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Baptists at Our Barbecue

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There is no reason not to like “Baptists at Our Barbecue,” but there’s no particular reason to like it, either. It’s an amiable film, kind of funny in places, not too irritating when it’s not funny, and it passes the time pleasantly (if blandly). It is the very picture of quiet, modest filmmaking.

Based on the light-hearted novel by Robert Farrell Smith, the film is set in the tiny Southwestern town of Longfellow, renamed “Longwinded” by its citizens. There is an ongoing rivalry here between the Baptists and the Mormons, each denomination having exactly 262 members, with the few residents who belong to neither denomination trying to avoid the crossfire. The mutual disliking seems based more on tradition than doctrine; one suspects the Mormons and Baptists in Longwinded have just always not liked each other, and that no one knows why. (It’s just as well: If they began discussing actual doctrine, they’d probably like each other even less.)

Into this odd little place come two outsiders. One is Tartan Jones (Dan Merkley), a Provo-bred man who, at 29 and unmarried, is tired of the constant matchmaking attempts of which he is the victim. His mother (played delightfully by Jan Broberg Felt) is the worst offender, and while she hardly cares who he marries (as long as he GETS married), she is concerned that he select the right temple for the ceremony: “I just hope you choose the right one,” she says. “Some of them are so boxy.” Tartan is a forest ranger, and when a job opens in Longwinded, he transfers immediately to escape the pressures of living in marriage-happy Provo.

The other newcomer is Charity Hall (Heather Beers), whose fiance just dumped her and who has fled to Longwinded to stay with her aunt while she recuperates. Charity and Tartan meet right away and begin to date — a refreshing surprise, given that most films would try to keep them apart for most of the running time before finally giving in to the inevitable. Their dating is extraordinarily chaste — they don’t even kiss, as far as I can tell — and they seem perfect for each other insofar as both of them are reserved, mild people. I stop just short of calling them “boring,” but I do recall with fondness how vivacious and entertaining Heather Beers was when she played the title role in “Charly” two years ago. Either that was a fluke, or “Baptists” director Christian Vuissa worked hard to tamp her natural enthusiasm down into affable ordinariness.

At any rate, the town has the wacky sorts you expect to find in movies about small towns, as well as the types you find in small LDS communities. Sheriff Bob (Duane Stephens) knows all the ins and outs of everyone’s lives; Sister Wingate (Micaela Nelligan) is the self-righteous wife of the LDS branch president; Orvil (Mike Christian), an Indian who lives in a shack on the outskirts of town; and various old men who sit in front of the general store and provide commentary between naps.

The rivalry between the churches comes to a boiling point when half of the new double-wide trailer that serves as the Mormons’ meetinghouse disappears, with the Baptists being the only logical culprits. Tartan wants to help the faiths look past their differences and come together in friendship, but the missing chapel isn’t going to help much in that regard.

The film is Vuissa’s first feature, though he is no stranger to film, having made the lauded religious short “Roots & Wings” and being the founder of the fast-growing LDS Film Festival. His work is careful and methodical (except for the occasional corpse-whose-eyes-open-and-close situation), and that may be the problem with “Baptists at Our Barbecue.” The humor comes entirely from the dialogue (which Vuissa adapted for the screen with the author and the author’s brother, F. Matthew Smith), and never from the action. Anytime something visual is supposed to be funny, it isn’t. The comedy is over-directed, the sight gags awkwardly staged. You can tell Vuissa had a good idea for a funny image, but couldn’t come up with a logical way of arriving at it.

Two examples come to mind. First, Charity’s ex-fiance shows up at her apartment to apologize, and Charity throws a box of his belongings down at him from the second-story window. There is a shot of the box landing upside-down on the guy’s head, which would be funny, except our subconscious is telling us, “Wait a minute, he’s standing there looking at Charity. He would have seen the box coming and deflected it.” Box on head = funny; box on head illogically ≠ funny.

Later there is a scene where Tartan falls in the mud and is covered in it from head to toe, including his face. Because of this, passersby do not recognize him and he almost gets shot. But wait: If you get mud on your face, you instinctively wipe it off immediately. You certainly don’t walk around like that. Mud on face = funny; mud on face for longer than a couple seconds, used to perpetrate another joke ≠ funny.

Still, as I said, some of the dialogue is funny, and the performances are pleasant. It is a decent entry in the Mormon cinema genre, though I suspect it will not be a very memorable one.

Around the Bend

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How does a film like “Around the Bend” get national distribution through Warner Independent when dozens of films exactly like it wallow in Sundance obscurity, never to see the light of day outside Park City?

I cite Sundance specifically, but film festivals in general cater to this sort of movie: talky, low-budget dramas in which characters Find Themselves and/or Come To Terms with something. “Around the Bend” is better than some of them, certainly, but not by leaps and bounds. I suspect it will be of the greatest interest to people who get a kick out of Christopher Walken and want to see him in a major dramatic role instead of a wacky extended cameo.

Written and directed by Jordan Roberts, a first-timer who says the story is autobiographical, the film is about four generations of the Lair family’s men. Henry (Michael Caine) is 80 years old, dying soon, and mildly insane. He lives with his grandson Jason (Josh Lucas) and great-grandson Zack (Jonah Bobo) in Los Angeles, cared for by a live-in nurse (Glenne Headly) who watches slasher films in her spare time.

With Henry on his way out of mortality, he sends word to his estranged son, Jason’s father Turner Lair (Christopher Walken), whom no one has seen in decades. Henry is thrilled to see his son again; Jason is less than thrilled to be reunited with the father who walked out on him 30 years ago. Young Zack is just surprised that his grandfather isn’t dead after all.

Henry dies soon after Turner’s arrival, and he leaves behind a will, one of those wills that exist only in movies, the kind where the deceased demands that his survivors do something wacky. In this case, the remaining Lair men have to take Henry’s ashes on a road trip through the Southwest, depositing bits of him in various locations and thus earning the right to read new clues that direct them to their next assignment. It’s a little like MTV’s “Road Rules,” except all the destinations are Kentucky Fried Chicken outlets (Henry had a thing for KFC).

Henry’s point in all this forced father-son-grandson togetherness is to dig up old wounds — Henry was an archeologist, for those who like their symbolism obvious — and help the Lair family heal. Turner needs to atone for his sins, and Jason needs to forgive his father. (I don’t know what Zack needs to do. He should probably be in school anyway.)

A film like this, that emphasizes character development over plot, must feature characters who are compelling. These guys really aren’t. Walken is interesting, but only because he’s Walken: The character he plays is your run-of-the-mill deadbeat dad who’s done prison time. Josh Lucas doesn’t have nearly the cachet Walken does, of course, and is often out-acted and out-shined, his character ultimately as generic as Walken’s is. Their journeys are at times mildly interesting, but far from compelling.

And I don’t buy Michael Caine as Christopher Walken’s father, not for a second. Caine’s American accent isn’t very good, but even if it were, it wouldn’t work. He’s too famous for being British to be the father of a guy who’s so famous for being a New Yorker. Jordan Roberts was probably thrilled to get actors of this caliber to be in his film, but Caine is a wrong fit. Of course, I can’t really picture Caine being a huge KFC fan, either, but that’s another matter.

Stage Beauty

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Everyone knows, if only from watching “Shakespeare in Love,” that female roles in plays were performed by men in Elizabethan England, and women did not appear on stage. Jeffrey Hatcher’s play “Compleat Female Stage Beauty,” which he has adapted into a new film that is called “Stage Beauty” and which is directed by Richard Eyre, shows what happened next: In the 1660s, King Charles II lifted the ban, women began acting, and the men whose expertise was in playing female roles were suddenly out of work.

It’s an historical event brimming with comic and dramatic possibilities, and “Stage Beauty,” a droll, tart-tongued film, explores many of them. We find Ned Kynaston (Billy Crudup), a real-life person who was widely regarded as the finest, most beautiful female performer of his day. His specialty is Desdemona, her death scene drawing standing ovations every night. Kynaston isn’t the lead — that would be Othello, played by Betterton (Tom Wilkinson), the troupe leader and theater owner — but he is the one with the adoring fans and admirers.

Out of his makeup and wigs, Kynaston aggressively defends his heterosexuality, making it clear to all that his femininity ends when the curtain falls … for the most part, anyway. There is the matter of a relationship he has with a certain Duke of Buckingham (Ben Chaplin), but the movie hedges its bets on what THAT means.

At any rate, Kynaston’s dresser is a woman named Maria (Claire Danes) who helps him out of his costume when the show’s over then dashes across town to play the same role (she even borrows some of his props) in another production in a seedy little pub. It’s a risk she and the producer are taking: If it’s discovered that the man playing Desdemona is actually a woman, they’re all in trouble.

Well, it is discovered, but King Charles II (Rupert Everett), a foppish man surrounded by small dogs and a “mistress” whose duties I am skeptical of, decides the no-girls-allowed rule is old hat and repeals it. Effectively immediately, women can act onstage!

And with that, Kynaston heads steadily toward unemployment. Women are pouring into the theaters, and no one needs a man to play a female role anymore. Trouble is, that’s how Kynaston was trained. He has all the gestures, all the affectations of femininity down pat. He couldn’t play a man to save his life. And it’s all Maria’s fault.

One of the things I like about the film is that Kynaston is established as something of a homosexual fairly early, thus eliminating the inevitability of him and Maria falling in love that would otherwise be ever-present, the way it always is in films when a man and a woman spar. That said, what disappoints me is the way both of their stories are eventually resolved in that department. I haven’t seen the play it’s based on, so I don’t know if it’s a change, but it sure feels like a “Hollywood ending” to me.

But the film’s treatment of “Othello” is quite enjoyable, including Kynaston and Maria’s eventual discovery of how to make it work in real terms — not with grand, theatrical gestures, but with naturalistic acting. “Method Acting” was a few hundred years off, but still. The underlying principle works, and it works within the film.

Billy Crudup, who was supposed to be the Next Big Thing a few years ago but chose to take interesting roles rather than lucrative ones, reminds us of his potential with a wonderfully funny and believable performance as Kynaston. He truly does play Desdemona with enviable daintiness, and his struggle at maintaining masculinity even when his personal life sometimes contradicts it and his professional life leaves no room for it is touching.

Claire Danes invites comparison to Gwyneth Paltrow in “Shakespeare in Love,” and while the comparison is not especially favorable, Danes does give the role the passion and gravitas it needs. More interesting are the supporting roles, including Richard Griffiths (Uncle Vernon in the “Harry Potter” movies) as a lecherous “patron of the arts,” and Rupert Everett, having the time of his life in a sly performance as the king.

It really is the sort of film that an actor can have fun with. It’s light-hearted enough to let even Serious Actors flex their comedic muscles, but it has enough heart to make it all mean something. We all have to find our roles, don’t we, whether on stage or in life.

Tarnation (documentary)

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Our modern world of camcorders not only makes everyone a potential filmmaker, it also means that for anyone making a documentary about a particular person, there is probably ample footage of him or her lying around somewhere.

We saw this with “Capturing the Friedmans,” where the Friedman family became involved in a legal scandal, and when someone came along wanting to make a film about them, hey, look, we happen to have hours and hours of video tape, 8-millimeter film and audio recordings. They’d already documented their own lives; all they needed now was an editor.

Jonathan Caouette, a 32-year-old would-be filmmaker and actor, encountered the same kind of serendipity when he set out to make “Tarnation,” a film that serves as both his autobiography and the biography of his mentally ill mother. He’d been shooting his own home movies for years, and his family had hundreds of snapshots and other film footage. What little he still needed could be shot cheaply with his camcorder.

People have had home-movie cameras for decades, of course, with very little of that footage being used as raw material to make documentaries. What’s changed is that people in the 21st century are far more eager to have their lives put on display.

And so here is “Tarnation,” a haunting, riveting film that’s as self-serving as it is revelatory. It’s movie-making as therapy, and I hope it worked. In terms of functionality, Caouette’s family makes the aforementioned Friedmans look like the Cleavers.

After a few moments of exposition that were obviously staged and that feel embarrassingly fake, the film begins in earnest. There is no narrator; instead we get on-screen titles telling us the early life story of Jonathan Caouette’s mother, Renee LeBlanc, with family photos and home movies comprising the background. Renee was born in the early 1950s to a Texas couple, Adolph and Rosemary Davis, making a perfectly happy little Eisenhower family. Renee had an accident at a young age, however, that left her partially paralyzed for several months. Thinking the paralysis might be psychological, the Davises enrolled her in shock therapy. Jonathan contends this is what ruined Renee’s personality and made her schizophrenic.

As an adult, Renee was married long enough to get pregnant, though her husband didn’t know that when he left her. Jonathan was the result, and after witnessing his mother being raped, he wound up in an abusive foster home while Renee bounced around in jails and mental hospitals. He was eventually adopted by his grandparents, the extremely old and ghastly (but apparently loving, I think) Adolph and Rosemary.

Jonathan seems to have known he was gay a very young age. A disturbing home-movie clip of him at age 11 has him in drag performing a monologue about a woman caught in domestic abuse. The creepily close-to-home content of the scene is unsettling enough, but Jonathan’s convincing histrionics make it even more so.

By age 13, he was going to a New Wave gay club (this was the ’80s), disguised as a Goth girl in order to hide his under-agedness. Through his teen years he was often frustrated, angry and suicidal, facts conveyed in the film with frenzied collages of images and sounds that put the viewer into a frame of mind that must approximate what Jonathan felt. (I assume this was the intention.)

His knack for editing and composition is noteworthy. In many instances the film is lucid and single-minded, and the music he uses to enhance the various moods is extremely effective.

Much later in life, Renee moves in with Adolph (Rosemary having died some time ago), into a house ripe with squalor. Jonathan visits with his camcorder. There is a reunion with his long-lost father, too. All of this is captured and launched at us without mercy: Renee’s insane ramblings, her startling mood swings, Jonathan’s still-screwy mindset, it’s all there. For as captivating as “Tarnation” is, it’s hard to take sometimes, too. It’s all so personal, so intimate, that I feel voyeuristic even watching it.

