I think they have done what I just suggested, portioning off a tiny bit of space from a studio and calling it a “bedroom,” even though the only kind of bed that would fit in it is the bassinet of a dwarf’s baby.

Yet despite the many differences among all the apartments — carpet or hardwood, old-fashioned or modern, haunted or exorcised — I have found there to be many similarities, too. In fact, having been shown more than a dozen apartments by various landlords and managers, I have concluded that all of Portland’s apartments have the following things in common:

– Every apartment is in a really great neighborhood.

– Every apartment is close to everything.

– Every apartment has really great neighbors. It’s like a little community, really.

– Every apartment gets a lot of light.

Sometimes these statements are outrageously, obviously false, as when they tell me, “It gets a lot of light,” and I’m standing in the apartment at the time, and it’s mid-afternoon, and all the blinds are open, and I can see for myself that it gets no light. I want to ask, “Now, all this light that it gets: When does that happen? Does it cost extra?”

Everything costs extra when you’re renting an apartment. Many of them advertise “All utilities paid!,” but what they mean is, “All utilities paid except gas and electric!” They pay water, sewer and garbage, which are, I will admit, SOME utilities. But they are not ALL utilities. Furthermore, I’ve yet to find an apartment that doesn’t cover water, sewer and garbage for you. So quit advertising it; it’s not impressive.

They also charge you $30 or so for an “application fee.” And then some of them want another $50 once you’re approved for “sign-up costs.” Of course landlords have administrative costs, but doesn’t all that rent money they get every month cover them? Apparently not. Apparently that money goes right to the barbecue pit, where it is lit on fire. So the only way they can make any money is by charging you to apply there.

(This would not work in other areas of commerce. Imagine going to a Cold Stone Creamery and telling the youth behind the counter that you would like a Gotta-Have-It-sized combination of oatmeal-cookie-batter ice cream and smashed-up Butterfingers, and the teen tells you, “OK, there will be a $5 application fee, to see if we even want you as a customer, and if you are approved, the confection itself will cost another $3.95.” You would not remain a patron of Cold Stone Creamery for long after that, let me tell you!)

Many buildings have signs on them that say, “Apartment available,” with a phone number. Often, when I call those numbers and say, “I’m calling about the apartment,” I am told that despite the sign saying “Apartment available,” there are not, in fact, any apartments available. The sign is affixed to the building permanently, I guess. One time the conversation went as follows:

“Yes, I’m calling about the apartment for rent…?”

“I’m sorry, we don’t have any vacancies right now.”

“But I just walked past the building and saw the sign that said ‘Apartment available.'”

“Yeah, we don’t have anything right now.”

Not, “Oh, sorry, we should take that sign down,” or “Whoops, we just rented the last one.” Just “Yeah, we don’t have anything.” Like there’s nothing they can do about it. That sign on the building? An old gypsy put it there as a curse and it WON’T COME OFF!!!

I called the number listed for an apartment I’d seen advertised on Craigslist.org. I told the woman I was inquiring about the apartment for rent, and she said, “Have you driven past it?”

“Uh, no, I was hoping someone could show it to me. The inside and everything.”

“We actually ask that you drive past it first to see if it’s something you’d like, and then if it is, call us back and we’ll make an appointment to show it to you.”

“But how can I tell anything just by driving–”

“So give us a call once you’ve driven past it.”

I was stunned. How ugly must this place be? They were apparently very confident that once you’d seen the exterior, you wouldn’t even want to bother looking inside. I wasn’t going to play their games, though. I don’t care what a place looks like on the outside; it’s what’s inside that counts. (It’s the other way around with people, of course.) So I waited a few hours and called back. When the woman asked if I’d driven past it, I said, “Yes, and it’s very lovely.”

Turns out it was fairly hideous, but no worse than a lot of other places. The agent who wound up showing me the place reminded me, of course, that it was in a great neighborhood. The neighborhood was bland and anonymous, and all the signs on all the businesses were in Vietnamese. If I were a blind Vietnamese person, it would probably be a fantastic neighborhood. As a sighted American, however, it left a lot to be desired.

It can be soul-crushing, all this business of looking for an apartment. It really is like going on a series of blind dates. You know some basic information about the person, and their attributes sound appealing, and as you approach the first meeting you’re thinking, “Maybe this is it! Maybe this is The One!” And then you meet and it turns out they smell mildewy and have a tiny bathroom. And then you do it all over again with another place, and then another, and each time, your standards get lower. You think, “Well, it’s really expensive, and it’s too small, but it is in a nice part of town, and the view is OK, and I’m not getting any younger….” And finally you settle for something less than you deserve because everyone’s been pressuring you to find a place and you just want to be DONE with it, for crying out loud, and you’re glad it’s month-to-month with no lease because you’re already looking for something better, but you never get around to moving, and before you know it 20 years have passed and you’re still waking up to that same ugly floor tile every morning and by now you might as well just stay here because you don’t have the energy to look for anything else and then you die. Or so I’m told.

The place I finally chose is not in the exact part of town I wanted to live in — I was hoping for something where all the signs would be in Korean — but it’s good enough. It’s spacious and affordable and it has hardwood floors, which will be convenient if I ever need to kill, dismember and conceal an evil-eyed old man. Otherwise, it just means I have to sweep every day. But the important thing is, the search is over. And it actually does get a lot of light.

Eric recommends: ‘Middlesex,’ ‘Frankland,’ ‘Approximately Heaven’

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The “Eric Recommends” feature, where I would give little book reports on what I’d read recently, isn’t around anymore. It wasn’t getting much use, and we needed space on the navigation bar for other things. Plus, I went through a phase where I was reading a ton of magazines and not as many books.

But lately I’ve had a resurgence, so you can expect several blog entries in the next little while where I recommend some of the more interesting things I’ve read in the past few months. Why, here come a few now!

“Middlesex,” by Jeffrey Eugenides. Now here’s a book for you. This Pulitzer Prize-winner tells the story of a Detroit man who was born and raised, until age 14, a girl — an actual hermaphrodite (not like Jamie Lee Curtis, who is only alleged to be one). The writing is fluid and beautiful, and the story — which begins with the subject’s grandparents in Greece — is affecting, funny, harrowing and completely absorbing.

“Frankland,” by James Whorton Jr. No Pulitzers for this slim volume, a jolly, lightweight little comedy about a 28-year-old historian with few social skills heading to rural Tennessee to find long-lost documents pertaining to President Andrew Johnson. He encounters many odd locals and much small-town weirdness on the way, of course. Much of the humor is derived from the protagonist’s formal, polite way of speaking, juxtaposed with the informality of the rural South. I love Whorton’s way with words, too. (Upon encountering a sweaty, loathsome man who has recently infuriated him, our hero says, “If there had been a way to slap his face without touching his face, I would have done it.”)

“Approximately Heaven,” by James Whorton Jr. Having read his second book first, I went back and read James Whorton’s first book second, and liked it even more than “Frankland.” It’s just as funny (albeit in a different way), but it also has just a little bit of weight to it, which “Frankland” does not. This one is still set in the rural South, but it is written from the point of view of one of the locals, and Whorton thoroughly captures his voice, his matter-of-fact way of describing things, his countryfied mannerisms. Beer is a constant bittersweet theme, providing humor as well as pathos, as the protagonist and a buddy of his go on a road trip while the former’s wife is threatening to leave. I heartily recommend this very funny, very endearing novel.

Birthday movies

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My birthday, Aug. 26, falls on a Friday this year. A Friday birthday means your big day coincides with new movies being released. A Friday birthday in August usually means the movies being released are bad ones.

August is the dumping-ground month. It’s when they toss out movies that are too dumb to be autumn, Oscar-bait releases, and not entertaining enough to be summer blockbusters (else they’d have released them earlier in the summer).

Some recent August releases include “Coyote Ugly,” “Hollow Man,” “Original Sin,” “Rush Hour 2,” “Captain Corelli’s Mandolin,” “Bubble Boy,” “Ghosts of Mars,” “Summer Catch,” “The Master of Disguise,” “Serving Sara,” “FearDotCom,” “Gigli,” “Uptown Girls,” “My Boss’s Daughter,” “Exorcist: The Beginning,” “Without a Paddle,” “Anacondas: The Hunt for the Blood Orchid,” and “Superbabies: Baby Geniuses 2.” (The last three all came out the same DAY in August, last year. Yeesh.)

There are exceptions, of course. “Bring It On,” “Space Cowboys,” “The Others,” “Jay and Silent Bob Strike Back,” “Signs” and “Freaky Friday” were all August releases in the past few years.

Anyway, back to my point, Aug. 26. This year my birthday movies are:

“The Cave,” in which people go into a very deep cave and are killed by monsters/aliens/something. The quintessential late-August crapfest, by the looks of it.

“The Brothers Grimm,” Terry Gilliam’s latest fairy tale, about two con artists who protect villages from magical creatures that don’t exist — and then are called upon to save the day when some REAL monsters appear. Could go either way; the fact that its release date was pushed back from last fall makes me nervous.

“Undiscovered,” about a group of young performers trying to make it big in L.A. Yawn.