Ten Little Idiots

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When you think of Las Vegas, you think of garish lights, smoky casinos, and mid-priced whores. But Las Vegas is so much more than that. It is also unreasonable heat, big-haired trailer trash and over-hyped shows featuring fey, tiger-loving magicians, creepy French acrobats or men who are painted blue.

But it is ALSO so much more than THAT. My friend Pants (names have been changed) and his family live in Vegas, so to me, the place also means good friends and happy memories. I got to visit the Pants family recently, to see a community theater production of Agatha Christie’s “Ten Little Indians” in which Pants and Mrs. Pants are starring. You go to Vegas for the glitz and glamour; I go for the crappy community theater and In-N-Out Burgers.

Now, for several years, I wrote reviews of the local theater productions for a newspaper in Utah Valley whose name escapes me now. Some of these shows were very good, but many were not, and many more were “good” only if you qualified it with “… for community theater,” which is just a polite way of saying they were bad. Some shows were merely mediocre; others were so bad that the theaters were plagued by the reanimated corpses of the playwrights, stomping through the lobbies and dressing rooms, demanding vengeance. I once saw the enraged specter of Stephen Sondheim haunting a production office, and he’s NOT EVEN DEAD.

My point is, since being relieved of the reviewing duty some time ago, I have not frequented community theater. I’ve seen the occasional show, but mostly my theater choices have been in the professional arena. I figure if I’m going to pay money to see something, it might as well be something good, and something that does not contain the word “Dreamcoat” in its title. Community theater is fine for some folks, but I saw too much of it — 400 shows in six years — to be able to appreciate a play anymore simply because everyone remembered their lines and none of the scenery fell over.

But with the Pantses headlining a show, and with our mutual friend Luscious Malone flying in to see it, too, how could I pass up a trip to the Skankiest City on Earth?! I thought maybe the production, being staged in Las Vegas (albeit rather far from the Strip), would feature dancing girls or magic tricks or one-time celebrities telling filthy jokes to audiences full of drunk gamblers.

Imagine my disappointment.

I had not seen “Ten Little Indians” before, but I had seen “The Mousetrap,” and they are the same play. Agatha Christie had a hit with “Indians” in the 1940s, so she apparently just changed the characters’ names and called it “The Mousetrap.” (Neil Simon has done the same thing numerous times, all based on his original show, “Jewish People Yelling.”) “Ten Little Indians” and “The Mousetrap” both feature strangers invited to a remote mansion on a dark and stormy night, whereupon they are murdered one at a time, and the killer is someone … IN THIS ROOM! “The Mousetrap” has always been called “The Mousetrap,” but “Ten Little Indians” was originally called “Ten Little N******,” “n*****” being what the British called people from India in those days. (How a nation of snaggle-toothed inbreds gets off slurring other races is beyond me.)

Anyway, the production of “Ten Little Indians” in which my friends are the stars is extremely funny, which is unfortunate, given that it is not a comedy. It is bad even by community theater standards, even by the standards of a person who is dumb and who loves terrible things. The Pantses acquit themselves well enough, being possessed of a modicum of common sense and talent, and a few of their castmates seem to be familiar with the basics of acting (e.g., they’ve read the script at least once, they don’t scream everything they say). But the bulk of the show is dull and overacted, often laughably so, and Luscious Malone and I did indeed laugh on several occasions, which might have bothered the people around us, except that they were too busy talking the whole time to notice.

I was somewhat comforted to discover that community theater is essentially the same wherever you go, or that it’s at least the same in Las Vegas as it is in Utah. The actors are committed but often clueless, the audience buys tickets and then gabs through the performance, and then both cast and viewer claim to have had a great time. The cast of “Ten Little Indians” appeared in the lobby afterward to greet audience members, which many theaters in Utah do and which is exactly the thing to do if you want to ensure that no one ever mistakes you for a professional theater company.

Of course, the goal of community theater isn’t to fool people into thinking they’re on Broadway. The goal is to give regular folks a chance to perform, and to provide comfortable, homey entertainment to the masses. At that level, most community theater succeeds, and far be it from me to say it should have loftier goals.

That said, would it have killed them to include just ONE Elvis impersonator? I think not.

Shark Tale

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“Shark Tale” probably isn’t a copy of “Finding Nemo,” since these computer-animated dealies take a long time and the films were in production simultaneously. Still, “Nemo” made it to theaters a year sooner, did the job better, and is by far the better film. “Shark Tale” is not an imitator, technically, but it sure feels like one — not just of “Finding Nemo,” but of the Pixar films in general.

Will Smith plays Will Smith again, only this time it’s a Will Smith named Oscar. He is a fish at the low end of the food chain in an undersea, pun-filled version of New York City. (Everyone talks on “shell phones” instead of cell phones, and they hear the results not of the Gallup Pool, but of the “Scallop Poll”! Do you love seafood wordplay? Hope so, ’cause there’s lots of it!) Oscar works at a whale wash (like a car wash, but with, you know, whales), scrubbing tongues. It’s not glamorous. He makes very little money. He’s a nobody, but he wants to be a somebody. “Small fish/big pond” references are made.

Meanwhile, there is a shark named Lenny (Jack Black) who is the black sheep in a family of great whites. The sharks are the Mafia of the ocean, it seems, and though Lenny is being groomed by his father Don Lino (Robert De Niro) to take over the family business of extortion and racketeering, Lenny is in fact a simpering vegetarian rather than a ruthless killing machine.

Eventually, the fates of Oscar and Lenny meet. Oscar is on hand when Lenny’s brother is killed by an anchor, and Oscar takes credit for the death, making him a hero in the shark-fearing fish world. He’s a somebody now, earning the attention of a golddigger seductress named Lola (Angelina Jolie), much to the dismay of his just-a-friend female pal Angie (Renee Zellweger). His whale-wash boss, a puffer fish named Sykes (Martin Scorsese), becomes his manager.

Lenny gets an idea: He wants to hide out from his family, and Oscar wants to perpetuate his image as a shark-killer. They arrange for Oscar to “kill” Lenny, who will in fact go into hiding, thus filling both parties’ wishes. But of course these plans never go the way you want them to, and hilarity ensues. Or something.

I enjoyed the energetic performances from Black and Scorsese, but everyone else is just phoning it in, particularly Will Smith, who has simply played the wise-cracking playa too many times (though admittedly never in animated form until now). And the fact is, Rob Letterman and Damian Shannon’s screenplay simply tries too hard. I note Bernie and Ernie (voices of Doug E. Doug and Ziggy Marley), jellyfish whose tentacles are made to look like dreadlocks and who speak Jamaicanly. The film does everything it can to present them as its break-out memorable supporting characters — everything, that is, except give them truly clever or funny dialogue. We seem to be expected to love them simply because they’re so WACKY — they’re JELLYFISH, but they’re also RASTAFARIANS!!!! — and not because of anything they actually DO. The movie is like a guy who’s sort of cool, but who keeps trying to convince everyone he’s SUPER-cool, hoping we won’t see him sweat as he manically, misguidedly imitates the genuinely cool people he knows.

Dreamworks has tried to blend the edginess of its “Shrek” films with the innocence of Pixar, and both sides lose. The pop-cultural satire is fairly toothless — do we really need more Mafia parodies at this point? And does De Niro do anything BUT Mafia parodies anymore? — and the “sweet” moments ring false and feel obligatory. There are laughs, yes, but nothing so witty you’ll remember it later, and nothing so touching you’ll get a lump in your throat. This one’s going belly-up, chum.

Going Upriver: The Long War of John Kerry (documentary)

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An historic number of political documentaries have appeared this year, most of them attacking the other side rather than promoting their own. But now here’s one that’s far less negative. “Going Upriver: The Long War of John Kerry” is, pure and simple, an 87-minute campaign commercial for John Kerry.

It’s only OK as a movie, but it’s a fantastic political ad. Director George Butler follows this ingenious strategy:

1. Make us see the parallels between Vietnam and Iraq, without stating them outright.
2. Make us want Iraq to end, too, the same as everyone wanted Vietnam to end.
3. Show us John Kerry fighting to end the Vietnam War.
4. Let us draw the parallel that he’ll fight to end the Iraq conflict, too, again without stating it outright.

John Kerry, it turns out, has been a public figure for longer than he’s been a politician. Butler acquired endless photos and home movies of him, first as a smart, idealistic Yale student, then as a dedicated and decorated soldier in Vietnam, then as an outspoken member of the Vietnam Veterans Against the War organization. In the climax, Kerry testifies before the senate committee on foreign relations, several minutes of which were featured on the network news broadcasts later that evening. The guy was born to be a star!

The testimonials from people who know him — though none from the man himself — become a little embarrassing, so transparent are they in their earnest, please-elect-our-friend mentality.

Where the film succeeds, though, is when it lets Kerry drop out of focus so it can educate us a bit on the Vietnam War and the anti-war movement that accompanied it. Butler’s last doc, “The Endurance: Shackleton’s Legendary Antarctic Expedition,” was a fascinating, thoroughly watchable history lesson, and “Going Upriver” has several segments that rival it. Long-haired anti-war protesters are a common image in films about the ’60s and early ’70s, but the more organized events — soldiers testifying about the atrocities being committed by the U.S., and so forth — are seldom depicted.

Of course, there’s an agenda here. “Going Upriver” shows how most Americans supported our sending troops to Vietnam at first, how we thought it wouldn’t take too long to get things in order, how we felt it was a noble cause we were fighting for, and how eventually the tide of public opinion changed and it became an extremely divisive issue, the sort of thing that can make or break a president (or install a new one altogether). Sound familiar? That’s the idea.

Consequently, very staunch Bush supporters may bristle at the film’s underlying politics — at the pro-Kerry material, obviously, but also at the subtle use of Vietnam to try to win support for the senator. Whether that’s any worse than using 9/11 to get people to vote for Bush is open for discussion, I suppose.

Ladder 49

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Even though firefighters are interesting enough to make every little boy want to be one when he grows up, few films are made about them. I think it’s because they’re too noble. Cops and doctors — the other notable life-saving professions that ARE the subject of many films — are subject to corruption and grievous error, which makes for compelling drama. Firefighters — well, when was the last time you heard about a dirty fireman getting kicked off the force for accepting bribes? The guys are such paragons of heroism that I suspect Hollywood feels like there’s nothing they can do with them, no “angle” to them.

Watching “Ladder 49,” the fine new drama directed by Jay Russell (“My Dog Skip,” “Tuck Everlasting”), not only did it make me want to be a fireman all over again, but it also made me wonder why we don’t see more of this in movies: everyday (i.e., non-fantasy) heroics perpetrated by likable, sympathetic characters who are human but not scoundrels. “Ladder 49” is a feel-good movie in the best way. It’s exciting and funny and sad and uplifting. If it didn’t lose its focus for a while in the middle, it would be truly outstanding.

It is told mostly in flashback. In the present, Baltimore firefighter Jack Morrison (Joaquin Phoenix) has saved a man from a burning building only to fall through a collapsed floor and lie injured and near death two stories below. As he waits for his comrades to rescue him, his life as a fireman passes before our eyes.

I have no way of knowing first-hand, of course, but the way the film paints life at the firehouse feels ccurate. It’s like a frat house, but one where the residents become intensely serious and professional every time an alarm sounds. In the off-hours, they haze rookies and play endless pranks on each other. (That one of these pranks should involve setting a newspaper on fire and slipping it under the door of an occupied bathroom stall is especially believable. It’s human nature to make jokes about our greatest obstacles and fears, because doing so makes the thing less scary. So of course firefighters would include fire in their camaraderie.)

Morrison’s mentor is Chief Kennedy, played by John Travolta in a rare good performance. Kennedy is more or less married to his work, but Morrison marries Linda (Jacinda Barrett), a woman he and one of his firefighter buddies pick up in a supermarket, of all places. They have the sort of arguments you expect couples to have in movies like this — your job is too dangerous; you’re never home; etc. — but in general they are madly in love.

Lewis Colick’s screenplay spends most of its energy establishing the lives of Morrison and his firehouse crew, so much that it neglects what we assume is inevitable: At some point, something tragic has to happen. When will it strike? And who will be the victim?

I think I like where it all winds up. The more I consider it, the more it makes sense, the more it feels like an appropriate resolution for the film. Phoenix’s performance is probably the most sympathetic and likable of his career. If the film loses itself midstream, forgetting where it’s going and which paths it needs to take to get there, Phoenix saves it with equal parts heroism and humanity.

Dig! (documentary)

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Plenty of Gen-Xers possessing even mild hipness have heard of the Dandy Warhols, but hardly anyone remembers the Brian Jonestown Massacre. “Dig!” is the documentary that explains why these two bands, who have similar styles and whose members were once friends, went such different directions. Here I am, no particular fan of either group, and I found the film immensely enjoyable, like watching an especially hilarious trainwreck as it happens.

The film, made by Ondi Timoner, who was for some reason following both bands around with a video camera all the time, begins in 1996, when the groups were beginning to emerge in the post-grunge rock ‘n’ roll scene. The Dandys, led by frontman Christian Taylor (who also narrates the film from a first-person perspective), hailed from Portland and were focused on making it big. L.A.’s Jonestown, led by insane, free-spirited Anton Newcombe, talked more about starting a “revolution” than making money. Indeed, Anton seems to sabotage every chance the band gets to land a recording contract, much to the consternation of some of his bandmates who don’t share his peculiar philosophy that being successful equals “selling out.”

The bands meet in San Francisco and immediately like each other, both professionally and socially. They do shows together. They hang out. They drink. A lot. Then the Dandys get signed to Capitol Records, and Jonestown takes the conflicting positions that the Dandys are 1) sell-out corporate shills and 2) really, really lucky, and boy we wish we were that lucky.

You see it in Anton’s increasingly erratic behavior, the result of drug use, mental illness running in his family (his schizophrenic father committed suicide on Anton’s birthday), and creative frustration. Anton is a ridiculously prolific songwriter — Jonestown released six self-published albums inside of two years — but his determination to prevent his band from striking it rich wears even on his own psyche. Seeing his fellow musicians, whose sound is similar to his own, must make him think, “That could have been us, couldn’t it?”

The ensuing adventures and misadventures for both bands are by turns amusing, incredible and sad. They provoke each other constantly. It’s usually Jonestown doing most of the provoking, but it certainly doesn’t help the relationship when the Dandys use Jonestown’s dilapidated L.A. house for a photo shoot, unannounced and uninvited.

At one point during a period of truce between the groups, Courtney Taylor tours with Jonestown. When a mini-riot breaks out at a show in Detroit, Courtney says, “This never happens to my band!” with the glee of a kid who’s being allowed to stay up past midnight at his friend’s house. To Anton and Jonestown, it’s old hat. They’re just glad it’s not the band members fighting each other (which sometimes happens, too, and yes, there’s footage of it in the film.)

Here’s how screwed up the Brian Jonestown Massacre is. When the opportunity arises to get signed by a major label, their manager wisely keeps Anton home and sends tambourine player Joel Gion to New York instead. But Joel Gion is Anton’s chief monkey boy, most inclined to do odd, flamboyant things in public, and the one who was seen in earlier footage pulling his pants down at a party so he could pour beer down his crack. This is who they send to the negotiations instead of Anton, but that’s not the crazy part. What’s crazy is that Joel is actually their best option.

You see these two bands, both very talented, both tormented by record labels, in-house fighting and inter-band squabbles, and you wonder if it’s all worth it. Anton says more than once that he just wants to perform, that he doesn’t care about all the other stuff. Courtney and the Dandys probably feel the same way, except they’re pragmatic enough to know that without money, they won’t be able to keep performing for very long. This film warns against rock stardom the way “Requiem for a Dream” warned against drugs. Music fans will find it especially fascinating — and it has a killer soundtrack, full of Dandys and Jonestown songs, to boot.

The Moore, the Merrier

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(Note: This column is about Michael Moore’s upcoming visit to Utah, which is a very volatile topic. I will attempt to discuss all of the pertinent issues in a rational and mature manner. However, I will probably also make a lot of fat jokes. I regret this in advance.)

Utah Valley State College has booked liberal filmmaker Michael Moore to speak on campus next month, thus inviting far more attention than the hilarious almost-a-university is capable of handling. At times like this, I can almost hear the “Dukes of Hazzard” narrator:

“Well, friends, looks like ol’ UVSC has got itself into a pickle again. Shoot, when will those boys ever learn?”

Thanks, “Dukes of Hazzard” narrator. You can go back to being dead now.

Moore’s visit to Orem is controversial for a number of reasons. First, he is a known Bush-hater and an accused America-hater, and Orem is, for want of a better term, Bush country. Second, the student government spent its speaking budget for the entire year — some $50,000 — on this one speaker, and that doesn’t even include the catering costs. Third, everything that everyone does in Utah Valley is controversial in some way, because nobody ever wants anybody to do anything other than what they themselves would do.

Now that the student government has made the commitment, UVSC authorities are scrambling to put a good spin on it, all the while cursing themselves for letting students — UVSC students, at that! — be in charge of booking speakers. (Apparently, last year’s visit from SpongeBob SquarePants taught them nothing.) Seeking to placate the angry conservative masses of Utah Valley, UVSC eventually booked conservative commentator Sean Hannity to speak on campus a week before Moore arrives, to provide “balance,” though Hannity has some catching up to do if he really wants to balance Michael Moore. (That was a fat joke, by the way.)

Much of the uproar surrounding Moore’s visit is predictable and dismissable: He’s soooo left-wing, and soooo argumentative, we don’t want him in our community, blah blah blah whine whine whine. But one of the purposes of college — even a daycare center college like UVSC — is to expose students to new ideas, to make them consider points of view that are different from their own. Above all, college is supposed to mean sitting through boring lectures by people you don’t like. What’s the problem here?

A slightly better argument against Moore’s visit, though one I still disagree with, is that the $50,000 came from student fees, and why should students (or their parents, more likely) have to pay for a speech they don’t want, and one that so violently contradicts their political views? Well, boo-hoo, you big babies. I’d guess about 90 percent of any given student’s fees go to things he or she doesn’t need or want. The art majors’ fees help build the science building, and the art majors will never enter it. Everyone pays for athletic equipment, but not everyone uses it. You pay the salary of the “provost,” but what does a “provost” even DO?

Look at it this way: One semester’s tuition at UVSC is about $1,000. That means only 50 students actually paid for Michael Moore to visit, and with 30,000 students total, odds are, you weren’t one of them.

I don’t think the controversy should be over spending $50,000 on a speaker. I think the controversy should be over the fact that Moore apparently believes he is WORTH $50,000. (Sean Hannity charges $100,000 for his speeches, though he waived the fee for this appearance. Um, yeah. Hey, I charge $100,000 for my public appearances, too, just so you know. But sometimes I waive the fee, cuz I’m cool like that. But I totally charge $100,000 normally.)

Do you suppose Moore will dress nicely, or shave his big sweaty face when he shows up to address UVSC for $50,000? No, he’ll probably look like he always does, like one of those sweepstakes winners you see on TV who were caught off-guard by the Prize Patrol van. He always looks like he didn’t know he was going to be out in public that day, like he only wore his grubbies because he thought he would just be out working in the yard, and then somehow he accidentally wound up at the Academy Awards. I swear, he makes Peter Jackson look like Cary Grant.

Anyway, the money’s spent, and Moore is coming, and you can’t stop it. That doesn’t prevent people from trying, though, and if I owned a hat, it would be off to anyone who feels strongly enough about an issue, even a futile one, to get involved. For example, there is a UVSC senior named Sean Vreeland, a soldier who fought in Afghanistan last year, who told The Salt Lake Tribune, “For this uneducated, sophomoric-level guy, this fascist coming to speak to these students … the priorities are definitely skewed.”

Now, it only takes a dictionary and a modicum of common sense to know Michael Moore is not a “fascist.” I’m pretty sure he is NOT in favor of having a dictator, nor does he think America ought to have policies reflecting belligerent nationalism and racism. In fact, those are the things he accuses Bush of, and you know how he feels about Bush. But, you know, sometimes the newspaper reporter is asking you questions, and you have to say SOMETHING, and so you just use the first negative-sounding word that comes to mind. I suspect that’s what happened to Sean Vreeland.

Vreeland soon became the de facto leader of the anti-Moore movement at UVSC, being quoted in several news outlets. He had this very smart thing to say on Channel 4 in Salt Lake City:

“Controversy is not what we need at a public university. He’s going to bring no educational value to UVSC…. Michael Moore’s views are based on untruths and lies and are anti-government.”

OK, first of all, UVSC isn’t a public university, it’s a public college, and it’s only barely one of those. More to the point, controversy is defined as “a dispute, especially a public one, between sides holding opposing views.” Isn’t that exactly what IS needed at an institution of higher learning? How are you going to learn anything useful without hearing all sides of it? (There is little controversy in advanced math. Also, advanced math is not useful. You see my point.)

Whether Michael Moore’s films are “based on untruths and lies” (what, BOTH?!) is open for discussion, of course. I doubt he’s “anti-government,” though he may be opposed to the current administration of our government. “Anti-government” is sort of the opposite of “fascist,” though, so he’s definitely not both.

At any rate, Vreeland has launched a Web site, www.RecallUVSC.org, whose aims are twofold: prevent Michael Moore from appearing at UVSC (even if it means forfeiting the $50,000), and remove from office the student government leaders who booked him.

I think this is adorable. Pretending it matters who your student council representatives are! Practicing all these grown-up things like “petitions” and “recall elections”! I say kudos! (Not often, but sometimes.) Why, one day these kids will be out in the real world, maybe even dealing with real politics, and they’ll be able to say they’ve had a dry run. It’s like when law students have moot court, or when journalism students write for school newspapers. What they’re doing doesn’t really matter, but it’s good practice to act like it does. So again, kudos!

The Michael Moore appearance is sold out, so I probably won’t be in attendance, though I am curious to hear what his presentation is like. Does he just yell a lot? Does he tell jokes? Is his breathing labored? Is there choreography? If you go, please report back on the proceedings, and let me know whether UVSC can get itself out of this li’l predicament without losin’ a tire or wakin’ up Roscoe.

The Motorcycle Diaries (Spanish)

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It is a rare biopic that does not venerate its subject beyond all reason, and “The Motorcycle Diaries” is a rare film. It gives us Ernesto “Che” Guevara, the Argentinian revolutionary, in all his youthful, mercurial glory. It suggests a Che who began as a slightly selfish, somewhat irresponsible man who gradually grew into the figure known to history. It doesn’t assume we will be interested in Che just because it tells us to; it gives us a story worth being interested in.

Played by Gael Garcia Bernal, Che is depicted here with his buddy Alberto Granado (Rodrigo de la Serna), who traveled via motorcycle with him through South America in 1952, when both were medical students. They predate the Beatniks just a bit, but their idea is essentially the same: see the world, have some fun, meet some girls. They have little money or food, and their motorcycle (nicknamed “The Mighty One”) would charitably be called unreliable. It will be an adventure, to be sure.

The first act of the film is mostly light-hearted and even wacky, as they encounter the expected mechanical problems, misunderstandings with locals and whatnot. Granado wants to have a good time, as does Che, but Che has a sensitive soul, a gentleness that probably had his professors convinced he would make a fine doctor someday. Gradually, Che and Alberto grow up, and as they tour the continent, Che becomes aware of the plight of the working class.

Bernal and de la Serna’s performances are strong, and their chemistry together as friends enhances the many scenes that consist primarily of just the two of them. José Rivera’s script, if a little episodic, nicely builds each man’s character development, and Walter Salles’ direction, if a little too reliant on obvious symbolism (like Che swimming across a river from boyhood to manhood on his birthday), is nonetheless sure-footed and capable. His noble endeavor to show a revolutionary’s evolution pays off nicely.

Shaun of the Dead

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Someone thought it would be funny to make a comedy that was also a zombie movie — or perhaps a zombie movie that was also a comedy — and sure enough, they were right. “Shaun of the Dead” is one of the funniest films of the year, a snappy comedy and horror-flick satire that is also a pretty solid zombie movie in its own right, bearing all the visceral accouterments that fans of the genre expect even as it pokes fun at them. This is that rare, lucky film that gets to have its brains and eat them, too.

Shaun (Simon Pegg) is in a rut. He’s 29 years old, works at an electronics store, and goes to the same London pub every night with his girlfriend Liz (Kate Ashfield) and his lifelong mate Ed (Nick Frost). Ed is a raucous, frat-house sort of guy with no job who plays video games all day; Liz, understandably, worries that Ed is preventing Shaun from growing up. Shaun and Ed’s roommate, the priggish Pete (Peter Serafinowicz), feels the same way.

Shaun screws up an important date with Liz and finds himself dumped, then finds himself getting very drunk with Ed at the Winchester (the aforementioned place where everybody knows your name). Because of this — or perhaps because of the general obliviousness of single men in their 20s — Shaun does not notice the cataclysms surrounding him.

We see them in the periphery: TV news reports about odd events, people on the street behaving strangely, a man in the park harassing pigeons. The signs slowly become more obvious: bloody handprints on the refrigerator case at the convenience store, which Shaun doesn’t notice because he’s too morose over being dumped. At last, he and Ed encounter a zombie directly — and they mistake her slow, torporific staggering for drunkenness.

They are soon disabused of this notion, however, and the zombie attack on London is underway. (Poor London: First “28 Days Later,” and now this. Zombies are to London what Godzilla was to Tokyo.) Shaun and Ed eventually become part of a band of survivors that includes Liz, her roommate Dianne (Lucy Davis), Dianne’s dull boyfriend David (Dylan Moran), Shaun’s mom Barbara (Penelope Wilton) and his grumpy stepdad Philip (Bill Nighy). Where to barricade themselves? The Winchester, of course. (“Your idea of a romantic night on the town and an impenetrable fortress are the same thing,” Liz observes.)

Simon Pegg, who co-wrote the script and plays the lead, is as funny and hapless a hero as you’ll ever hope to see. Even an old joke like accidentally giving your girlfriend flowers that say “to a wonderful Mum” becomes amusing again in his hands, and his interplay with Nick Frost as Ed is priceless, so funny because their behavior in the crisis is believable. They do exactly what we would do, if we were slacker Londoners who found ourselves besieged by the undead.

Pegg’s co-writer and the film’s director is Edgar Wright, also director of the British sitcom “Spaced,” in which Pegg and Frost are stars. His skill at blending comedy with horror is impressive, and so is his and Pegg’s appreciation for a good setup and payoff. I can’t count the number of lines, actions and situations that appear early in the film and are later mirrored or parodied once the zombies attack. It isn’t just that shooting zombies with a rifle reminds us of earlier, when Shaun and Ed were playing a video game; it’s Ed’s specific coaching — “Upper left! Reload!” — matching the video-game dialogue that makes the bit satisfying. Even more satisfying: You might not even catch it. People do get beaten over the head a lot in this movie, but it isn’t with the jokes.

There are thrills and chills, too, and Wright gives horror fans several money shots of zombies devouring people or being dispatched with such weaponry as bullets, cricket bats and record albums. The special effects are nifty though probably low-budget; George Romero would be proud. (And look at the genius here: The film makes fun of how the zombies of yesterday’s movies are slow and stupid by comparing them to drunk people — and then they make these slow, stupid zombies scary after all.)

Fans will also be thrilled at the many references, both subtle and overt, to other zombie pictures. Folks more dedicated to the genre than I have already collected dozens of them, listed under the film’s “trivia” section at the Internet Movie Database. I won’t claim to have caught them all, but I did notice a few. I particularly enjoyed Shaun’s scolding of Ed for actually calling them “zombies,” no doubt a reference to the fact that so many of these movies never actually use the word.

Perhaps the greatest touch is that “Shaun of the Dead” does what most zombie flicks don’t: It shows us the aftermath, six months later. I won’t spoil it for you, but the social satire is wickedly funny. It is, again, believable, an example of what surely would be the result of a zombie attack on modern society.

I suspect people will be enjoying this film at midnight screenings and near Halloween for years to come. It is unfailingly funny, and not stupid-funny, either, but smart-funny. It displays the imagination and wit that are lacking in most comedies, not to mention most horrors.