Curious, I looked to see what films were released on my birthday in 1994, which is the last time it fell on a Friday. They include:

“It’s Pat.” Yes, the movie about Pat from “Saturday Night Live.” Surely among the worst movies of the 1990s.

“Natural Born Killers.” Oliver Stone’s controversial anti-violence (or perhaps pro-violence), anti-media (or perhaps pro-media) screed. You love it or you hate it, but it’s at least worth talking about.

“Police Academy: Mission to Moscow.” May heaven help us all.

“Wagons East.” John Candy’s last film. Universally loathed.

Here’s hoping my birthday movies this year are better than the last ones.

The Aristocrats (documentary)

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Few people understand the mechanics of comedy better than George Carlin. I don’t mean that he’s necessarily the funniest comedian there is (though I do think he’s up there), but that he can pontificate on the workings of comedy — how to construct a joke, why things are funny, and so forth — better than almost anyone.

So he’s ideal for introducing “The Aristocrats,” a documentary that purports to be about a specific dirty joke but that is actually a study of comedy in general. Carlin mentions how people are always decrying comedians who use dirty words for “shock value,” but then he observes that “‘shock’ is just an upscale word for ‘surprise,’ and a joke is all about surprise.” Surprise is, ultimately, the very essence of comedy. You laugh because you didn’t see it coming. If you saw it coming, you don’t laugh. Call it surprise, call it shock, either way, the point is the same.

“The Aristocrats” is the name of a particular joke that has been a sort of secret handshake among comedians for the better part of a century, maybe longer. They never tell it in shows — not because it’s a secret, and not because it’s too fithy, but because comedians, by and large, don’t tell “jokes.” They make observations, they tell stories, they crack wise on current events — but they don’t tell “a guy walks into a bar”-style jokes, you know? And so “The Aristocrats,” which relies on improvisation and is thus ideal for funny people to tell to each other, has existed primarily out of the spotlight.

The film, directed by Paul Provenza and Penn Gillette, is simple. They go to some 80 comedians (as well as a few actors and producers — Carrie Fisher is in there, for crying out loud) and have them tell the joke, which ultimately becomes known simply as The Joke. The Joke has infinite variations, as you will soon see, but the bulk of the film is not people telling it so much as talking about it. And in the process, we get a brilliant comedian’s-eye view of comedy, an analysis of Why Stuff Is Funny.

I am going to tell a very tame, PG-rated version of The Joke now, which is not really a spoiler, because you hear it within the first 10 minutes of the movie anyway, and because it’s really only the loose outline of a joke for which the teller fills in the details. But so you have an idea of what we’re dealing with, here goes.

A man walks into a talent agent’s office and says, “I’ve got an act that you’re gonna love!” The agent says, “OK, what’s the act?” The man says, “Well, it’s a family act. First I come out, drop my pants, and begin farting the national anthem. Then my wife comes onstage and accompanies me on the belch. Then our little son and daughter come out and urinate on the audience.” The talent agent says, “My goodness! What do you call it?” And the man says, “The Aristocrats!”

So. It’s not even a very good joke, really. It’s basic juxtaposition: The family does all these crude, vulgar things, then calls it “The Aristocrats.” (An alternate version has them calling it “The Sophisticates.”) Not much of a joke, but OK.

But here’s where the comedy is. That part in the middle — the part where the man describes his family’s act — that part has no official version. No one even knows, when the joke was first told, what went there. Instead, the person telling it improvises that part, making up whatever vile, vulgar, filthy things he can think of. I used bodily functions because those are the easiest to tone down for a genteel review, but you can use whatever you want. (Deviant sex generally becomes involved.) It is that rare joke where it is impossible to overdo it: The more disgusting it is, the funnier it is when you get to the punchline, where it’s revealed that the man has the audacity to call his stage show “The Aristocrats.” Some of the comics in the film talk about legendary parties where they stretched that part of the joke out to 20 or 30 minutes, spouting a litany of vulgar deeds until they literally couldn’t think of any more.

You can see why comedians like the joke. It gives them a chance to ad-lib, which they love, and there are no rules of decorum or good taste. When telling it to other comedians at parties, after shows, in the backs of clubs, the goal is to offend the audience, because when a comedian is offended, it just makes him laugh harder.

The joke is sort of a safe zone for taboo ideas. You laugh because you can’t believe someone actually SAID that, and then you realize that’s the point. No one is actually endorsing any of the awful, illegal acts perpetrated in their version of The Joke. In fact, the very fact that they’ve included it is proof that they don’t endorse it, since the very nature of the joke is that what’s being done is inappropriate and wrong. Anything a comedian actually approves of would, by definition, not belong in the joke.

The film is utterly, unbelievably, pants-wettingly hilarious. Carlin tells the best version, in my opinion, because of his delivery. The man in the talent agent’s office isn’t speaking outrageously; he speaks in a very matter-of-fact tone, like he’s describing the most normal stage show you can imagine. Paul Reiser, surprising to me, uses a similar deadpan delivery, though his details are different: Carlin focuses on bodily functions; Reiser, sex. Another comic uses violence, then sex, then combines them. Whatever you consider most inappropriate to joke about — incest, religion, domestic abuse, whatever — that’s what you use in the joke. It’s a way of making dreadful things less scary. Maybe it’s even cathartic.

What was definitely cathartic was Gilbert Gottfried’s appearance at a Friars Club Roast of Hugh Hufner three weeks after Sept. 11, 2001. The event, apparently now legendary among comics, is recounted by other comedians in this film, and clips of it are shown. Basically, Gottfried made a 9/11-related joke that was met with some awkward laughter, some boos, and cries of, “Too soon! Too soon!” from the audience, which consisted mostly of comedians and humor writers. In response to this rebuffing, Gottfried proceeded to tell “The Aristocrats.” His particular version of it was not necessarily funnier, dirtier or better than anyone else’s, but that wasn’t the issue. The very fact that he was telling it — a joke everyone in the audience knew, a joke that united them in a fraternity of comedians — well, it was genius. The audience cried with laughter, and the subtext was that the tragedy of 9/11, like all other too-serious, too-awful subjects, would eventually pass, and life would go on. We would rise above it, and we would do it with humor. Gottfried became a folk hero then, for uniting the audience during a very difficult time. (The moment, needless to say, did not make Comedy Central’s TV version of the event.)

Provenza and Gillette had the unenviable task of whittling down hundreds of hours of footage, recorded over a space of two years, into a film of reasonable length. Included in the final cut: Drew Carey, Dom Irrera, Howie Mandel, Martin Mull, Don Rickles, Bob Saget, Harry Shearer, Fred Willard, Steven Wright, Jason Alexander, Carrot Top, Susie Essman, Eric Idle, Eddie Izzard, Jake Johannsen, Cathy Ladman, Richard Lewis, Bill Maher, Kevin Nealon, Emo Philips, Kevin Pollak, Chris Rock, Jeffrey Ross, Rita Rudner, Sarah Silverman, Jon Stewart, Rip Taylor, Robin Williams, and about 60 others. A mime “tells” the joke, and so does a magician with a deck of cards.

The directors promise the DVD will be stellar, and they are already hearing from comedians who hesitated to perform in the film (among them Jerry Seinfeld, who didn’t want to conflict with the release of his own documentary, “Comedian”) who now wish they had. Perhaps what the film shows most of all is the sense of community among people who create laughter for a living, the common bond that even the strangers among them have with each other. What better than a dirty joke to bring people together?

Stealth

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Beware of movies in which the human characters are less important than the machines. Your motorcycle movies and drag-racing movies and airplane-flying movies — these usually neglect their humans because they know their male target audience is more interested in the vroom-vroom and the rat-a-tat-tat anyway. And hence, these movies usually suck.

In no way breaking free from the legacy of suckitude set forth by such films (and indeed directed by Rob Cohen, of “The Fast and the Furious”) is “Stealth,” about a top-secret Navy air force jet that can talk, fly without a pilot, carry out missions, go rogue, defy orders, kill whomever it deems its enemy, all without a single “2001: A Space Odyssey” reference (or even a “Top Gun” reference, for that matter). It’s artificial intelligence at its finest, and never have the words “artificial intelligence” seemed so fitting.

This, my friends, is a grandly stupid movie. Yet it’s not even the magical talking airplane concept that sinks it. Goodness knows there have been reasonably good movies made on that subject in the past; why, “Knight Rider” ran for four seasons and no one minded that it featured David Hasselhoff being bossed around by a gay automobile.

No, the failure of “Stealth” comes in its execution, in its porn-quality dialogue and ridiculous story lines, in its twists that defy all logic and reason, in its 100-percent gratuitous scene where the hot young pilot and his hot lady-pilot friend wear small bathing suits while cavorting near a waterfall. I submit that when your movie is about a magical talking airplane, and yet the magical talking airplane is NOT the silliest thing about the movie, then you should not make any more movies.

Our trio of pilot heroes — Ben Gannon (Josh Lucas), Kara Wade (Jessica Biel) and Henry Purcell (Jamie Foxx) — are at sea on the USS Abraham Lincoln when they first meet their non-human teammate. The jet, designed and programmed by eggheads in Seattle, is called Extreme Deep Invader (EDI), or “Eddie,” and he’s very polite. He speaks with the crisp, passionless tones that all movie computers speak with, in this case voiced by actor Wentworth Miller. (If you are good at talking like that, maybe your voice could be in a movie, too.)