The Forgotten

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“The Forgotten” is the sort of movie where, once you learn what’s really going on, you realize you liked it better when you didn’t know. The facts of the movie are so silly, and so full of plot holes, that it takes all the fun out of it.

If you’ve seen one episode of “The X-Files,” you’ve seen most of this movie. If you’ve seen multiple episodes, you know every plot twist in this movie. If you’ve seen every episode, you could write this movie.

Point of fact, it was written by one Gerald Di Pego, who also wrote the Jennifer Lopez drama “Angel Eyes.” It’s interesting to note that while “Angel Eyes” seemed like it was going to be supernatural but turned out to be quite ordinary, “The Forgotten” does exactly the opposite. It starts out like a fascinating psychological thriller but then becomes … well, “The X-Files.”

My beloved Julianne Moore, who will one day consent to marry me, plays Telly Paretta, an upper-class Brooklyn woman who is mourning the death of her 9-year-old son Sam 14 months ago. Sam and five other children died in a chartered-plane crash on the way to summer camp, and now Telly occasionally runs into the father of one of the other victims, Ash Correll (Dominic West), a former hockey player who has taken up drinking as his new profession.

The problem, as stated by Telly’s husband Jim (Anthony Edwards) and her psychiatrist Dr. Munce (Gary Sinise), is that Telly never had a son. She gave birth 10 years ago, but the baby was stillborn. The child’s life and subsequent death in the plane crash were all imagined by Telly and put up with by her long-suffering husband. Telly is what we call “crazy.”

She begins to have a breakthrough, however, as evidence around the house starts changing. A photograph of her, Jim and Sam becomes one of just her and Jim. A photo album becomes blank. Jim and Munce believe she is starting to see reality. Telly believes NOW is when she’s going insane, and she doesn’t understand why no one around her remembers her son.

Ash Correll doesn’t remember his daughter, either, until Telly forces him to and the floodgates open. Why has everyone else forgotten? Why did Ash forget until Telly reminded him? Or are they both really crazy?

That’s when government agents appear on the scene. I can’t tell you anything after that, except to say that I like Alfre Woodard a lot, and she plays a police detective. But that’s it. My lips are sealed beyond that.

Director Joseph Ruben has given us some enjoyably schlocky fare in the past — “Sleeping with the Enemy,” “The Good Son,” “Money Train” — and “The Forgotten” almost achieves that level of preposterous fun, and it does have a few genuinely startling moments. Unfortunately, it’s the kind of absurd story that can only work if it’s done very, very seriously. If the movie ever cracked a smile, it wouldn’t be able to stop itself from laughing, and the whole thing would be ruined.

First Daughter

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“First Daughter” is a good movie for people who wanted to see “Chasing Liberty” but can’t stand Hillary Duff or Mandy Moore, whichever one was in that movie. (They are interchangeable to me.) The movies are really the same film, with the same plot and the same twists, but “First Daughter” is maybe a little better.

They were both originally scheduled to be released the same week in January, two days apart. But “First Daughter” lost that game of chicken and moved to September, a move that will forever brand it unfairly as the copycat, the imitator. I’m not saying “First Daughter” deserves great things, but it does deserve a better fate than being dismissed as a Mandy Moore/Hillary Duff rip-off, for heaven’s sake.

Anyway, it’s about Samantha Mackenzie (Katie Holmes), daughter of the U.S. president (Michael Keaton), who in this alternate-reality version of 2004 is running for re-election without being weighed down by things like Iraq or being kinda dumb. The biggest bone his opponents can pick with him is his lack of education spending, which means it must be a pretty dull election.

As the film opens, Sam is about to head to California’s Redmond University for her freshman year. She will travel on Air Force One, of course, and be accompanied by a phalanx of Secret Service agents and curious news reporters. She would rather pack her stuff into a VW bug and make the drive cross-country herself, but such an ordinary life is not possible for her. Her father, good soul that he is, wrestles constantly with his love for his daughter and his desire to keep her safe, along with the harsh fact that there are people who would like to kill the daughter of a president.

Still, Sam constantly seeks freedom and normalcy. Her college roommate, Mia (Amerie Rogers), a PG version of a trashy party girl, does what she can to help, but mostly she just gets jealous because she’s accustomed to being the center of attention wherever she goes and now she’s always being upstaged by American royalty. Sam meets a cute boy named James (Marc Blucas), but for some reason he is hesitant to embark on a relationship with her, even though he clearly likes her. He keeps saying, “We need to talk,” but then instead of speaking up, he lets himself get interrupted by even the mildest distractions, the way people do in movies but never in real life.

Sam and James sneak away from her two Secret Service agents on a regular basis, and Sam’s hijinks are often photographed by paparazzi, thus potentially harming her father’s campaign. Can’t an 18-year-old girl just cut loose and live a little?

Not if she’s the president’s daughter she can’t. That’s one of the movie’s surprisingly mature and grown-up ideas, the truism that you sometimes have to accept life’s limitations and sacrifice some of the things you want. The movie certainly is not a downer — it has an effortless charm that is often very engaging — but it’s not a blissfully ignorant fairy-tale, either, the way a certain other movie about a president’s daughter was. Sam’s actions actually have consequences, which Duff’s or Moore’s didn’t. (Or maybe it was Amanda Bynes.)

Katie Holmes is adorable and savvy, like a good first daughter, and her interaction with her Secret Service agents (played by Michael Milhoan and Dwayne Adway) is cute and relatively believable. In fact, much of the film, directed by Forest Whitaker and written by girl-power scribes Jessica Bendinger (“Bring It On”) and Kate Kondell (“Legally Blonde 2”), falls under the category of “unlikely, but not impossible.” It’s not a brilliant film, and much of it is predictable — yet it has a few laughs, and its target audience will enjoy it. What about adults? Well, they won’t find it altogether unpleasant.

A Dirty Shame

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John Waters has made a career out of being distasteful, but his new film, “A Dirty Shame,” works so hard at it that you’d think the oily old man has lost his touch. Being raunchy shouldn’t be this difficult. Dirty jokes are the EASY ones to come up with. Ask any 7th-grade boy.

This movie is why headache-relief medicine was invented, and I don’t just mean because it has a scene where people head-butt each other for purposes of sexual gratification. It’s a braying, garish movie in which, as usual, Waters has cast actors who think a bad performance is the same as a “campy” one. Some of the supporting roles, I swear, are like watching auditions for community theater.

It is set in the tranquil, decent Baltimore neighborhood of Harford Road. Here lives the Stickles family, sex-hating wife Sylvia (Tracey Ullman), horny husband Vaughn (Chris Isaak) and huge-breasted teenage daughter Caprice (Selma Blair, who is small-breasted in real life). Caprice is kept locked in a room above the garage to prevent her from returning to her previous career as a stripper, which seems to be the only possible vocation for a woman of her, er, magnitude.

While driving to work one day, Sylvia gets whacked in the head with a shovel and instantly becomes a sex addict. Sort of. Johnny Knoxville is involved, I know that. He plays a tow-truck driver named Ray-Ray, who is a sort of Messianic figure to a group of sex addicts who all have different fetishes. Sylvia is the 12th member of his secret little group, and she now has a specific turn-on that I won’t mention here.

As Ray-Ray’s group increases its numbers, the neighborhood gets up in arms over the influx of perversion and tries to drive out the freaks and weirdos — a group that now includes the once-respectable Sylvia Stickles.

Waters’ peculiar brand of social satire is as ham-fisted as ever. He awkwardly twists the plot and characters in whatever directions are necessary to make his broad, MAD Magazine-style points, constantly hammering home how FUNNY and WACKY and OUTRAGEOUS it’s all supposed to be. And of course there’s nothing less outrageous than pointing out how outrageous you are.

Note: The NC-17 rating for this film is absurd. For all the talking about sex they do, there’s no actual sex. There is nudity, but it’s candid, non-sexual stuff — someone answers the door naked, that sort of thing. The dialogue is vulgar, but no more so than many, many R-rated films. The ratings are meaningless when they are applied inconsistently. (Which they are. So they’re meaningless.)

Adicción: Flautas

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My new addiction to bubblegum came as the result of my new addiction to flautas. So I’ve been pretty busy, obviously.

I ate at a lot of restaurants this summer. This was partly because many of them are within walking distance of my new apartment, and partly because I don’t like to cook, and partly because I want to be poor for the rest of my life. One of them was Cafe Pierpont, which, despite its pretentious name, is actually just a Mexican restaurant. I had eaten there once before with a friend, and our dinner was interrupted by a Mexican fellow who played the guitar and sang songs. He asked if there was any particular song we wanted to hear, and before I could say, “No, please don’t sing anything, for the love of all that is good,” my friend said, “Anything you like!” So then he started singing and playing, and my friend and I had to just sit there and listen because, ironically, it would have been rude for us to interrupt his singing with our talking, even though he had interrupted our talking with his singing in the first place.

Anyway, I tried Cafe Pierpont again this summer, and a marvelous series of events transpired. First, the guitarista was nowhere to be seen. Then, I told the waitress I was considering the chimichanga and was debating between beef and chicken. She said that if I’m a chicken fan, I ought to get the flautas.

“Oh? Why is that?” I asked, taken aback by the presumptuousness of the hired help.

She said, “Because they’re pretty much the same thing, except they have chunks of chicken, whereas the chimichanga has shredded chicken.”

Now, I’m generally afraid of new things, and I’m usually a chimichanga man, as discussed in chapter 8 of my autobiography, “I’m Usually A Chimichanga Man.” But if the flauta was essentially the same thing as the chimichanga except with better chicken, then I stood to lose nothing by trying it. “Yes!” I declared. “I will have the flautas!”

And have the flautas I did. Oh, my friends, I wish you could have tasted them. Maybe you have been to Cafe Pierpont in Salt Lake City and have tried them. If not, sell everything you own, buy a ticket and get here immediately. (They close at 10.) The flauta is chicken, cheese and sour cream all rolled up inside a flour tortilla, which is then deep-fried (deep-fried!). They bring you two of them, each bursting with flauta goodness, too much to eat in one sitting, so you have to take one home to have at midnight when you’re watching that day’s episode of “Jeopardy!” that TiVo recorded for you (assuming you are me). The flautas are flautastic!

I returned to Cafe Pierpont the next day to have more flautas, and several more times in the subsequent weeks. I was in love with the flautas. The flautas loved me, too, though the oppressive laws of our state prohibited us from being joined together legally as man and flauta. Still, our time together was bliss.

Here’s where the bubblegum comes in. At Cafe Pierpont, instead of having a bowl of mints for patrons to take on their way out, there’s a big barrel of bubblegum. I don’t know why. Maybe they figure their food is so powerful that mints would be useless against it, so they gave up and put out something that tastes good instead. Whatever the reason, they’ve got this tub of Dubble Bubble there. When I was a kid, you could buy a piece of this at the Circle K for 3 cents, and then it went up to 5 cents. Today, with inflation, it’s probably $20. Anyhow, it’s free at Cafe Pierpont, so I started grabbing a handful every time I was there.

The thing is, I was never a regular bubblegum chewer. I love the flavor, but I hate the effort: all that chewing and chewing and chewing and never actually getting to EAT anything. It feels so futile, not to mention fatiguing. If they could come up with a bread or a meat that tasted like bubblegum but that you actually got to eat, I’d be all over it.

Since the Dubble Bubble was free for the taking, I took some and instinctively popped a piece in my mouth. The flavor was as good as I remembered it, and the enjoyment of blowing bubbles — one of the least dignified things you can do with your mouth in public, I’m aware — was still a treat. I found myself chewing a piece now and then at home, as I worked at my computer. It was free, so no big deal, right?

A couple weeks later, I was at a grocery store and happened to see a package of 10 pieces of Bazooka Joe for sale near the register. The price was 69 cents, or 6.9 cents per piece, which is only slightly more than the 5 cents it cost when I was a kid. I figured what they heck, I’ll go ahead and buy some. Who’s it gonna hurt?

Now, Bazooka Joe is not as good as Dubble Bubble. It is grittier and is wrapped in really dumb comics. These comics are the least funny things in the world, even less funny than Jay Leno or birth defects. The list goes like this:

Least Funny Things in the World:
1. Bazooka Joe comics
2. birth defects
3. Jay Leno
4. your mom dying
5. Al Franken
6. one-legged puppies
7. award-show jokes
8. Bob Hope (pre-death)
9. Bob Hope (post-death)
10. your dad dying

Nonetheless, I bought the Bazooka Joe and began chewing it when I didn’t have any Cafe Pierpont-subsidized Dubble Bubble on hand. That is when I realized I was addicted, when I actually BOUGHT some bubblegum, and when I began chewing it even though I didn’t really enjoy it anymore.

That is where we stand now. I crave flautas constantly and I chew gum whenever I’m sitting at my desk. Why can’t I ever get addicted to something healthy, like exercise, or bathing? Why must it be things that are deep-fried or sugary? Or better yet, deep-fried AND sugary? Hey, why can’t they roll the flautas in cinnamon and sugar? IS THAT TOO MUCH TO ASK?!

Sky Captain and the World of Tomorrow

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I wish I were 70 years old, so I could say that “Sky Captain and the World of Tomorrow” reminds me of the many Saturdays of my youth that I spent down at the cinema, paying a nickel to watch Dick Tracy movies all day, and how afterward I’d stop at the drug store for a strawberry phosphate and some horehound candy. But alas, I’m too young for that, and “Sky Captain” only reminds me of what I imagine it must have been like.

This is probably the best throwback to the cliffhanger serials of yesteryear since “Raiders of the Lost Ark.” It’s a grand, old-fashioned adventure that meticulously follows the plot structures and characters from those old films — which most of us only know by their reputation and imitators, not having seen the actual movies — and truly pays homage to them. This is not a parody. This is the real article, using modern technology to make it look like very little modern technology was used.

The writer/director, Kerry Conran, shot the film entirely on a green screen. That is to say, only the principal actors are real. Everything else was created digitally, with the actors inserted into it later.

The reason for this was so the images would be easier to manipulate. With all the computer wizardry applied, the backgrounds have blurry edges, the foregrounds have a dewy quality about them, the color looks artificial — it looks very much like a film from the 1940s, in other words, and has plots and dialogue to match. The streets of New York look like the streets of Metropolis from Max Fleischer’s “Superman” cartoons — and then giant robots attack, just like they did in one of those very cartoons.

And that’s not the only film reference. “Wizard of Oz” parallels are obvious, as are connections to Fritz Lang’s “Metropolis” (no relation to Superman’s hometown) and various others. Mostly, though, it’s the style that is duplicated, and it is done with glee, ingenuity and wit.

It’s 1939, and the world’s eminent scientists are being kidnapped one by one, and newspaper reporter Polly Perkins (Gwyneth Paltrow) has a lead on who might be next. Meanwhile, giant robots invade New York and other major cities to suck up their energy supplies. Only one person to call in a situation like this: Sky Captain.

Sky Captain is Joe Sullivan (Jude Law), a dashing pilot and adventurer and leader of the for-hire army that world governments call upon when there’s trouble. His crew, assisted by Dex Dearborn (Giovanni Ribisi), has seen these robots before, but has never been able to determine their source. After Dex is abducted, it’s up to Joe and Polly — who have a tumultuous history, of course, and who currently engage in much verbal combat — to rescue him, find the scientists, and stop whichever nefarious party is behind all this.

Jude Law makes a good enough adventurer, though he’s no Harrison Ford, who always seemed to be having fun even when all around him was chaos, while Law takes everything so seriously. Better is Gwyneth Paltrow, whose simple beauty makes her a perfect fit for the role of Golden Age screen idol. And better still is Angelina Jolie as Franky Cook, a one-eyed ship commander who helps Joe and Polly late in the game, and who has a history with Joe, too. Jolie’s enthusiasm and all-out commitment is infectious; it’s rare to see her enjoying herself this much.

Conran keeps things moving pretty fast, and he very nearly makes the style work for the entire film. But there are a few points where the action slows down and the novelty of it wears off and you stop smiling for a few minutes and you think, “Wait, there’s really nothing to this, is there?”

And there really isn’t. But when all of the movie’s elements are working together — the familiar characters, the goofy-but-interesting story, and the eye-catching special effects — it’s a magical, wonderfully entertaining ride.

Wimbledon

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I get the feeling someone thought of the clever line, “Love means nothing in tennis” and wrote a movie around it. “Wimbledon” combines the clichés of romantic comedies with the clichés of sports movies and comes up with a pleasant, funny, utterly predictable film that won’t hurt you to watch but won’t hurt you to miss, either.

Kirsten Dunst gets top billing, but she is really the second lead. I hope she gives her agent a nice Christmas bonus this year. The actual star is Paul Bettany, the lanky, likable British actor who has distinguished himself with interesting performances in movies such as “A Knight’s Tale” and “Master and Commander.” Here he plays Peter Colt, once the No. 15 tennis player in the world and now No. 119 — which is to say, he was never the best, and now what little glory he had has faded.

He gets only passing support at home. His parents (Bernard Hill and Eleanor Bron, both amusingly daft) are busy not liking each other, and his younger brother Carl (James McAvoy) always wagers against him at the betting parlor.

Under these circumstances he goes to Wimbledon on a wild card slot. He has determined that regardless of the outcome — and he’s pretty sure he’ll be bumped in the first round — he’ll quit professional tennis when it’s over. He already has a job lined up as an instructor at a snooty resort where old women will flirt with him all day. All that remains now is to get on with Wimbledon so he can get on with his life.

Before the tournament begins, Peter meets Lizzie Bradbury (Dunst), the much-discussed young American tennis star. Since this is a romantic comedy, the way he meets her is by walking into her hotel room by mistake and finding her in the shower. (Whether I’ve actually seen this device before or not, it certainly FEELS like I have.) They talk. They flirt. They go out. They sleep together. They begin to fall in love.

The screenplay, by Adam Brooks (“French Kiss”), Jennifer Flackett and Mark Levin, cannot decide on a conflict, so it gives us several minor, underdeveloped ones. There is Lizzie’s overprotective father (Sam Neill), who fears any romantic entanglements will distract her from her game. There is Jake Hammond (Austin Nichols), the cocky American player who is also wooing Lizzie and who, you just know it, is bound to appear against Peter in a match before Wimbledon is over. And there are tennis’ lasting superstitions, some dictating that a player not change his routine AT ALL when he’s on a winning streak, and some dictating a player not have sex before a match, even if having sex WAS his routine.

Eventually, there is a pronouncement of love (carried out over live TV, naturally) and a heart-pounding final match whose outcome seems predestined but to which 20 minutes of screen time are devoted nonetheless. It is, as I said, every bit a romantic comedy and a sports movie, and it adds nothing to either genre.

That said, Bettany is an exceedingly strong leading man, flustered and vulnerable and prone to commenting under his breath on his surroundings. He needs to be given more starring roles; he has an effortless, Everyman charm that reminds me of Hugh Grant (who was once considered for this role).

I used to be big on Kirsten Dunst, but now … meh. I’m over her. She seems so whiny. Or maybe it’s just this film.

Some of the tennis scenes are extremely well-shot, director Richard Loncraine having decided, apparently, that even tennis can be made to look like an X-treme sport. Hey, whatever fun you can find, go for it. This is certainly not an original film, but it’s a decent one.

Head in the Clouds

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There are certainly fans of period-piece melodramas, and I know there are people who want to see Charlize Theron and Penelope Cruz become involved in a tickle-fight on top of a bed while clad only in their underwear — but how much do those two groups overlap? British writer/director John Duigan seeks to find out with his new film “Head in the Clouds,” a sumptuous-looking but very flat-feeling drama set in Paris and London in the 1930s and ’40s.

After a useless prologue in which the protagonist is told by a fortune teller that she will die at 34, we begin in earnest at Cambridge University. In a somewhat randy “meet-cute,” debutante heiress Gilda Besse (Theron) bursts into the dorm room of a guy named Guy (Stuart Townsend) to escape the rain and the watchful eye of any proctors who might have seen her slip out of her boyfriend’s room moments earlier. (They had a fight, which is why she can’t just go back there.) Guy is a gentleman, so he allows her to stay there for the night, which leads to some bawdy, erection-based flirting between them.

We soon realize that bawdiness and erections follow Gilda wherever she goes. She is what’s known in this era as a “modern woman,” which means she has sex a lot. Her boyfriend, Julian Ellsworth (Gabriel Hogan), gets around, too, and doesn’t seem to mind Gilda’s escapades. Guy, from a humble working-class family, is shocked at the wealthy, debauched people he encounters while associating with Gilda.

Guy is a serious fellow anyway. While Gilda goes off traveling the world, he gets a job teaching in London and becomes active in several political causes, including the fight against fascism in Spain. His and Gilda’s mutual friend Mia (Cruz), a stripper who wants to be a nurse (don’t they all?), is similarly passionate about the situation in Spain, her homeland.

Gilda cannot understand their fervor. She enthusiastically avoids caring about news of the world, maintaining a cavalier attitude about everything, including her relationships with Mia and Guy. When Guy goes to war — first in the Spanish Civil War and then in World War II — Gilda can no longer ignore reality and must get her head, as they say, out of the clouds.

The film looks marvelous, photographed by the little-recognized but talented Paul Sarossy. It has the wistful, weepy look that I’m sure Duigan wanted. But Duigan’s screenplay is ineffectual, presenting characters who, despite good-enough performances by Townsend and Theron, don’t connect to each other or to us. The film is emotionally distanced from its audience, too stoic and stuffy. You’d never guess a film with as much sex as this one could be so stodgy, but there you go.

Mr. 3000

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I write a weekly column called “Snide Remarks.” It is supposed to be funny. The way I usually write it is, on the first draft, I’ll just say whatever I have to say in whatever words come to mind. This usually isn’t very funny. So on the second draft, I pause after each sentence I’ve written and see if there’s some way of rephrasing it, or something I can add, that would inject some humor. First draft gets the structure down, second draft puts the funny in.

“Mr. 3000” looks like it was the first draft. They came up with a good idea for a comedy and wrote all the dialogue and action necessary to tell the story, but forgot to go back through and make it funny. How embarrassing for them, to see the film in theaters and realize, “Oh, crap, we weren’t done, were we?” Once I accidentally submitted a review that still had blank parentheses (______) where I meant to go back and put in an actor’s name, and it made it into the paper that way. So I know how the “Mr. 3000” writers must feel.

Bernie Mac plays Stan Ross, a major league baseball player who retired the day he got his 3,000th hit. He was tired of the game and figured 3,000 would be a high enough record to get him into the Hall of Fame, which was all he really wanted.

Ten years later, while resting on his laurels and governing a series of “Mr. 3000”-themed businesses in his native Milwaukee, he still isn’t in the Hall of Fame, and he’s bitter about it. Seems he underestimated the role “character” plays in the voting, and Stan was a first-class jerk before he retired. (Well, since then, too, but it doesn’t matter as much now.)

And now he has more problems: Three of his 3,000 hits didn’t happen. There was a miscount. He only has 2,997, and that’s not nearly as impressive a number. And sure enough, when the Hall of Fame committee meets after this revelation is made, he gets even fewer votes than before. He needs those three hits. Obviously, he’ll have to come out of retirement and get them.

So it’s a perfectly decent idea for a light comedy, as you can see, and Bernie Mac has charisma to spare. Part of the film’s trouble, though, is in not letting him be himself. Stan Ross is such a self-centered creep prior to his inevitable change of heart that we can’t like him. He’s still not a team player, he berates his new teammates constantly, and he complains about everything like a whiny schoolboy, and not in a way that’s funny or curmudgeonly. A Bernie Mac we can’t like is a Bernie Mac we can’t watch.

The film is the epitome of blandness. It was directed by Charles Stone III, who directed 2002’s “Drumline,” a film I did not see but which I understand to have been full of energy and charm. “Mr. 3000” is quite the opposite. It belongs to that rare category of film that I hesitate to call “bad” because that implies it was trying to be good, and I don’t think it was. It’s not that the jokes aren’t funny. It’s that they aren’t THERE.

Silver City

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John Sayles’ “Silver City” gets off to a fantastic start, then becomes mired in Sayles’ weakness for enormous ensemble casts and murky plots. The guy can tell a great story when he wants to, but I guess sometimes he just doesn’t want to.

At the outset, it’s a smart, snappy political satire. It could be David Mamet’s “State & Main.” It shows us a dim, folksy politician named Dickie Pilager (Chris Cooper), who is running for governor of Colorado, shooting an “I care about the environment” campaign commercial on a lake. When he casts his fishing line into the water, it snags on something: a dead body.

His team springs into action. His sharky campaign manager, Chuck Raven (Richard Dreyfuss), does what he can to keep the incident under wraps and hires a private investigator named Danny O’Brien (Danny Huston) to determine whether it’s truly a coincidence or whether the opposition put the body there as a means of sabotaging Pilager’s commercial.

Cooper earns laughs and would appear to be the protagonist, or at least one of them, as he plays a character obviously based on George W. Bush and rife with comic possibilities. We are told he is not corrupt, just “user-friendly” — in particular, he is currently in the pocket of companies that wish to destroy the environment in the name of progress.

But before long Dickie Pilager is sent to the back burner as the movie focuses on Danny O’Brien, the detective. Danny used to be a journalist, then he got into some trouble. His ex-girlfriend, Nora (Maria Bello), still is a journalist, and she’s covering Pilager’s campaign. Her new boyfriend (Billy Zane) is a lobbyist for tobacco companies. You know she’s not gonna stay with a guy like that for very long, even if he is charming like Billy Zane.

I’ve barely begun to mention the cast. Tim Roth and Thora Birch play underground journalists who write for a muck-raking Web site. James Gammon plays the local sheriff, Michael Murphy plays Pilager’s father, a senator, Daryl Hannah plays Dickie’s insane sister, Kris Kristofferson and Miguel Ferrer are in there somewhere — the list goes on. The story is labyrinthine, with everyone connected to everyone else, and Sayles tackles subjects that include illegal aliens, corporations, politics and the environment. This would be a lot to handle on an entire political campaign, let alone one two-hour movie, and Sayles’ focus is often unclear.

The performances are uniformly good, and there are some nice surprises sprinkled throughout. I enjoyed enough chunks of the film to recommend it — Dreyfuss’ cynical adviser, Hannah’s wacko political sibling, etc. — though I can’t say I much enjoyed the thing as a whole.

National Lampoon’s Gold Diggers

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If I ever make a movie, I’m going to ask the folks at National Lampoon to put their name on it. Apparently, all they require is that your movie be excrementally bad and that you ask politely. I can meet both of those requirements.

Actually, it would be hard to make a movie as bad as “National Lampoon’s Gold Diggers.” You’d almost have to be trying. Even the most incompetent filmmakers, working on a tight budget and without creativity, could, by accident, make something better than this, even if they left the lens cap on.

The film is abrasive and off-putting — which it thinks is the same thing as being “edgy” — from the get-go, as the protagonist, a slacker 20-something named Cal (Will Friedle), describes the low surroundings of his conception and birth in narration. (You know how you can tell a lazy movie? When one of the characters acts as narrator, but only during the first five minutes to give you the backstory, and again at the end to tell you what happened afterward, with no narration in between. That means the film didn’t actually NEED a narrator; the writer was just too dull-witted to give you the set-up and pay-off through dialogue and action.)

Cal and his dim friend Lenny (Chris Owen), both orphans and both shiftless, have failed at everything they’ve tried, and that includes purse-snatching. So they hit on a fresh scheme: Marry two rich old ladies, wait for them to die, and inherit their millions.

The ladies they choose are the spinster Mundt sisters, Betty (Renee Taylor) and Doris (Louise Lasser), heirs to a great fortune due to their father having invented rubber condoms in the 1930s (nearly a century after they were already invented in real life, but oh well). What the boys don’t know is that the Mundts aren’t actually rich: Their money is being held hostage by their insane, war-obsessed Uncle Walt (Rudy De Luca). In fact, the sisters are dirt poor. Their plan is to marry two young gold-diggers, insure them, then kill them and collect the money.