Ben, Kara and Henry are wary of Eddie, but they get a chance to see him in action when he tags along on an emergency mission to Myanmar (which is what they’re calling Burma these days). See, the heads of three terrorist cells are meeting together in the city of Rangoon, and it would be just super if we could pop over there and kill them all at once. Oh, but we only JUST found out about it, and the meeting commences in just 24 MINUTES!! So, you know, hurry. Luckily, the Navy’s planes, Eddie included, can do something like Mach 7, so Rangoon is never very far away. Also luckily, the terrorists are meeting in a building that is completely abandoned and uninhabited, meaning only bad guys will be killed with no collateral damage whatsoever. Also luckily, Ben figures out a way to implode the building so that the neighboring buildings aren’t affected. This is because it would be wrong to kill innocent bystanders.

Later, Eddie inevitably goes a little crazy — I think he’s jealous of Ben, actually, and you can see why, considering Ben has those big dimples and great smile and Eddie is an airplane. Whether Eddie is in love with Kara, too, I don’t know; maybe he should talk to Herbie the Love Bug about overcoming crushes on human women. None of this is my concern.

But anyway, Eddie wants to carry out another mission, that of killing bad guys in Tajikistan who have nuclear weapons, but doing so would kill several hundred bystanders. Kara expresses her dismay at such an outcome by declaring, “Farmers, Ben! They’re just farmers!”

Which they are, but Eddie does the mission anyway, gets the bad guys, and kills the farmers, too. Bad Eddie! Bad magical talking airplane! Don’t you know that all non-terrorist life is precious? Of course you don’t. You’re a magical talking airplane that doesn’t have feelings.

But wait, it gets better. When Kara is stranded in North Korea — don’t ask why; it’s stupid — Ben convinces Eddie to help him go rescue her! Ben and Eddie, once rivals, become friends! It’s so awesome.

Oh, and Ben and Kara’s commanding officer Capt. Cummings (Sam Shepard) wants them dead because they could testify about his extremely poor decisions, vis a vis letting Eddie go on missions even though he’d been behaving erratically. So they’ve got THAT to contend with.

But W.D. Richter’s screenplay suffers its greatest blow in the way it handles the various foreign countries encountered by Ben and company. First they accidentally enter Russian airspace while chasing Eddie. When the Russians show up believing themselves to be under attack (quite understandably, given there are three U.S. fighter jets dashing around their airspace), our heroes’ response is to shoot them all out of the sky. No attempt is made to explain what’s happened, to maybe enlist the Russians’ help in stopping the rogue Eddie. Nope, we just kill them. And this is Russia, one of the places we’re on reasonably good terms with.

The same thing happens when Kara lands in North Korea — really, seriously, don’t ask how she gets there — and local soldiers come after her. She barely even tries to escape without engaging them. As soon as she gets her hands on a weapon, she opens fire.

Let’s say you come home one night really drunk and you accidentally enter your neighbor’s house rather than your own. Then, when your neighbor comes downstairs with his gun to investigate the noise he heard, you shoot him. That’s pretty much what we’re talking about here.

So in short, while it might seem like a good idea to go watch the movie about the magical talking airplane, it turns out that’s actually a bad idea. I know, it’s hard to imagine a magical-talking-airplane movie letting you down, but there you go.

Sky High

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In a world so saturated with superheroes that you wonder why evil-doers even bother trying, the children of the heroes attend “Sky High,” the secondary school where they can develop their superpowers among their own kind.

This Hogwarts-like academy, whose athletic teams surely compete against Professor X’s mutant school in the playoffs every year, is unknown to the world at large and sits on a cloud high above a typical metropolis, the sort of place where the morning commute is occasionally interrupted by a giant killer robot (quickly dispatched by any of the many, many superheroes living nearby, of course).

The top team in superherodom is Commander (Kurt Russell) and Jet Stream (Kelly Preston), bespectacled real estate agents by day, heroes by night (and occasionally also by day, I guess). Their son, 14-year-old Will Stronghold (Michael Angarano), like all his hero-offspring friends, awaits the arrival of his superpowers the way most kids await puberty. Given his genes, everyone has high hopes for him. Will he have super-strength? The gift of flight? Both?!

But by the time his first day at Sky High arrives, Will still has nothing. His lifelong friend Layla (Danielle Panabaker) can control plants, and his new acquaintances Zach (Nicholas Braun) and Magenta (Kelly Vitz) at least have the mildly interesting ability to glow in the dark and turn into a gerbil, respectively. But Will? Nothin’.

He is thus assigned by gym coach Boomer (Bruce Campbell, who eats this kind of campy-sly humor for breakfast) to the Sidekick curriculum, rather than the Hero track. The faculty, all mid-level heroes themselves, remember Will’s parents fondly and are disappointed, while Will and his Sidekick — er, “Hero Support” — friends are ruthlessly taunted by the Hero kids. (Being a freshman is nothing at Sky High. It’s being a Sidekick that gets you the swirlies.)

The idea of a teen comedy set in a high school for budding superheroes is such a fun one that I’m mostly just glad they didn’t blow it. Written by Paul Hernandez and Disney Channel regulars Bob Schooley and Mark McCorkle, “Sky High” creates a jolly, clever world of superheroes that follows its own logic impeccably. Kids aren’t supposed to use their powers outside the classroom, but of course the bullies do anyway; the detention room renders all powers useless; the principal is played by Lynda Carter; there’s a course on Mad Science (“From the silliness of the shrink ray to the devastation of the death ray, rays are the building blocks of mad science”); and among the potential heroes on the class list there are also a few future supervillains (including one Draco Malfoy type whose mother was a superhero but whose father was a villain who was imprisoned by Will’s dad back in the day). The high-school-as-battle-ground metaphor was done better on “Buffy the Vampire Slayer,” but “Sky High’s” climactic finale at the Homecoming dance definitely recalls some of the more apocalyptic moments of that great series.

Will’s life is complicated not just by his shame in being a late bloomer — what will his parents say? — but by a pretty senior named Gwen (Mary Elizabeth Winstead) who takes an interest in him, much to the dismay of Layla, who has long harbored a crush for him. The teen angst adds an amusing dimension to the story, reminding us, lest we forget, that these are kids, not superheroes. When someone remarks that a particular school program is unfair, Will says, “If life were suddenly going to get fair, I doubt it would happen in high school.” John Hughes must kick himself for not writing that line 20 years ago.

Directed by Mike Mitchell (formerly of TV’s “Greg the Bunny” and, I’m sorry to report, last year’s awful “Surviving Christmas”), the pace is quick and the tone is light, very often funnier than you’d expect it to be. I’m impressed with the casting, too. I’ve already mentioned Lynda Carter and Bruce Campbell; Kurt Russell, with his square jaw, blue eyes and sonorous voice, is perfect as the Mr. Incredible-style all-American dad; and it’s a delight to see not one but two Kids in the Hall — Dave Foley as the head of the Sidekick curriculum and Kevin McDonald as the resident Mad Scientist — roaming the halls together.

This is a PG film aimed at kids, and I suppose they’ll enjoy it. But as has often been pointed out by people like me in situations like this, the adults at the screening I attended were laughing more than the kids. The humor is not necessarily subversive, but it is often subtle and cleverly conceived, which is a super feat indeed.

Must Love Dogs

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I can’t pretend to like romantic comedies, but I can’t pretend not to like Diane Lane and John Cusack, either. In “Must Love Dogs,” a perfunctory but entertaining rom-com based on a novel by Claire Cook, Lane and Cusack play the parts Meg Ryan and Tom Hanks would have taken a decade ago — except that Lane and Cusack are a little smarter, a little more mature than their predecessors. “Must Love Dogs,” until its sell-out finale, is a rom-com with a brain in its head.

Lane plays Sarah, 40-ish and recently divorced, now the victim of rampant matchmaking by her many siblings. (“Doesn’t anyone have a friend for Sarah?” her father asks. “‘A friend for Sarah’?” she says. “Now I’m an episode of ‘Little House on the Prairie’?”) In the same unnamed Southern California city, there is a man named Jake (Cusack), also newly divorced and being encouraged by his friend Charlie (Ben Shenkman) to get out there and sleep with as many women as he can. But Jake is no cad. He wants something real, you know?

These two meet, inevitably, thanks to Sarah’s sister Carol (Elizabeth Perkins) posting a profile for her on PerfectMatch.com. After the obligatory montage of Sarah on dates with various losers, she meets Jake, and there is a bit of a spark.

But meanwhile, Sarah, a preschool teacher, has also met Bob (Dermot Mulroney), the father of one of her students. He’s separated from his wife and cute as a button, and this constitutes the film’s only real conflict: Sarah likes two boys at once (three, if you count the fact that Dermot Mulroney and Dylan McDermott are the same person).

I considered this lack of dramatic conflict a flaw before I realized I was enjoying the film anyway. Certainly this scenario is more realistic than most rom-coms, where one of the guys would be an obvious jerk and we’re just waiting for Sarah to dump him, or where Sarah would think Bob only likes her because she lied and told him she’s an astronaut, or whatever.