There are the makings of a good dark comedy in all this: Two couples marrying not for love but for money, and each pair secretly wanting the other dead. But this isn’t a good dark comedy. This is more along the lines of a Roadrunner cartoon, with the old women and the young men trying to kill each other by various stupid methods that always backfire. None of it is funny, nor clever, nor acted with any skill for comedy, nor apparently even thought out beforehand.

The major thesis is that old women behaving sexily is funny. This may be true at times, but “Gold Diggers” confuses sexuality with filthiness. It isn’t enough that Betty and Doris are horny; they have to be kinky, too, tying their new husbands to the bed or making them wear costumes during love-making, and doing it all in a manner that feels icky and degrading to watch. It’s embarrassing, not funny.

The film was written and directed by Gary Preisler, upon whom I wish nothing but ill for all the rest of his days, and may they be long and filled with torment. By the 30-minute mark, I was praying for the sweet release of death, or at least a sudden and violent attack of diarrhea, so I’d have an excuse to leave the theater. I had to stay, of course, because I was reviewing it. You are under no such obligation. In fact, you don’t even have to show up in the first place. See that you don’t.

Eric and the City

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Just like the character of Frasier moved to Seattle after “Cheers” ended and the character of Joey moved to L.A. after “Friends” ended, the character of me moved to Salt Lake City after my sitcom ended. The new show, “Eric and the City,” finds me in a new apartment with a new roommate who is NOT a psychotic Argentine. Market research determined viewers found the old roommate, Raoul, too unsettling, so we’ve attempted to replace him with a normal person, or at least one who doesn’t leave raw meat sitting uncovered in the refrigerator.

The new guy is named Greg. Since he had never been to Utah before moving here a few weeks ago, it has been my duty to help him get used to local customs, which provides ample opportunity for wackiness. We often have conversations where he says things like “So … people here just MAKE UP names for their babies?,” or “So … you just mix ketchup and mayonnaise together?”

The latter refers to fry sauce, of course, Utah’s one major contribution to the culinary arts. Greg is from Boston, where fry sauce has not yet made major inroads. In fact, it would seem fry sauce has barely spread beyond the borders of Utah, either figuratively or literally.

I don’t know why this is. It’s the perfect dipping sauce, creamy like mayonnaise but zesty like ketchup. People who visit Utah and find it in various dining establishments always rave about it — yet they apparently don’t take word of it back to their homelands. Far be it from me to give suggestions to the LDS Church, but would it hurt to have its enormous and efficient world-wide missionary force start mentioning the good news of fry sauce in its discussions? It was invented in Utah, so it must have been a Mormon who did it. I’m just sayin’.

So I introduced Greg to the wonders of fry sauce in one episode of “Eric and the City,” and I tried to explain Salt Lake’s grid system (where all the streets have numbers and geographic directions rather than, you know, names) in another. And meanwhile, he has tried to help me understand the culture of an East Coast non-Mormon.

For example, Greg does not have the word “stuff” in his vocabulary. Instead, he has the word “s***.” He tosses “s***” around very casually, in sentences such as, “I’ve been here two weeks, and I’m still unpacking my s***,” and “No, this seat’s not taken, let me just move my s***.” Normally, I dislike that word a lot, but I’ve discovered it doesn’t bother me so much when it’s used non-swearingly. The best usage came when I told him about Josh Hartnett’s unsettling unibrow in “Wicker Park,” and Greg said, “Geez, someone should have told him to pluck that s***.”

(Note: I assume Greg does have “stuff” in his vocabulary when used as a verb. That is, I’m pretty sure he would say, “We need to stuff the turkey for Thanksgiving” rather than “We need to s*** the turkey for Thanksgiving.” But I’ll let you know for sure in November.)

Why would someone leave a perfectly good girlfriend in Boston and move alone to Salt Lake City? Greg has done it because he’s working with Utah Opera’s outreach program, wherein he and a troupe of singers go around to schools and make kids listen to opera, possibly as punishment.

(You’d think, now that I’m 30 years old and have actually had several positive opera experiences, that I would stop making jokes about opera being unenjoyable. But you’d be wrong.)

Some episodes of “Eric and the City” will probably focus on Greg and his opera troupe. For example, there was the incident last week when they told the kids they could ask questions after the performance, and a third-grader raised his hand and asked, “I like stoplights.” I foresee that appearing on T-shirts and fan-based Web sites.

Does Greg practice his singing in the apartment? Because that would definitely make for some comedy, especially if I were trying to sleep, or trying to read, or trying to not hear opera. Unfortunately for the purposes of humor, Greg does not practice in the apartment, though I have occasionally heard bursts of it as he putters around the house, the way Raoul used to randomly mutter Spanish swear words. I wonder sometimes what became of Raoul after he moved out. I’ll have to watch his spin-off, “Don’t Cry for Me Because I’m Dumb and Crazy, Argentina,” to find out.

Cellular

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I often receive phone calls from friends who are standing outside multiplexes trying to decide which movie to see. They have eliminated the ones they’ve already seen and the ones that don’t have a start time that fits their schedule, and now they’re left with two or three options from which they’d like me to help them choose.

“Cellular” is a good movie for that situation. Should you buy tickets in advance for “Cellular”? No. Should you plan your schedule around “Cellular”? Heavens no. But if you’ve seen everything else, and if you’re standing outside the theater at 7:10 and there’s a showing of “Cellular” at 7:20, then by all means, go ahead and see “Cellular.”

It’s implausible, every minute of it, and often outrageously stupid. (Good thing there’s a dirt road leading to a cell-phone store at the VERY MINUTE he needs a charger!) But golly, it’s kinda fun sometimes, and a few parts are funny on purpose. (Many other parts are funny accidentally.)

It gets right down to business: Within moments of the film’s beginning, wife/mother/science teacher Jessica Martin (Kim Basinger) is kidnapped from her Los Angeles home by five men who clearly mean business, since they shoot her housekeeper without asking questions. Jessica is taken to a ranch house somewhere and locked in an upstairs room — a room that happens to have a phone. The lead bad guy, Greer (Jason Statham), smashes it with a sledgehammer, but since Jessica is a science teacher — the film keeps putting her in situations where this fact is useful — she is able to splice wires together and place a call to a random number.

The number belongs to Ryan (Chris Evans), a college-age dude who has just this very moment been told by his ex-girlfriend that he’s selfish and irresponsible. What do you know, he then gets a desperate call on his cell phone from a woman who says she’s been kidnapped and needs help. I’ll show that ex-girlfriend of mine who’s unselfish and irresponsible! is what he’s thinking now.

He goes to the police station and gives some basic information to Sgt. Mooney (William H. Macy), a 27-year veteran who’s about to open a day spa with his wife. Alas, there are some plot contrivances that prevent Ryan from getting his cell phone with Jessica still on the line to a detective, but we can guess Sgt. Mooney will become involved anyway, since he’s played by William H. Macy and why else would he be in the movie?

Much of the film consists of Ryan driving frantically from one place to another, trying to prevent the kidnappers from reaching Jessica’s husband and son. He is aided in this by a series of astounding coincidences: Take all the astounding coincidences out of this movie and you have a two-page screenplay about a woman who gets kidnapped, has no access to a phone, and dies.

I don’t get why Kim Basinger would take this role. It allows her to do nothing but whimper into a phone for 90 minutes; surely she realizes this is not stretching her acting muscles. Macy, on the other hand, classes up any joint he walks into, and you can tell he’s a better actor than the movie deserves. Chris Evans — meh, whatever. He does what’s required of him.

The screenplay, by first-timer Chris Morgan, is based on an earlier draft by Larry Cohen, who wrote last year’s “Phone Booth.” Obviously the guy’s got a phone thing. The director is David R. Ellis, a stuntman, second-unit director and occasional lead director (“Final Destination 2”) who deserves credit for making this thing zip along almost fast enough for you not to notice how dumb it is. Almost.

Resident Evil: Apocalypse

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You know how sometimes you’re in an abandoned church, fighting off huge, red, skinless man-beasts that can crawl on walls, and you’re out of ammo, and just at the last second a hot chick on a motorcycle crashes through a stained-glass window and saves the day? The people who made “Resident Evil: Apocalypse” have been there, too, so they can totally empathize.

For reasons I cannot fathom, this sequel to the 2002 hit has been highly anticipated, and I suppose those who have looked forward to it will not be disappointed. It is approximately just as loud, gross and stupid as its predecessor was, and you get to see Milla Jovovich’s boobs. End of review.

Post-script: Paul W.S. Anderson, who mis-wrote and mis-directed the first film, only mis-wrote this one. He was unavailable to mis-direct, because he was busy mis-directing “Alien Vs. Predator.” Stepping in to mis-direct “Apocalypse” is Alexander Witt, making his mis-directing debut after working on dozens of films as a second-unit mis-director.

“Apocalypse” is basically just another zombie movie, where if a zombie bites you, you become one, and so forth. It might seem more thrilling if there hadn’t just been “28 Days Later” and “Dawn of the Dead,” both of which were much scarier, funnier and more creative than this is.

Milla Jovovich returns as Alice, one of only two survivors of the lab accident that occupied the first film. In the sequel, the so-called T-Virus has escaped the lab and infected Raccoon City, leading Alice and various others to band together, fight the zombies and other such beasts, try to get out of the city, yada yada yada. It plays like a video game, with appropriate increases in difficulty as Alice and company get closer and closer to their goal. You may rest assured that one of the members of Alice’s group is a wise-cracking black guy (Mike Epps), on hand to say sassy things — you know, just like every single other horror film ever made. They’re not even trying here.

What the #$*! Do We Know!?

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Here’s what we know: We know that “What the #$*! Do We Know!?” is a tedious, faux-philosophical waste of time. We know it is brimming with New Age ideas that violate the laws of both physics and common sense. We know that the filmmakers, William Arntz, Betsy Chasse and Mark Vicente, are practitioners of a quasi-religion called the Ramtha School of Englightenment and that the film, colloquially known as “What the Bleep,” is basically a commercial for Ramtha.

I don’t have a problem with being proselytized, as long as I know that’s what’s going on. But the film doesn’t tell us Arntz and friends’ background. We are left to our own devices to discover their true agenda.

Not that it matters, really. The film is mind-numblingly pretentious and dull anyway. Knowing its background merely adds the extra sin of being distasteful.

A series of talking heads — none of whose names or credentials are given until the very end, when we discover one of them is just a chiropractor — spout nonsense on the order of, “Have you ever seen yourself through the eyes of someone else that you have become?” (Answer: No. Can I have some more marijuana, please?) Or this one: “If you believe with every rudiment of your being that you will walk on water, will you walk on water? Yes.” (Correct answer: No.)

The film purports to be about quantum physics, “the physics of possibilities.” It suggests that perhaps all realities exist simultaneously, and that it is within our power to determine which one we live in. It suggests maybe the world we know is fake and we just have to get out of it to see what it really is, which I’d already considered, because, you know, I saw “The Matrix.”

Mostly there are the talking heads that spew mumbo-jumbo, but there is also a fictionalized story about a deaf woman named Amanda (Marlee Matlin) who encounters people who tell her how to explore her realities. She also encounters her roommate Jennifer (Elaine Hendrix), who is possibly the most chirpy, annoying character in any film this year. The acting in general, in fact, is quite bad throughout the film — the result, I suppose, of having three directors with no directing experience trying to make actors say preposterous things.

If quantum physics is your thing, then perhaps “What the Bleep” has some ideas that will get you thinking. But perhaps not, too. Did I mention it’s flat, dull and pompous? What the bleep, guys? Seriously, what the bleep?

Testosterone

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Gay novelist James Robert Baker wrote “Testosterone,” which I have not read but which is apparently a dark, gritty, “you gave me HIV and dumped me so now I’m going to kill you” sort of book. (You know the type.) For reasons I can’t even imagine, gay film director David Moreton has taken the HIV element out of the story (which he adapted for the screen with Dennis Hensley), kept some of the other darkness — but directed it to feel like a whimsical little romance-mystery. The tone is so at odds with the material that you’d be tempted to think it was done intentionally, if it weren’t for the more obvious and correct explanation that Moreton just doesn’t know what he’s doing.

Our hero is Dean (David Sutcliffe), a successful graphic-novel artist in Los Angeles whose Argentine boyfriend Pablo (Antonio Sabato Jr.) has just left him. Dean learns through Pablo’s wealthy, frigid mother (Sonia Braga), whom he runs into an art show, that he has gone back to Buenos Aires. So, without any forethought or consideration, Dean hops a plane to Argentina and shows up at Pablo’s house, whereupon Pablo’s madre (who must have been on the same flight as Dean to make it back there that fast) calls the policia. Apart from checking into a hotel, which he manages without incident, Dean seems to have no plan whatsoever.

He meets an odd, flirtatious guy named Marcos (Leonardo Brzezicki), who turns out to be a childhood friend and lover of Pablo’s but who claims not to know Pablo’s current whereabouts. Even more tight-lipped is Sofia (Celina Font), a gorgeous café waitress who also has ties to Pablo. She claims to be helping Dean, but she also seems to be putting the moves on him, which is as fruitless an endeavor as it sounds like it would be.

Somewhere along the way, we get the impression Marcos is supposed to kill Dean, but we don’t know why, and he has too much of a crush on him to go through with it anyway. Subsequent events are, at least on paper, surprising and/or intriguing, but Moreton directs them as if he were directing something innocuous. A character’s suicide is given no more attention, in terms of camera angles, musical score and the other characters’ reactions, than if the character had merely dropped his toast on the floor. Ditto all the material in the final act: an alarming turn of events in Sofia’s romantic life, an apparent murder, the aftermath of that apparent murder – everything’s either only hinted at vaguely, or else it’s shown expressly but in a dispassionate, careless manner. Even without the HIV business, I bet the screenplay reads like a noir-ish suspense-thriller. On screen, it looks like a droll gay romance. This is wrong.

Dean’s character undergoes a curious arc that is underdeveloped in the writing and in David Sutcliffe’s rather ordinary performance. At some point, he goes from simply wanting “closure” to wanting revenge, but I have no idea when, how or why that happens. Marcos’ and Sofia’s motivations are not given sufficient attention, either. The film’s major objective appears to be showing cute men doing suggestive (and occasionally downright dirty) things. To that end, I suppose it is a success, although if that’s your thing, why not just look at pictures? Why ruin it with a story?

X Mars Its Spots

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If you have ever loved someone, you know that sometimes you have to be straight with that person and say, “Hey, person I love, I love you, but you’re being a jackass.” (If you have not ever loved someone, then take my word for it.)

So understand that this column is written out of love for X96, Salt Lake’s finest radio station, the one with the best DJs and the only one with a morning show that can be listened to by humans without incurring brain damage.

X96, you’re being a jackass.

It saddens me to hear your constant promos painting yourself as some hardcore rule-breakin’ alternative radio station. Why? Because you ARE a hardcore rule-breakin’ alternative radio station. But there’s nothing less “alternative”? than going around telling everyone how alternative you are. You actually get cool points deducted for that, not added.

Bragging ruins everything. Who’s the least funny person you know? Probably someone who’s always talking about how funny he is. You don’t want to be put in that category, X96. You don’t deserve it.

Every time you feature a “Deep X Cut” (i.e., an album cut), it’s accompanied by the DJ saying, “We don’t only play the singles. We play whatever the hell we want.”? So shut up and play it, then. We know it’s cool that you play songs that have not been released as singles. But nothing sucks the coolness out of something like talking about how cool it is.

And you do oversell it sometimes, too, my beloved X96. Like the promo that says, “You’re listening to Corey O’Brien. No wonder you’re hearing music that would get most DJs fired.”?

OK, first of all, I suspect Corey O’Brien, like every other DJ, plays what’s on the playlist in front of him. Which means if anyone got fired, it would be the program director, not the DJ. Second of all, that particular blurb becomes meaningless when it’s followed by the fourth daily airing of “Somebody Told Me”? by the Killers. It didn’t get Corey fired when he played it the other times, nor have the other stations that play it constantly had to dismiss any employees because of it. So I think he’s probably safe.

Or this one: “You never know what Artie Fufkin will play next!” That’s true. But chances are good it’s by Nine Inch Nails.

My favorite: “Sure, the record companies tell us what to play. We tell them to SHOVE IT!”? In other words: “Sure, the record company wanted us to play that new Green Day song 11 times a day. They begged us. They said, ‘Please, overplay this new song so everyone will be sick of it before the album even comes out!’ And we said, “Shove it, record company! If we play this song 11 times a day — and believe us, we will — it will be because we WANT to, not because you told us to! Take that, The Man!'”?

I love you, X96. I love daytime DJ Artie Fufkin with a passion that is just this side of sexual and that occasionally crosses over. I adore the Radio from Hell show. I like the silly contests that mock other stations’ silly contests, like the one where listeners had to guess what was being smashed in the sound effect, and whatever they guessed, the DJ said they were right. But I get embarrassed for you when you play up your coolness so desperately. Relax, dude. Just be yourself and people will like you.

Summer Good, Summer Not

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All right, movie fans! Now that summer has melted away to the slightly less-hot season of September, it’s time to recap all the summer blockbusters that Hollywood churned out and crammed down our collective throat this year like so much churned, crammed butter.

More than ever, it was difficult this year to tell when summer really began for movies. “Scooby-Doo 2: Monsters Unleashed” was very loud and very pointless — criteria for a summer blockbuster — but it came out in March. Then there was The Rock, walking around smashing things in “Walking Tall: Walking Around Smashing Things,” but that was in April. Also in April were “Hellboy,” about a huge red aberration with horns on his head (working title: “The Bill O’Reilly Story”), and “The Alamo,” depicting what was apparently the dullest war in the history of mankind.

But for real summer-blockbuster juiciness, we had to wait until the sweltering, mid-summer month of May. That’s when we got “Van Helsing,” in which the famed vampire hunter associates with a pantheon of famed creatures such as Frankenstein’s monster, Dracula, Mr. Hyde and Bill O’Reilly. The film was generated entirely by computers, without human intervention, except for the occasional real actor who was pasted in with Photoshop.

A few minutes later, we had to watch “Troy,” a stirring biopic of noted celebrity Troy McClure, who you may remember from such summer blockbusters as “Pansies Save the Earth” and “Operation: Spider Monkey.” “Troy” turned out to be about what was apparently the most naked war in the history of mankind.

Snide Remarks summer wrap-up columns:
1999
June 2001
August 2001
2004
2006
2007
2008
2011

But there was precious little time to bemoan our fate, or the fate of the Trojans (tee-hee! Trojans!), because only two weeks later, we watched “The Day After Tomorrow,” in which the Earth gets covered in ice!!!!!! Well, New York, anyway. But that’s the only part of the Earth that matters. “The Day After Tomorrow” depicted a huge disaster, but not nearly as devastating as the one depicted in “The Box Office Receipts for ‘The Day After Tomorrow.'”

Will Smith, who has owned the Fourth of July weekend every year since 1996, with the exception of 1998-2003 inclusive, continued his streak with “I, Robot,” which by coincidence is also the name of an Isaac Asimov book. More faithful to its subject matter was “Garfield: The Movie,” which managed to capture the obvious, moronic humor and artistic bankruptcy of the “Garfield” comic strip, which is currently being written and drawn entirely by computers, without human intervention.

It wouldn’t be summertime in the ’00s without two or three dozen comic-book adaptations, and 2004 had plenty. The two highest-profile ones were “Spider-Man 2” and “Catwoman.” One featured a campy hero in tight-fitting clothing who appealed to gay men, while the other featured a campy hero in tight-fitting clothing who appealed to gay men AND lesbians. “Spider-Man 2” was hailed for its humanity and universal themes, serving as a cautionary tale against the dangers of attaching mechanical arms to your spine as a means of creating fusion. “Catwoman,” meanwhile, sucked.

But it wasn’t all fun and games at the movies this summer. There were documentaries, too, including one that addressed the devastating effects of leaders who put their own agendas ahead of the common good. I refer of course to “The Village.” This documentary even had a surprise ending: It turns out Bruce Willis wasn’t even IN the movie!

The summer ended with monsters attacking humans in “Alien Vs. Predator” and “Anacondas: The Hunt for the Blood Orchid,” which I think you’ll agree is how the summer SHOULD end. And speaking of endings, here doesn’t come a good one.

The Cookout

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Technically, of course, I should not be reviewing “The Cookout” — not because the studio refused to pre-screen it for critics (though it did), but because it is an African-American comedy and I am a white person.

I was told this by a reader who violently disagreed with my review of “White Chicks” and wrote the following e-mail:

“TO make this short and sweet. I feel that WHITE MOVIE CRITICS like yourself are a JOKE when it comes to BLACK COMEDY ( You have not clue what that is)I stay away form comedy that I do not connect with like FRIENDS. It makes not sense to me but I respect it. Just becaue you cannot connect to the humor of perhaps you could try to respect it. This is your LITTE page and I landed here by accident kinda like your career.”

It’s hard to argue with a well-reasoned, thoroughly spell-checked argument like that, but here I am, reviewing another black comedy anyway, and probably even commenting some more on the fascinating white-black dynamic in this country.

A hip-hop remix of the theme from “The Jeffersons” is heard on the soundtrack, and not for nothin’. It’s about Todd Andersen (Storm P), a likable, unassuming young basketball player from New Jersey who, upon becoming the NBA’s No. 1 draft pick, suddenly finds himself a multi-millionaire. He immediately acquires a gold-digging girlfriend named Brittany (Meagan Good), showers his parents with gifts, and buys not a deluxe apartment in the sky, but a palatial home in a snooty gated community.

His parents, the well-grounded Emma (Jenifer Lewis) and the glad-to-be-rich Jojo (Frankie Faison), join Todd and the entire extended family one Saturday at the mansion for a good old-fashioned cookout. But they’re on what we call a collision course with wackiness, because ALSO stopping by today is a representative from a cell phone company that is considering giving Todd a lucrative endorsement deal, and wouldn’t you know it, she’s an uptight white woman! What will she think of all the monkeyshines and shenanigans taking place at an African-American family barbecue?!

That bit of zaniness is just one of many, many subplots and tangents thrown into this affable but amateurish comedy, directed by music industry exec Lance Rivera. Emma’s rivalry with Brittany is a given, as is the fact that an oft-mentioned woman from Todd’s past (played by rapper Eve) is bound to pull a deus ex machina by showing up at the last minute and giving him someone better to fall in love with. There’s a neighborhood security guard played — or, rather, over-played — by Queen Latifah who causes trouble, and there are two irritating supporting characters named Bling (Ja Rule) and Wheezer (Ruperto Vanderpool), low-lifes from Todd’s old neighborhood who want to cash in on his sudden success.

That’s not to mention all the relatives who show up: unwed-mother cousins, jealous aunts, obese twin cousins, conspiracy-theorist uncles, and so forth. They even manage to find, somehow, a pair of black hillbillies, complete with dirty overalls and missing teeth. You have to admire a screenplay (this one is credited to three people, all first-timers, with the story attributed to three more) that will go to such great lengths to find new stereotypes to exploit, even if those stereotypes don’t exist in real life. (Black hillbillies? Please.)

Ultimately, the message here is about the importance of family, a quality often put in sharp focus in African-American films. Interesting how there are numerous jokes in this one at the expense of the unwed-mother cousin, a woman with as many baby daddies as she has babies. Is the film being hypocritical, touting family values while treating unwed motherhood so lightly? Or are the jokes meant to remind us of the tragedy that they mask, a sort of laugh-so-you-don’t-cry approach?

I’m sure I’m over-analyzing it, but when a comedy misfires as badly as this one does, I’m left with little else to think about. It’s curious how, in an early scene, it is a black reporter, not a white one, who mistakenly assumes Todd comes from a broken home in the ghetto, rather than a happy lower-middle-class one. Would it have been funnier if it had been a clueless white reporter making those assumptions? For that matter, might it have been funnier if Todd WERE from a broken ghetto home? Wouldn’t that make the contrast with his new-found wealth and stability even stronger? Did the filmmakers reject that path out of fear it might provide reinforcement for the negative stereotypes about black people that already exist?

Simply put, this is a movie that just doesn’t know how to construct comedy. They’ve got Tim Meadows playing a wannabe lawyer who goes on and on about how The Man is always keeping the black man down, and he makes sports analogies: In hockey, why is it a bunch of white guys slapping a BLACK puck around? And I think that sort of observation was probably funny, when it was Meadows’ “SNL” castmate Chris Rock doing it as Nat X, 13 years ago. Now that a character like this has been included in almost every black comedy since then, it’s amazingly unfunny.

I like Jenifer Lewis as Todd’s mother. She’s a strong, respectable presence in a movie that doesn’t deserve her. I enjoyed the scene where she competes for control of the kitchen with the two outrageously gay European chefs that Brittany hired: it’s “the Van Gogh of veal” versus “the Aretha Franklin of fried chicken,” as the butler puts it.

In all, there are a few chuckles scattered amidst the wreckage of the film, but more embarrassment over the tired, obvious gags. It’s not a black thing or a white thing; it’s an incompetent thing.

Paparazzi

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After “Paparazzi” flops at the box office, the USA Network should offer a few thousand for broadcast rights and slip it into their rotation of mediocre made-for-TV thrillers. I doubt anyone would notice that a theatrical release had somehow gotten into the mix.

Much has been made of the fact that this movie was directed by a Hollywood hairstylist named Paul Abascal instead of an experienced director, but believe me, the directing is only one of its problems. More significant, I would say, is the preposterous, laughable screenplay by Forrest Smith, also a first-timer. Even if Hitchcock had directed this, it would have turned out stupid. It just would have had cooler shots.

The film addresses a problem we have all dealt with at some point, the problem of tabloid photographers stalking us day and night and then causing an accident that almost kills our family. Who among us can claim not to have contemplated revenge at such times?

Bo Laramie (Cole Hauser), new Hollywood action star and family man, does more than contemplate revenge. He casually and at first somewhat accidentally enacts it! He is hassled first by Rex Harper (Tom Sizemore), a sleazy photographer who keeps taking pictures of Bo’s wife (Robin Tunney) and son (Blake Bryan) when they’re out in public. When Rex refuses to cease his intrusive behavior, Bo punches him in the face, which is exactly what Rex wanted, since he had three of his sleazy associates hiding in a van, capturing the whole thing.

One night not long after this event, the quartet of paparazzi — who all work for a magazine called “Paparazzi,” by the way, a magazine that can be found in newsracks on every street corner, next to the LA Times — are pursuing the Laramie family in their cars, leading to an auto accident in which the wife and son are badly injured. There’s no proof the photogs caused the wreck, so it’s up to Bo to seek revenge on his own, while a useless police detective (Dennis Farina) lurks in the fringes and acts like Columbo.

Rex Harper is a ridiculously unmotivated bad guy, the sort of character who would have been rejected immediately if Forrest Smith had shown him to his Screenwriting 101 professor first. A scene of Rex alone in his dimly lit den of surveillance equipment and film canisters has him saying, to no one, “Bo Laramie, I’m going to destroy your life, and I’m going to enjoy doing it!” I can understand the frustration celebrities must feel with paparazzi — that’s one thing Abascal conveys pretty well — but making your villain a one-dimensional portrait of pure evil (he’s abusive to women, too, of course) only makes the audience laugh at you. Paparazzi don’t set out to destroy people’s lives; it’s a by-product of what they DO set out for, which is to take provocative photos that will make money for them.

Now, Bo Laramie is not blameless, either. In the movie’s system of values, if people harass your family and cause them injury — but not death — you are allowed to track the offenders down and murder them. Most movies have a eye-for-an-eye system: Bad guys don’t get killed unless they kill first. But “Paparazzi” considers invasion of privacy and causing a non-fatal car accident worthy of death — and, alarmingly, we are never expected to question this philosophy. Bo isn’t presented as an anti-hero, or someone who’s gone off the deep end. In fact, the one time he directly kills someone himself (instead of merely arranging the death through creative means), it’s not even shown to us — probably because if it were shown, we’d start thinking, “Wait, why did this guy deserve to die, exactly?”