The film, adapted and directed by Gary David Goldberg, does dissolve into the usual idiocy in the end, with people making public declarations of love and jumping into rivers to pursue one another and that sort of thing, but I suppose a certain amount of convention is required. In fact, hardcore fans of this genre might reject this film on the grounds that it is not formulaic enough.

Lane played a role like this in “Under the Tuscan Sun,” and it suits her. She is just attractive, just intelligent and just old enough to be believable as someone who has been unlucky at love, the sort of woman we all know and adore who is undervalued by her potential dating pool. (I hate when they cast some fashion-model-pretty 22-year-old and expect us to believe she keeps getting dumped.) Between Diane Lane and Joan Allen, I think I’m developing a thing for older women.

And Cusack — well, who doesn’t love John Cusack? He’s counting on it; this role is not substantially different from the one he played in “Serendipity”; apparently, this is what he does now. Which is fine with me if he keeps turning in sharp, funny performances like this one. He and Lane work together as if they’d been scene partners for years. Indeed, the dialogue in general is a notch above the norm, snappy and tight and remarkably unlike the drivel these things usually have. It’s not enough to change my mind about rom-coms, but I’m glad to see a decent one now and then.

Tony Takitani (Japanese)

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“Tony Takitani” is an unusually lovely film about a man struggling with loneliness. It’s just 75 minutes long and has only a few characters. There is very little dialogue. The musical score consists of a piano playing an evocative, haunting theme. In terms of achieving the mood it’s aiming for, it’s one of the most effective movies I’ve ever seen.

The title character (played by Issei Ogata) is the son of a jazz musician who spends most of his time touring. Tony’s mother died when he was an infant, so Tony learned to be alone throughout his early life. Now, as an adult — first an art student, then a successful commercial illustrator — he is alone but does not consider himself lonely. It’s his natural state of being.

Then he meets Eiko (Rie Miyazawa), a beautiful woman 15 years his junior with a passion for clothing and style. He proposes marriage, and while she is considering her answer, he realizes for the first time in his life that he is lonely. He can’t imagine what he’ll do if she says no. She says yes, and he spends the first few months of their marriage being terrified that something will happen and to make him be alone again.

The story takes a turn then (I won’t say how), and loneliness is re-introduced into Tony’s life. Based on a short story by Haruki Murakami and directed by Jun Ichikawa, the film has very little dialogue and is instead mostly narrated (by Hidetoshi Nishijima). Sometimes the characters narrate the story themselves, in the scenes, referring to themselves in the third person. All of this gives the story a mythical, fabulous (as in, pertaining to fables) quality.

As I said, the combination of simple, plaintive music, dialed-down performances and sparse dialogue gives the film an incredibly moody, contemplative feel. In addition, the color palate is limited to drab, earthy hues. Often the walls, the furniture and the characters are all about the same tone, blending into each other as though they were all part of the scenery.

The film is light on story and characterization, heavy on mood. It’s a serene experience, letting the film wash over you and transport you into its isolated, melancholy little world. It is not transcendent storytelling, but it is effective.

Angry Letters: ‘Hustle & Flow’

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Regarding my review of “Hustle & Flow” — one of only a few mildly negative reviews it has gotten — I received this e-mail from a fellow identifying himself as “Michael”:

I read your review on Hustle and Flow. It is obvious you have no idea what you are talking about. Hustle and Flow and 8 Mile have nothing whatsoever in common. Just because both have Hip Hop music, you are quick to compare the two movie. You need to watch the movie again and take it for what its worth. Question, “Why do (white people) love to lump things together, you always have to catergorize? [Sorta like lumping all white people together by saying they tend to categorize things?] The movie is about someone who went down the wrong path in life, then realize they had other ambitions and strive to turn their life around. Its not rocket science.

Peace…….

I replied to Michael to tell him that “someone who went down the wrong path in life, then realize they had other ambitions and strive to turn their life around” is what “8 Mile” was about, too, thus proving my point. When he replied this time, his e-mail said his name was Yusef Shaheed. Here’s what he said:

No! In 8 mile “Rabbit” (Eminem) had a “square” job. After the battle at the end of the movie he went back to work. [Whereas in “Hustle & Flow,” the protagonist continues onward with his career in rap, though he still misses being a pimp.]

Whatever. Anyway, next I got an e-mail from someone whose name line read “Your ignorant” (my ignorant what?), at e-mail address “don’t_worry_about_it@yourmom.com” — anonymous and un-reply-able, in other words, like all the best editorials. The subject line: “Nieve.” The text, which contains a vulgar but hilarious expression, is as follows:

Your current movie review on the new flick “Hustle and Flow” begins with you stating: “Hustle & Flow” is a movie about rap music, which means, perforce, that it is also about guns and sex.” Well Eric, obviously you don’t understand s*** about rapping, which is part of the Hip Hop culture. [Wha?! Rapping is part of the hip hop culture?!] For those of you ignorant dumba**es(yourself) who don’t understand much about hip hop or “rap”, [you know, “rap,” as the kids call it] just keep to listening to your Simon & Garfunkel CD’s back in your suburban home. You must be thinking, “if your so hip hoppish then how do you know about Simon & Garfunkel?” It’s because you blow dogs for quarters. Find a new profession you ugly a** Jerry Seinfeld lookin muthaf***a. Bye

I was, in fact, wondering how someone so hip hoppish knew about Simon & Garfunkel. Turns out it’s because I do lewd things to dogs in exchange for 25-cent pieces. Who knew? (Where would a dog even get a quarter? And is that really what he would spend it on? I’m just sayin’.)

Housesitting II: The Secret Life of Walter Kitty

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Day 8: It was a beautiful day, and my afternoon was free, so I took Demi to a park where they have a fenced-off section just for dogs to run around, leash-free. I figured he could use some exercise, as well as some socialization with other dogs. Whenever we pass another dog on our nightly walks, he gets very, very excited, and I realized it’s because he doesn’t get to hang out with other dogs very often.

The problem is, Demi is like a socially awkward home-schooled kid. At the dog park, he’d get so excited to see his fellow canines, but then become timid when actually approached by them. He was barking sporadically, too, as if unsure when to talk and when to listen. This dog definitely needs some friends, and quick, before he grows up completely maladjusted. We need to get him in a play group, or enter him in a dog show, or a race, or something.

Day 9: I found a picture of Walter on Rob’s computer. Why Rob takes pictures of his cats, I don’t know. Surely Rob leads a sad life. But I’m glad he does, because after printing off a copy of the picture, I had something to compare the cats at the animal shelter to.

So I returned again to the cattery and found mostly the same assortment that I saw two days ago, including the three or four that could have passed for Walter. None of them were him, though, as the picture proved.

It was good to know, though, because one of the sitcom-style solutions to the problem that I had devised was the one where I find a cat that looks just like Walter, bring him home, and hope Rob and Curtis don’t notice the difference. Surely one of these cats could be Walter’s doppelganger, if it came to that.

I was beginning to worry now — not about Walter’s safety, because I figured he’d just been adopted by another family (he wasn’t wearing a collar), but because I didn’t know how Rob and Curtis would take it.

“Welcome home! How was your vacation? Yeah? Oh, I bet. Sounds wonderful. Hey, listen…. Remember how you had those two cats? Right, well, I seem to have misplaced Walter. Well, that is to say, he misplaced himself. I don’t know where he is. Now, in my defense, I should say that Demi and Ethel — fully two-thirds of your pets — are still in custody and have been no trouble at all. Also, I should point out that you asked me to housesit, and the house itself is perfectly fine. My conscience as it pertains to the house per se is absolutely clean. But Walter, yes, he’s gone forever.”

I have some reason to believe they will not be devastated by the loss of Walter. Rob told me they have a policy of not spending unreasonable amounts of money on pets. They love them and everything, but they’re also realistic (and cheap), so Rob said if any of the animals gets injured or sick, I shouldn’t spend more than $150 to repair him or her. (He did not indicate whether the same cap applied to injuries or illnesses sustained by me personally.)

This led me to my second sitcom-style solution. If Walter doesn’t return before Rob and Curtis do, I’ll tell them he was hit by a car and it would have cost $151 to save his life. I’ll be very sad about it, and tell them it was a tough decision, but I knew it was for the best. Then, this being a sitcom, Walter will of course return, probably just as we’re holding the kitty memorial service. “I loved Walter so much!” Rob will be saying, in tears, and then Walter will meow from the back of the room. “I can almost hear him meowing right now!” (More meowing.) “There it is again, the sound of Walter living on in our hearts forever.” And then everyone realizes it IS Walter, and he’s not dead, and I have to pretend to be shocked. “Hallelujah!” I shout. “It’s a feline miracle! Walter is raised from the dead!” And then I have to come clean and confess I lost him and we all have a laugh and a hug but I think we learned a valuable lesson, too.

Day 10: I figured it wouldn’t kill me to mow the lawn, so I dragged the thing out of the garage to the back yard (which I’ve been watering every night, because wouldn’t you know it, Portland picked this week not to have any rain, the first such stretch since 1791). Then I discovered that when Curtis gave me this assignment, he had hidden another assignment inside of it: Before I could mow the lawn, I would have to get rid of the dog poop that was scattered across it. Nicely played, Curtis. Nicely played indeed.

I got a plastic bag and disposed of all the clumps. I found much of it even more manageable than the cat poop, because it had lain in the sun for several days and had turned hard and odorless. The more recent droppings were less pleasant, of course, and in that regard I’d have to say the experience with the cat box was preferable.

The fact that I now considered myself well-versed in the different kinds of animal droppings angered me.

Mowing the lawn did not, in fact, kill me. And it was only 10 times more arduous than using a vacuum cleaner, which means Rob’s assessment of it was not as exaggerated as I had thought it would be.

Day 11: I was standing out back watering the lawn tonight when who should come trotting along the fence but Walter! I was so astonished that I actually said his name out loud.

“Walter!” I said.

I stood there, agape, completely flabbergasted to see him. He was acting all nonchalant, like he hadn’t been gone for eight days. I set the hose down and very cautiously, meekly approached him, not wanting him to run off. I got him off the fence and hustled him inside, his meows of protest failing to move me. I told him he was a bad kitty for worrying me like that, but honestly, what does a cat care what I think of him?

Day 12: Everyone was mad at me today. Demi was outside and wanted in; the cats were inside and wanted out. Everyone was glaring and whimpering and meowing. Home was not a happy place.

And then Walter escaped again. I went out to get the mail and closed the door behind me. When I opened it again, mail in hand, Walter bolted, apparently having been sitting RIGHT THERE, waiting for his chance. I was quick this time, though, and I caught him before he got far. This made him even surlier than he had been.

Day 13: Walter clearly hates me. He recognizes me as the reason he can’t go outside, and whenever we cross paths in the house, he meows at me accusingly. When I’m sitting at the computer, he’ll stand near me and meow, repeatedly, incessantly. He is angry and indignant. It doesn’t help that I still won’t let him in my bedroom. Every morning, he wakes me up with his yelling and battering. He wants in my room, and I won’t let him. He wants outside, and I won’t let him. I am the one major obstacle between him and happiness. He loathes me. And I should mention, I’m not exactly a big fan of his, either.

Day 14: Walter stepped up his campaign of terror today. When I got up this morning and stepped out of my bedroom, there was Walter, and there was a pile of his poop, on the floor, not six feet from the litterbox. He had done it just to spite me. What’s remarkable is, this isn’t even the first time in my life that an animal has defecated as an act of defiance toward me. What is it about me? This crap is bananas, B-A-N-A-N-A-S.

Day 15: Rob and Curtis returned today. The pets were all present and accounted for, the house was in fine shape, the lawn had been mowed, the litterbox had been cleaned out regularly. I told them how I’d been so worried about Walter because he had disappeared for eight days, and Rob just laughed and said, “Yeah, he’ll do that.”

November

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The art of photography means knowing what to exclude from the frame as much as knowing what to include. We learn this in “November,” a smartly assembled psychological thriller about a photographer who has trouble knowing which parts of her life — her memories, her feelings, her guilt — to keep and which to eliminate.

She is Sophie (Courteney Cox), an urbane Los Angelino photography-class instructor whose boyfriend, Hugh (James Le Gros), was shot and killed on Nov. 7 during a convenience store robbery. She was outside in the car when it happened and never really saw the killer, so she can’t help the police find him. She sees a therapist (Nora Dunn) but continues to be plagued with feelings of remorse and regret.

Then mysterious things begin to occur. A slide of unknown origin shows up in her classroom carousel, depicting what appears to be the convenience store on the very night of the murder. Does someone know more about this than Sophie does?

Cox’s dramatic performance is good, if not especially notable, and it suggests talents within her that have so far gone mostly untapped.

Directed by Greg Harrison and written by Benjamin Brand, the film plumbs greater psychological depths than most of its genre while maintaining a tight grip on the viewer’s interest. As the events of Nov. 7 play and replay, each time with variations, we are as eager as Sophie is to learn the truth, determine what really happened, and solve the riddle.

It’s solid filmmaking, moody and dark and evocative. It’s not the stuff classics are made of, but it’s certainly what 70 minutes of psycho-drama entertainment are made of.

9 Songs

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“9 Songs” is the story of two boring people who go to a lot of rock concerts and who, when they are not at rock concerts, have a lot of sex. The sex becomes kinkier as they progress; he is in love but she isn’t; when they aren’t in bed or at a concert, they have dull, ordinary conversations and snort cocaine.

No, silly, it’s not the George and Laura Bush story. (You goose, you!) It is British director Michael Winterbottom’s latest semi-improvised exercise in cinema-verite tedium. I was smitten with his “Wonderland” (another Sundance entry), finding its slowness appropriate for drawing out the characters’ personalities. His “24 Hour Party People” was a fine, witty piece of work indeed. But his other recent efforts — “The Claim,” “Code 46” — have been tiresome and chilly.

Now he has gone a step further. He has blended mundane, emotionally distant dialogue with straight-up pornography. The question that remains is WHY he has done this. If your characters have no depth and nothing to say, then why bother showing them doing anything OTHER than having sex? Why force their banal conversations upon us? For that matter, if you’re a serious filmmaker, why make a porno? Shoot it with stark natural lighting and fill it with hip indie rock songs, it’s still just a sex flick.

The characters are named Matt and Lisa, and they are played by Kieran O’Brien and Margo Stilley. Their affair is in the past; Matt is now flying over the Antarctic (he is a glaciologist, if there is such a profession), recalling his tryst with Lisa. They met at a concert and subsequently attended shows by artists such as the Dandy Warhols, the Von Bondies, and Franz Ferdinand (entire songs by each of these groups are shown, rockumentary-style). Oh, and they had sex.

I cannot overstate this: The movie has no plot. Nothing interesting occurs in it at any point, except possibly in the case of some of the rock performances. Matt and Lisa’s interaction outside of bed is common and unintriguing, and their interaction in bed is as wildly explicit and emotionally detached as any of the “adults-only” tapes you find in the back room of the video store. The film’s only conceivable purpose is to titillate, and it only barely does that.

Hustle & Flow

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“Hustle & Flow” is a movie about rap music, which means, perforce, that it is also about guns and sex. It is the black version of Eminem’s “8 Mile,” which many will argue should have been black to begin with.

It is not as good as “8 Mile,” though, and it certainly doesn’t warrant the attention it got from distributors when it premiered at Sundance. In fact, much of it is unintentionally funny, being the story of a Memphis pimp who wants to leave the world of pimping and become a rapper, though once he achieves that, all he raps about is pimping. So I guess there’s no pleasing some people.

The man in question is DJay (Terrence Dashon Howard), a mildly successful hustler with a handful of hos and a stormy relationship with girlfriend/lead whore Nola (Taryn Manning). Inspired by the new stardom of Skinny Black (Ludacris), a local boy who has recently achieved fame as a rapper, DJay sets up a makeshift studio in his house with his friend Key (Anthony Anderson) and begins recording.

The conditions are not exactly state-of-the-art. They have to turn off the electric fans when the microphones are on, then turn them back on between takes to ward off the oppressive heat. DJay also must plead with his neighbors to turn their own music down, because his un-soundproofed studio is picking it up.

But from primitive circumstances can come genius, and DJay’s masterpiece is called “Whoop That Trick,” a mournful ode to the woes of pimping on which Sugar (Taraji P. Henson), a sweet, simple-minded, pregnant hooker, sings backup. Visions of fame and fortune begin to percolate in DJay’s contemplative little head.

This chunk of urban angst is written and directed by Craig Brewer, and he gives it the gritty, graphic feel that such a story undoubtedly requires. And to Terrence Dashon Howard’s credit, he manages to make DJay — who is, let us not forget, a violent flesh-trader — a somewhat sympathetic character, flawed but honest. But he cannot overcome DJay’s inherent ugliness, and the movie as a whole feels self-consciously “important,” as if it’s trying too hard to be a rising-up-from-the-streets story as powerful as “8 Mile” was.

The Island

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In the year 2019, most of the Earth is uninhabitable, having been choked to death by a newly toxic atmosphere. Everyone must live indoors, in a city-sized underground bunker where the air is clean and where everyone yearns to win the weekly lottery, where the prize is a one-way ticket to The Island, “nature’s last remaining pathogen-free zone.” As I say, this is 2019, only 14 years from now. So we’d better get crackin’ on that toxic atmosphere thing unless we want to make Michael Bay a liar.

Bay is the director of “The Island,” his sixth film and without question his best. Of course, coming after “Armageddon,” “Bad Boys II” and “The Rock,” “best” is not a superlative with a great deal of impact. But despite all of Bay’s best efforts, which he recently outlined in Entertainment Weekly — firing the screenwriter immediately and bringing on two action-oriented re-writers; openly renting out the film for product placement; re-shooting endings based on test screenings — despite all that sabotage, he still managed, through sheer dumb luck, to wind up with a cracking good sci-fi adventure that doesn’t falter until the second half. (Ironically, the second half of his “Pearl Harbor” was the GOOD half.)

In this great subterranean safehouse, made of futuristic glass-and-steel, everyone dresses alike and is carefully monitored for health and fitness deficiencies. They remember the great disaster that precipitated their coming here, and the “decontamination” process that rendered them fit for society. Occasionally new survivors are found, brought in, decontaminated, and slowly introduced into the general population. Everyone lives in contentment, not questioning the way things are done.

Everyone except for Lincoln 6 Echo (Ewan McGregor), that is. He starts to wonder why everyone dresses the same, and why he has the particular job he does, pouring nutrients into tubes. Where do the tubes go? What are the nutrients for? What’s the world like on the outside? Is it really uninhabitable? He is friends with Jordan 2 Delta (Scarlett Johansson), and she shares some of his curiosity. But curiosity, as you might expect, is frowned upon in this environment. Dr. Merrick (Sean Bean), who runs the facility, subtly urges Lincoln to direct his energies elsewhere.

The truth, which the film’s trailer reveals and which I will tiptoe around, is that Lincoln, Jordan and the others are not exactly who they think they are. Cloning is involved, and The Island is a bit of a misnomer insofar as “going to The Island” really means “being killed,” and the outside world isn’t nearly as toxic as they’ve been led to believe (though parts of L.A. are still pretty bad).

With help from an outsider named McCord (Steve Buscemi, funny as always), Lincoln and Jordan wind up on the run, fleeing Merrick’s bounty hunter (Djimon Hounsou) while searching for answers. The film up to this point is solid future-paranoia “Soylent Green”-style hi-jinks, full of intelligent discourse and other surprises. But then Bay’s baser instincts kick in, as do the contributions of re-writers Alex Kurtzman and Roberto Orco (both of TV’s “Alias”), who revised Caspian Tredwell-Owen’s original script, and we get not one but two car chases, explosions aplenty and, earlier declarations that clones have no sex drive notwithstanding, a sex scene.

But the film’s rather pedestrian latter scenes merely tarnish, rather than ruin, the finished product. Sleek and stylish as if made by a real filmmaker, “The Island” is good summertime fare. Never mind if it seems to have been cloned from the DNA of countless previous sci-fi flicks; did “Logan’s Run” have not one but TWO Ewan McGregors? I didn’t think so.

Bad News Bears

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The main joke in “Bad News Bears” is that adults and children swearing at each other is funny. While I concede that it is, or at least that it can be, this movie has no idea how to go about it. Everyone’s swearing randomly, with no sense of timing or creativity. We’re supposed to laugh because of the shock value, but that wears off after about five minutes, and then there are still 106 minutes left.

It seems like a good idea: Billy Bob Thornton, fresh from his “Bad Santa” tour de force, playing the Walter Matthau role in a remake of the 1976 kid comedy about a loser Little League team. Richard Linklater (“School of Rock”) is directing, and the writers? Glenn Ficarra and John Requa, of “Bad Santa.”

The problem is that “Bad News Bears” is constrained by the limits of the PG-13 rating, while “Bad Santa” reveled in — and benefited from — its R status. Frankly, “Bad Santa” could be more cleverly filthy, more outrageously vulgar, than “Bad News Bears” can. You can earn laughs through shock value, or you can get a PG-13 rating, but you can’t do both.

Thornton plays Buttermaker, full-time alcoholic and part-time exterminator who, for reasons we are not given (other than that he’s being paid), becomes the coach of a sorry bunch of 12-year-old baseball players. They are the usual variety of sports-movie losers — fat, weird, foreign, nerdy, crippled, and so forth — and, like the movie itself, they don’t seem to be trying very hard. Mostly they just wander around the diamond and call each other names.

But Buttermaker, who played for the Mariners for two-thirds of an inning 20 years ago, slowly sort of turns them around, kind of, and they get a little better, more or less. It’s hard to describe, really. There are only a couple moments of Buttermaker giving the players instructions on how to play the game; his strategy mainly includes recruiting his own estranged pitching-demon daughter (Sammi Kraft) and a motorcycle-riding bad boy (Jeff Davies) to play for the team. To the extent that signing the right players makes a good coach, I guess he’s a good coach.

Anyway, the Bears wind up against the evil Yankees in the playoffs, led by a smarmy coach (Greg Kinnear) who has turned his players into overly competitive jerks. The plot sticks closely to the original — Bill Lancaster, who wrote the first film and had nothing to do with the remake (because he died in 1997), gets a co-writer credit — and that includes the finale, which may not be what you’d expect from a by-the-numbers sports comedy.

Thornton does what he can with his limited resources, swilling beer and behaving with audaciously casual recklessness, but you can feel Bad Santa struggling to get out. None of the kids shows any particular flair for the material, and though Sammi Kraft might be a good pitcher, she’s sure a boring foil for Thornton. And what is Marcia Gay Harden, as the mother of one of the players, even doing here?

It’s not unamusing in its way, with a few laughs here and there and a generally likable demeanor. But considering it’s the fourth underdog sports comedy to be released in two months (after “Kicking & Screaming,” “The Longest Yard” and “Rebound”), and the third ’70s remake in the same span (after “The Longest Yard” and “Charlie and the Chocolate Factory”), you have to wonder why they’re even bothering.

Last Days

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Oh, Gus Van Sant. What a nut you are! You were the one with the brilliantly bad idea of doing a shot-for-shot remake of “Psycho.” You made the surreally bad “Gerry,” which was nothing more than 90 minutes of Matt Damon and Casey Affleck wandering lost through a desert. You made the alarmingly generic, by-the-numbers “Finding Forrester.” You dramatized the Columbine shootings in the haunting “Elephant,” yet for some reason had the two heterosexual killers shower together and share a kiss before the massacre. You’re a loon, Gus! An absolute loon! And I love ya for it.

It used to be useless to criticize your filmmaking style, because we knew the next one would be different anyway. But man, you’re making me nervous. “Last Days” is three in a row (after “Gerry” and “Elephant”) that emphasize long, unbroken takes of people not doing anything. It worked for “Elephant,” because we knew what it was leading up to, and so there was import in the mundane, just-another-day activities of the unsuspecting students and their murderers. It did not work for “Gerry” because these were two anonymous characters whom we didn’t care about.

And now it doesn’t work for “Last Days,” either, for largely the same reason. Based on the final days of Kurt Cobain, “Last Days” shows an insane rock star named Blake (Michael Pitt) shuffling around his house in the woods, avoiding his friends, muttering to himself, playing the guitar and eventually dying. It shows his friends hanging around the same house, doing drugs, alternately avoiding Blake and looking for him, and fooling around with each other. All in loooooong takes with little dialogue and no action.

I suppose if this is an accurate re-creation of Cobain’s final days, down to the seemingly random details like a visit from the Mormon missionaries and a Yellow Pages salesman, then there are people who will be eager to see it — people who really, really want to know what Kurt Cobain’s last couple days on Earth were like, no matter how uneventful they were. But does anyone like that have the attention span necessary to endure this? Gus, you included a 30-second shot of a tree. We’re following Blake, he walks past a tree, and then we stop to look at the tree for a while. Why, Gus? Why THE HELL?! Does the tree symbolize something? Are you toying with our expectations? Or are you just being a PRETENTIOUS, SELF-INDULGENT JACKASS?!

I’m sorry, Gus. I didn’t mean to yell. You know I like you. But throw us a bone here, dude. Give someone who isn’t a devotee of Cobain a reason to watch this movie. Surely there are universal themes to be found in Kurt’s last days. Surely there is a “story” of sorts, something with elements resembling a beginning, middle and end. Or if not, then there must at least be a way of seeing what’s going through his mind. With Blake’s long hair and his downward gaze, the film is nearly over before we even get a good look at his face, at his big, frightened eyes. But by then, he’s become a self-parody, a laughable lunatic stumbling around his house eating cereal and playing dress-up. If there’s a real person in all this — a real point — he is lost in your stubbornly experimental filmmaking technique. Experiments are only interesting when they work, you know.

The Devil’s Rejects

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Rob Zombie’s 2003 film “House of 1000 Corpses” lives in my memory as one of the most unpleasant things I’ve ever witnessed. It was not with great eagerness, then, that I approached “The Devil’s Rejects,” Zombie’s follow-up and sequel, which I had every reason to believe would be more of the same. Imagine my surprise, then, when I discovered that “The Devil’s Rejects” is actually MORE unpleasant than its predecessor. Here I had thought “House of 1000 Corpses” was as repugnant and despicable as filmmaking could be, but no. It gets worse.

“The Devil’s Rejects” is a film of unrelenting ugliness. It features ugly actors playing ugly characters who say ugly things while performing ugly deeds. The awfulness continues unabated for all of the film’s 101 minutes. There is nothing redeeming or worthwhile about a single moment of it, not even in a prurient, I-love-to-wallow-in-debauchery sort of way. It is simply rancid, unbathed, country-fried filth.

It’s set in the South in 1978 (so it LOOKS ugly, too, and I’ll give Zombie credit for vividly re-creating that era), a year after the events of “House of 1000 Corpses.” You’ll recall, perhaps despite hours of therapy, that the central premise of that film involved a white-trash family in the middle of nowhere who killed lost teens who wandered into their territory. As “The Devil’s Rejects” commences, the police are raiding the killers’ home, taking Mother Firefly (Leslie Easterbrook) into custody and killing several others, but letting Otis (Bill Moseley) and Baby (Sheri Moon Zombie, the auteur’s wife) escape.

The two, who are either lovers, siblings or both, make contact with Baby’s absentee father, a massively loathsome man named Captain Spaulding (Sid Haig), who runs a nearby “house of oddities” tourist attraction and dresses as a clown. They tell him the jig is up, so he plans to meet them at a designated motel, whereupon they’ll head to a brothel owned by their friend Charlie (Ken Foree) for safekeeping. (For if a whorehouse cannot provide safe harbor, what can?)

So Otis and Baby head for the motel, perpetrating a killing spree on their way and taking a traveling family of musicians hostage once they arrive. I note that, to ensure NO ONE in the film is sympathetic, not even the victims, the patriarch of the musician clan is an adulterer.

In the spot where a good guy should be, we have Sheriff Wydell (William Forsythe), a vile, cursing pig who believes he is doing God’s work and who kills a suspect in cold blood while that suspect is unarmed and in custody. In the film’s last act, he captures the outlaws and tortures them, effectively reversing their roles: The murderers are now in the position that the heroes are usually in at the end of a movie (i.e., trapped by a madman, no chance of escape, and then they escape), and the “hero” is behaving like the villain. Zombie’s point? I don’t know. I get that he hates us and wants us to hate his movie, but beyond that, his intentions are lost on me.

It is interesting to note that there are relatively few actual killings in the movie. The unpleasantness comes not from the violence (though it is plentiful, make no mistake), but from the ideas. Spaulding, Otis and Baby all seem to hate each other in addition to hating mankind, and I have already mentioned the malignant nature of Sheriff Wydell. People abuse each other physically, emotionally and sexually. Even the women in the traveling band are mean to each other, before they ever encounter the killers. Zombie shows his women unclothed whenever possible, always in a voyeuristic, mean-spirited way: The first shot of the movie is of a deformed hillbilly dragging a dead naked woman through the woods. The film is ripe with naked misogyny, bald-faced sadism, and even some sacrilege, thrown in for good measure.

Understand: I LIKE slasher movies. When they are done well, they are scary and haunting, or at the very least they feature people being killed in creative or amusing ways. When they are done badly, they are usually still entertaining for their outrageousness and for their “what were they thinking?” misguidedness.

But “The Devil’s Rejects” fits in neither category. It is not well done — the killings are matter-of-fact and unalarming — but neither is it so-bad-it’s-funny. It is simply hateful. I can’t think of a better way to describe it than that: pure, unadulterated, black-hearted hate. I will not hate it back, though. You can go to hell, “Devil’s Rejects,” but you’re not takin’ me with you.

The Edukators (German)

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The wealthy people of Berlin are being terrorized by a group known as The Edukators. These people break into nice homes and, stealing nothing, rearrange the furniture, stacking the chairs, putting the stereo in the refrigerator, that sort of thing. They leave an ominous note behind: “Your days of plenty are numbered.” (It’s even more ominous when it’s in German, though I suppose that’s true of most things.)

It’s a war between the idealistic young people and the conservative rich folks, a battle that has been fought for as long as there has been capitalism. In “The Edukators,” a sublimely funny, surprisingly warm-hearted little story from German writer/director Hans Weingartner, the youthful econo-terrorists are just two guys, Jan (Daniel Brühl) and Peter (Stipe Erceg). Jan feels it deeply, a constant scowl on his face as he observes the injustice and unfairness in the world. Peter just enjoys breaking into people’s houses and causing trouble. They live a bohemian lifestyle in a shabby apartment, where they are soon joined by Peter’s waitress girlfriend Jule (Julia Jentsch), recently evicted from her own crap-hole flat.

While Peter is in Barcelona following up on a job lead, Jan and Jule hang out, getting past that awkward “friends-in-law” stage — what do they have to talk about besides Peter? — by painting her old apartment (necessary to get the deposit back). Then Jan lets her in on his and Peter’s nocturnal activities, taking her on an Edukators mission against what is surely his better judgment.

Jule has a perfect candidate in mind. A year ago, she rear-ended a Mercedes and, being uninsured, is now making payments to the owner. She owes 96,000 euros, which is probably 10 years’ income for her. The Mercedes owner makes that in a month. He has essentially ruined her life by making her pay for his wrecked car. If anyone needs to be Edukated, it is he.

They break into his house, go a little further than usual, share a kiss — whoops! — and are still present when the rich man, named Hardenberg (Burghart Klassner), comes home. They aren’t wearing masks. He recognizes the girl as the one who rear-ended him last year. Jan and Jule call Peter to get his help. Hardenberg is taken as a hostage and the group flees to a mountain cabin to figure out the next step.

These idiots, they don’t know what they’re doing, and they KNOW they don’t know what they’re doing. The operation worked when it stayed basic: break in, shake the rich people up, warn them about their extravagant lifestyles, slip away undetected. Now that a hostage is involved — even a highly cooperative, even-keeled one like Hardenberg — things are tricky.

Hardenberg, in fact, emerges as the film’s most likable character. His story is a familiar one: He was a hippie himself once, back in 1968, and became a wealthy conservative as he grew older. Klassner plays him with remarkable compassion. He’s not a heartless corporate big-shot; he’s a man who’s providing for his family but who still sympathizes with the Fight the Power cause of the young people.

Jan, Peter and Jule, meanwhile, have arrived at the perilous intersection of youthful idealism and youthful recklessness. Their own love triangle/duplicitous affair (which former hippie Hardenberg mistakes for “free love”) may be their undoing, a case of hormones winning out over even the strongest sense of social outrage.

Eric to perform at county fairs!! Yee-haw!!

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Eric D. Snider is coming to a county fair near you!*

*Assuming you are near Weber, Sevier or Washington counties in Utah.

Eric is taking his little piano comedy show on the road this summer, performing at three fairs in Utah in August! That’s right, in the same venues as giant hogs and sweaty square dancers, Eric will be singin’ his songs and playin’ his piano! More excited, he could not be.

Here’s the schedule:

Thursday, Aug. 11, 2:45 p.m.: Weber County Fair (Ogden).

Friday, Aug. 12, 6:30 p.m.: Sevier County Fair (Richfield).

Saturday, Aug. 13, 2 p.m.: Washington County Fair (St. George).

In all cases, there is no extra charge for the show once you’ve got admission to the fair. The Weber County Fair has free admission, and I can’t imagine either of the others charges very much, if anything. (Washington County’s Web site doesn’t say, and Sevier County doesn’t have a Web site.) So if you find yourself near Ogden, Richfield or St. George in mid-August, come on by!

Note that in St. George, I will be performing immediately after a man who does yo-yo tricks, so you might want to get there early.

Celebrity Directory Assistance

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Here is something you probably did not know about me. About twice a month, I get an e-mail from someone wanting the e-mail address of a famous person. Now, nowhere on my Web site does it suggest that I am Directory Assistance for celebrities. My only connection to celebrities is that I review the movies they appear in. This process does not grant me any special access to them; they are not actually THERE when I watch the movies, you see. It’s just photographs being projected on a screen.

Yet still I get these e-mails. Here is the most recent one. It said, in its entirety:

can i have rabes email address

I replied thus:

I don’t know who “rabe” is, and I don’t know why you think I would have his/her e-mail address. Did I mention “rabe” in a movie review? Because all that means is that I saw a movie that had “rabe” in it, and then wrote a review of that movie. That is the extent of my involvement with “rabe”: seeing him or her in a movie, same as you.

I received this reply:

im sorry but i didnt meen rabe.i ment raven symone.do you know who she is?she is a disney channel star.well i hope you give it to me.

I was nonplussed. Had I not just stated that, regardless of who “rabe” was, I would not know how to reach him or her? Did this person think I would say, “Oh, RAVEN! You said ‘rabe,’ and I had no idea who that was. But Raven, of course I’ve got HER e-mail address! Let me get that for you….”?

I think what must happen is, these people Google the celebrity’s name and my site is among the hundreds that pops up, because I have mentioned that person in a movie review. Then the fan comes to my site, sees the “e-mail” link, and e-mails me to ask for information, without even bothering to read what I’ve said about the celebrity in question. Surely if they read the review, they would understand that it’s just a movie review and not an interview with the star. Does Roger Ebert get e-mails like this? Actually, he probably does, because he actually does publish celebrity interviews sometimes and probably actually does have some contact info for them. But why would anyone who actually READ what I wrote think that I would have any connection to anyone?

Anyway, for future reference, here are the famous people that I DO have personal contact information for:

– Dr. Demento
– Richard Dutcher, director of “God’s Army” and “Brigham City”
– Will Swenson, star of “Singles Ward” and other LDS comedies
– Orson Scott Card
– My mom, who was once in extra in something
– Myself, author of many famous movie reviews

And also for future reference, no I will not give you the contact information for any of those people.

Diary of a Mad Housesitter

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Day 1: I am housesitting for my friends Rob and Curtis, who are letting me stay rent-free in their suburban Hillsboro home for two months until I can move into my own apartment in Portland. They were very kind to suggest this arrangement, so I figured the least I could do is move here in time to housesit while they go to Europe for two weeks. Also, they did not give me a choice.

It shouldn’t be much of a job, though. I need to water the backyard lawn on days when it doesn’t rain — but, this being Portland, I assume it will rain every day. Rob said I’ll want to clean out the cats’ litterbox “every couple days” because of the smell, but clearly Rob has underestimated my ability to ignore unpleasant circumstances when doing so will eliminate work for me. Curtis said the lawn needs to be mowed every weekend, but I figure as long as it’s been mowed once before he returns, he’ll never know the difference. And it’s one of those push mowers, with no motor of any kind, and Rob said it’s like using a vacuum cleaner. Even given the fact that I immediately spotted this as an outrageous exaggeration, it still shouldn’t be very arduous.

Day 2: When I am alone in a house, I like to sleep with my bedroom door open. I can’t do that here, though. In fact, I can’t leave my door open at any time, because if I do the cats will go in and get their dander and catness all over my bed, and then I’ll have itchy eyes. Rob said the cats never go in the guest room anyway, but I doubt this, because every time I open the door, one of them tries to get in, as though this room is their favorite place in the world. Sometimes it’s Ethel, the sweeter, more passive female cat. But usually it’s Walter, the aggressive, loud-mouthed male. This morning he was so desperate to gain entry to the room that I was actually awakened by his incessant meowing, issued from his post just outside the door. Every few seconds, he would accent his pleading by banging his little paws against the door, which is light and flimsy and shakes when struck as if Walter had flung his entire body against it, which, for all I know, he had. When I open the door, I have to be ready to kick, too, to shoo Walter away long enough for me to shut it behind me.

Day 3: Rob and Curtis also have a dog, an adorable beagle named Demi. (It’s a long story, but no, he wasn’t named after Demi Moore. They do have a few things in common, though, such as being very attractive members of their species and having a fondness for licking themselves.) I love Demi. He is grotesquely stupid, but devoted beyond belief. If I’m downstairs watching TV, he’s on the floor next to me. If I go upstairs to use the computer, he runs ahead, turning around on the landing to make sure I’m still coming, then barging into the office, where he takes his spot on the floor behind me. When I get home at the end of the day and let him in from the backyard, he is obscenely delighted to see me, barking and jumping and licking me the way only my best friends do. We tell each other about our days, and then I pour food in his bowl, which he ignores in favor of begging for whatever I’m eating. It is the most agreeable relationship I have ever had.

Today it rained a lot, so Demi was not happy to be outside. He doesn’t like to get wet, I’ve noticed. When I take him on his walk every night around 10, he’ll avoid sidewalks that have been dampened by nearby sprinklers. I wonder how he ever gets bathed, then, and am glad Rob and Curtis did not include that task on their list of instructions, as it would have been one more chore for me to avoid doing.

Anyway, Demi whimpered and pressed his little face against the sliding glass door until I finally let him in at around 4, earlier than usual. Immediately, he began indicating he wanted to go for his nightly walk. I explained that not only was it too early for his nightly walk, but that the nightly walk was located in the same “outside” as the one where it was raining. He refused to see my reasoning, however, and persisted in his pleas for a walk. So I got my umbrella and took him for a walk, which he did not enjoy, what with the rain and all.

Day 4: I was told to keep both cats in the house at all times, presumably for their own good and not as a punishment for me. But today Walter escaped. It was when I opened the door to take Demi for his walk. Walter must have been lurking near the door, hiding, because as soon as the door was ajar, he rocketed through it like he was on fire. I had Demi’s leash to contend with, not to mention Demi’s dunderheaded exuberance and energy, and so was unable to pursue Walter for several seconds. By the time I did, he was gone, disappeared into the Oregon foliage. I figure he’ll come back. I mean, what kind of dumb cat doesn’t know where he lives?

In other news, tonight while I was working at the computer desk, Demi passed gas in his sleep. It was the vilest thing I had ever smelled. It had the regular scent of dog poo, but concentrated, as if packed in a spray can and then suddenly deployed all over the room. The window was open, yet the smell did not dissipate, nor did Demi even wake up. I told Demi that if he ever emitted such a stench again, we would have him put down.

Day 5: Walter has not returned. I’m not sure I would know it if he did, actually. It’s not like he can ring the doorbell. Wouldn’t he scratch at the door? Or sit outside and meow? That’s what our cat back home always did. But I have heard nothing from Walter. No calls, no letters, nothing.

I drove around our little Stepford-like neighborhood, looking for him, but I’m not sure what I expected. It seemed unlikely that he’d just be walking down the sidewalk, or waiting at a bus stop. (Where would a cat be going on a bus?!) Anyway, I didn’t see him.

Day 6: All right already, I cleaned out the litterbox. Despite the number of cats in the house having been reduced by 50 percent, the thing still managed to get pretty stinky pretty fast. That said, cleaning it wasn’t as gross as I had feared. There’s a little trowel with slots on the bottom that you use to pick up the clumps; the sand falls through the slots, leaving only the clumps, which are fairly solid and compact. Apparently we keep these cats (or, rather, this cat) on a high-fiber diet. I’m not saying I enjoyed it, just that it was bearable.

Day 7: I visited the local animal shelter today to see if Walter had turned up. I had a wide array of fears. My first fear was that he wouldn’t be there, and that I would have to tell Rob and Curtis, upon their return, that I had misplaced one of their cats. My second fear was that he WOULD be there, and that I would have to pay a lot of money to get him out of hock.

I was directed to a room called, for real, “the cattery,” where the stray cats are kept in individual cages. This room is also known as “the den of itchy eyes.” I planned on staying just long enough to see if Walter was there, but I soon discovered that 1) I didn’t know Walter very well and 2) my basic description of him — mostly black with some white areas — matches pretty much every cat ever produced. I knew Walter was a neutered male, though, so that eliminated the female and/or sexually virile members of the cattery. But there were still a few that might have been him. None of them were on Death Row yet, so I figured I had time to come back in a day or two with a photo, assuming I could find one. (Had Rob and Curtis taken their pets to the Sears portrait studio? I could not recall.)

While I was in the cattery with a woman who actually seemed to adore cats, who was probably preparing to embark on a career as a crazy old cat lady, an animal shelter employee poked his head in and said, “Can you guys stay in here for a minute with the door closed? We have a mean dog coming through.” I liked the fact that the technical, professional term for a mean dog is “mean dog.”

Thus quarantined, we watched through the glass as what was apparently a mean dog was led down the hall on a leash. I did not like being confined to the cattery with a lot of cats and a strange woman, but I did like the excitement of seeing a condemned criminal being escorted past us.

Unfortunately, I left the cattery and the animal shelter empty-handed. If Walter was there, I couldn’t pick him out of the lineup. And in another week, Rob and Curtis will be home, demanding to have all their possessions accounted for, and wanting to know if I’ve mowed the lawn.

TO BE CONTINUED…

Angry Letters: ‘Raise Your Voice,’ ‘Harry Potter,’ ‘Friday the 13th’

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The other day I got an e-mail from a reader named “Robyn” who took issue with my review of the Hilary Duff trainwreck “Raise Your Voice.” She writes:

I read one of the reviews that you made on the Hilary Duff movie Raise Your Voice. [Evidently I wrote several “Raise Your Voice” reviews, and Robyn read one of them.] Im not a big fan of Hilary Duff and I was not expecting much from this movie till I saw the previews. I think you were absolutley wrong. This was a great movie that I enjoyed because it was dealing with music and what real people go through, like losing a loved one. I play the violin and piano, so I was especially happy to see music to be a huge part of the movie. I believe that everyone has their right to their own opinion, but next time try not to be so harsh, [because you really only have the right your own opinion if it’s nice] because your opinons don’t agree with everybody, [hence the definition of “opinion”] especially me and Im not going to be expecting any good reviews from you anymore, so Im not going to even bother reading them.
ballet/rocknrollchick

Within 10 minutes, Robyn had broken her own pledge, read more of my reviews, and sent me another e-mail:

I wanted to know why you always diss all the movies that you see even if their really good. Harry Potter movies kick a** and I think that you are way out of line on how you write reviews, but Im not just talking about you. All movie reviewers suck, they are such critizers {whatever}. [Hence the definition of “critic.”] I have no idea why people even join your stupid Snide Remarks s***. I really don’t blame you for writting about Tom Crise, though, the guy has gone bloody mental, but please refrain from making rude remarks about future hp films.
Ballet/Rocknrollchick

I don’t even know where to begin dismantling the logic of that e-mail, especially considering my reviews of the three Harry Potter films were fairly positive, and altogether rapturous on the third one. It’s obvious Robyn is a teenage girl, and ripping apart a teenage girl’s logical flaws is too easy to be any fun. So I didn’t respond to her. Her e-mail address is harrypotter1fan@sbcglobal.net, though; now it’s on record in case I change my mind.

Then I had this succinct e-mail from someone named Mitch (deeppurple1971@comcast.net), who disagreed with my F grade for the original “Friday the 13th.” He says:

friday the 13th ***1/2 you are trash suckhole

Suckhole?! I don’t even know what that means! But it’s a great epithet. I plan to use it now in my daily life.

This guy, I did respond to. I said:

“Wow. Your e-mail address leads me to believe you were born in 1971, which makes you 34 this year. And a 34-year-old man is writing a movie critic to call him a ‘suckhole’ because he disagreed with him about a movie? WOW. That’s all I can say…. wow.”

He did not reply.