The real treat in this lame cheese-fest is Tom Sizemore. He seems to have studied under William Shatner, randomly shouting some words while whispering the words right next to them. His performance is unintentionally hilarious, and ups the film’s enjoyability factor considerably. The whole movie is bad — grandiose, over-the-top and ridiculous — but it’s amusingly bad.

Wicker Park

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“Wicker Park” shows the rarely seen negative aspects of stalking — the obsession, the lying, the breaking and entering and so forth. It’s about time Hollywood dealt with this subject matter!

This movie, truth be told, is a little more about obsession than stalking per se, but it has its fair share of the latter nonetheless. It stars Josh Hartnett, whose unibrow alarmingly grows and shrinks in size and magnitude from one scene to the next. This is particularly disturbing given how many tight close-ups of his face we are shown. Was there not a pair of tweezers on the set of “Wicker Park”? It is the unibrow that is most damaging to the film. Well, that and the plot.

The plot is that Hartnett’s character, a Chicago photographer named Matthew, is about to leave for a business trip in China when he thinks he sees his ex-girlfriend Lisa (Diane Kruger) in a restaurant. They were madly in love two years ago (shown in extensive flashbacks), and then she just disappeared, never to be heard from again. And now she is apparently back, if indeed she was ever gone, and if indeed it’s really her that he saw.

He drops everything and sets off in pursuit of her, following her trail to a hotel and then to an apartment. She does not live in the apartment, though; it is occupied by another woman with the same name. This new Lisa (Rose Byrne) is sympathetic to Matthew’s plight. She demonstrates this by sleeping with him.

The director, Paul McGuigan — experiencing diminishing returns after the stellar “Gangster No. 1” and so-so “The Reckoning” — has such an engaging way of telling stories, cutting back and forth in time, shifting points of view, replaying moments from different perspectives, that it’s a shame to see his skills put toward a movie with such a silly third act. He splits the screen, lets images blend into each other, fills every scene with mirrors and reflections — in short, gives viewers a visual treat, a very sophisticated-looking film that is belied by its subject matter.

The first 80 minutes are actually rather intriguing, tantalizing, even — why the random scene of Matthew’s friend Luke (Matthew Lillard) on a date with an actress? — as we wonder whether it was Lisa whom Matthew saw, and who this second Lisa is, and why Lisa was apparently seeing a married man. But then the mechanics of the plot go into overdrive, and the film’s serious tone (personified by the uber-serious Josh Hartnett) becomes a liability. The events are pure farce: Person A calls Person B to complain about Person C, unaware that Person C has just left Person B’s house and is attempting to call Person A at that very moment, and so on. It’s zany — but McGuigan doesn’t play it for laughs. He expects us to still be along for the ride in an emotional suspense-thriller, not to have transferred over to the train bound for Wackytown. He’d have been embarrassed, I’m sure, to witness the hoots of laughter from a recent screening audience that giggled when he probably thought the movie was being very serious. (And the laughs weren’t even coming from the critics’ row! Well, not at first.)

The film, written by Brandon Boyce (“Apt Pupil”), is based on the 1996 French movie “L’Appartement.” (It starred Monica Bellucci, which I suppose is why the restaurant that plays a pivotal role in the new film is called Bellucci’s.) I have not seen the original film, but I gather from various Internet writings that it had a different ending. I wonder if the remake did, too, at one point. The ending it has is what the audience wants to see happen, but you have to leave a lot of loose threads dangling to get there.

Warriors of Heaven and Earth (Chinese)

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If Quentin Tarantino is going to borrow from Asian cinema for his films, it’s only fair that Asia should return the favor. “Warriors of Heaven and Earth” is the film John Wayne would have made if he were Mandarin and alive. Chinese filmmaker Ping He takes all the elements of the classic Westerns — plains, badlands, mercenaries, bandits, honor, justice and horses — mixes them with Eastern spiritualism, and comes out with a film that is at least noteworthy, if not especially brilliant.

It’s set in the 8th century, when the Silk Road that linked the separate Buddhist kingdoms was the battleground for the various nomadic Turks that wanted control of it — or, more to the point, that wanted to rob everyone who traveled it. Sir Lai Xi (Kiichi Nakai), a taciturn, no-nonsense fellow, was sent by the emperor 25 years ago to keep the peace in a nearby region — the local sheriff, if you will, albeit with a sword instead of a gun — and for much of that time he has longed for his homeland. He writes letters to his mother regularly, promising he will return home as soon as he can.

He suspects his last assignment will be this one: Capture the fugitive known as the Butcher Li (Wen Jiang), on the lam on the Silk Road for many years but recently sighted again in these here parts. Li’s story is an interesting one: He was a soldier who went AWOL after refusing to execute a group of POWs consisting of women and children. He is, in other words, a good guy who is unfortunately now on the wrong side of the law.

All of this is irrelevant to Lai Xi, who, like Tommy Lee Jones in “The Fugitive,” doesn’t care whether Li is guilty or not. He only cares about doing his job, which in this case is to kill him. The demands of justice are, in this case, contradictory.

Li is helping a skittish soldier and a quiet monk transport sacred texts to the capital city when Lai Xi catches up with him. Realizing that if he kills Li now, the texts will surely not reach their destination safely, Lai Xi agrees to a temporary standoff with his quarry. Li, for his part, wants out of the business, too. He wants to retire to a farm with his friends, maybe find a wife. It’s exhausting work, running from the law.

The actual bad guy is Master An (Xueqi Wang), a mercenary who has been hired to stop the transport and take whatever it is they’re transporting. Why all the fuss over some dusty scrolls? Ah, but perhaps the cargo is something else entirely.

Even the desert scenery (photographed by Zhao Fei) and the musical score (by A.R. Rahman) evoke American Westerns. We get many close-ups of reluctant men’s faces as they prepare to reluctantly do battle. Neither Lai Xi nor Li talk much, which is fine, considering the dialogue is not the film’s strong point (neither was it with most Westerns, for that matter).

Ping He directs the many fight and battle sequences with ferocious energy; they are probably the film’s greatest asset.

The movie loses me near the end, when the Eastern spirituality becomes so strong as to be out of place with the straightforward sagebrush-and-swords mentality that typifies the film up to that point. Perhaps an Eastern viewer would identify with it enough not to be jarred by the transition from dust-opera to religious journey, but to these eyes, it just looks like a huge, weird tangent. Imagine the finale of “Raiders of the Lost Ark,” when everyone’s faces are melting, but even MORE paranormal. It’s cool, but not befitting the rest of the movie.

Sorry for Kung Fu (Serbo-Croation)

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As far as non-American film industries go, Croatia’s isn’t exactly Bollywood. The Internet Movie Database shows fewer than 600 films to come out of Croatia EVER, and many of those were straight-to-video or TV productions.

So you cut a little slack for a war-ravaged country where most of the citizens have more urgent things on their minds than making movies. But “Sorry for Kung Fu” (“Oprosti za kung fu”), the third feature from writer/director Ognjen Svilicic, requires more than a little slack. It’s slow-moving and feels padded, even at only 72 minutes.

It has some good ideas, though. It begins with the return of Mirjana (Daria Lorenci) to her remote Croatian village from Germany, where she has been staying during the recent military conflicts. Mirjana is under 25, unmarried … and pregnant.

Her parents, Jozo (Filip Rados) and Kate (Vera Zima), insist that rather than suffer the wagging tongues of their ultra-traditional neighbors, they will spread the story that Mirjana was married and subsequently widowed in Germany. (Being widowed isn’t quite as shameful, after all.) They also set out to marry her off as soon as possible, so that the baby will have a father.

The film is 40 minutes old before it reaches its real point: The baby is born, and the baby is Asian. Local tradition insists that Croats marry only other Croats. Now it is obvious to all observers that if Mirjana did have a husband in Germany, he certainly wasn’t Croatian. Jozo is furious and ashamed of his daughter.

Svilicic intends the film as a mild-mannered comedy, a sort of satire on traditional values and narrow-mindedness. Some of the fretting over Dad’s reaction to the baby is amusing in a sitcom kind of way, as far as it goes. But overall, the movie is languidly paced and not especially entertaining. The Croatian film industry apparently has a long way to go.

Lit Is for Kids

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While at the library, I noticed a book called “Mr. Peabody’s Apples,” written by Madonna. At first I assumed it was a dirty book, since it was written by Madonna and since it was called “Mr. Peabody’s Apples.” But upon immediate and fervent perusal, I discovered it was a children’s book, rather charmingly illustrated and telling a story about why you shouldn’t gossip. I wanted to tell Madonna that if she wouldn’t behave like such a freak, maybe people wouldn’t gossip about her, but maybe she wasn’t thinking of herself when she wrote it. Still, it seems odd that the main character was named Fladonna.

Just kidding. Anyway, Madonna is the latest in a dazzling parade of celebrities who have turned to writing children’s books as a means of expressing their creativity and fostering their burning desire to be extremely wealthy. Sometimes the books are pure whimsy and imagination, with no connection to real incidents, as when Dom Deluise wrote “Charlie the Caterpillar.” Other times, they are autobiographical, as when Dr. Seuss wrote “The Cat in the Hat.”

Look at some of the celebrities who have written children’s books: Carly Simon (“Amy the Dancing Bear”), Jerry Seinfeld (“Halloween”), Billy Crystal (“I Already Knew I Love You”), Prince Charles (“The Old Man of Lochnagar”), and Spike Lee (“Please, Baby, Please,” in which an energetic toddler is begged to please go back to sleep — not whatever you were thinking, perv).

It made me think of a cheap and easy comedy bit, where I would name celebrities and then make up titles for children’s books they might write. I think it might go something like this:

Paris Hilton: “Alice’s Adventures in Underpants”

But then I couldn’t think of any more.

Children’s books have changed somewhat since I was a child. I note that among the current popular titles, which I am not making up, are “Walter the Farting Dog” and “The Day My Butt Went Psycho.” (My friend Randy observed that he could write a book called “The Day My Butt Went Psycho,” based on his gastrointestinal experiences as a missionary in Argentina, but the stories would all end “… and then I had to burn the pants.”) Some of the other popular children’s books involve a character named Harry Potter, who is no Encyclopedia Brown, I can tell you!

I have to assume that writing children’s stories is easy, or else celebrities wouldn’t be doing it. I got a taste of it recently when I was visiting my friends Monty and Claire at just the time their children were going to bed. Their kids are Miles, age 6, who is smart and sedate, and Owen, age 4, who acts like he has bees in his head and the bees are crazy. They also have baby Phoebe, 18 months, who was conceived, tragically, when Monty and Claire were living in England, which means the dozen teeth she has now are probably all she’s getting.

Anyway, Miles and Owen wanted Uncle Eric to tell them a bedtime story, and I happily obliged. Claire told me they like their bedtime stories to center around pirates and, if possible, bubble gum. These seemed like reasonable demands; Nathaniel Hawthorne wrote “The Scarlet Letter” under precisely the same strictures. And if I’m not as able a storyteller as Nathaniel Hawthorne, then I don’t know what I am.

So I wove a fanciful tale of how three children named Miles, Owen and Phoebe were on a ship that was boarded by pirates, who turned out to be nice pirates who merely wanted help digging up treasure. I got a big laugh when I said this:

“So Miles said ‘OK’ and Owen said ‘OK’ and Phoebe didn’t say anything, because she can’t talk.”

BIG LAUGH, I tell you. Huge laughter from Miles and Owen. If I could write a stage show centered around that line, and fill the audience with 6- and 4-year-olds, I would kill every night.

The climax of the story was when the pirates and the children found the treasure, dug it up, and opened the chest to reveal — surprise! — bubble gum. This shocking turn of events delighted my audience as thoroughly as if I’d walked in and announced it was raining Spaghetti-O’s. They were giddy with amusement, as if they’d had NO IDEA bubble gum would enter the framework of the story, even though they’d heard their mother tell me up front that it should.

With children being this easy to please, it’s no wonder so many professional entertainers have tried it. Adults are fickle and hard to amuse, but kids sure aren’t. They also don’t judge you — they don’t care if you’re a stinky whore, Madonna, the way I do — they just listen to your story, and if it has pirates and bubble gum (or their equivalents), they respond enthusiastically. Which is why from now on, “Snide Remarks” will consist solely of knock-knock jokes and pictures of monkeys on rollerskates. GET USED TO IT!

Hero (Chinese)

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I hope the people who have been watching DVD or downloaded copies of Zhang Yimou’s martial arts film “Hero” will go see it on the big screen, too, once Miramax finally releases it in theaters. I sympathize with their impatience — Miramax has been sitting on it for two years for some reason, even though it’s been a huge hit overseas — but people who are already fans of “Hero” owe it to themselves to see it large and loud. So do people who have never heard of “Hero” but who love good film.

The film is a stunning achievement. Nearly every shot is beautiful, impossible, or both. I think of the scene in which two female warriors fight each other in the treetops, employing the same gravity-defying agility that made “Crouching Tiger, Hidden Dragon” so noteworthy. Not only is it spectacular to see them soar so gracefully, the special effects entirely seamless, but it’s awe-inspiring to behold the sheer beauty of the images: The women are dressed in gorgeous red, and the leaves that swirl and fall around them in improbable quantities are bright yellow. Projected on a screen 20 feet tall and 47 feet high, this is a breathtaking sight.

And that’s just one scene. Time and time again, Yimou and cinematographer Christopher Doyle (much-acclaimed for his previous work on Chinese action films) compose masterful shots. I don’t like to use snotty film-critic terms like “mise en scene” (meaning the way people and things are arranged within the frame), but the mise en scene in this film kicks butt.

The story is of the King of Qin (Daoming Chen), one of the several Chinese states that warred amongst themselves centuries ago before eventually becoming unified. Qin, a frequent target of assassination attempts by hitmen from other provinces, is now able to sleep easy for the first time in years: China’s top three assassins have been felled by one man, an enigmatic warrior called Nameless (Jet Li). The king shows his gratitude as Nameless tells the story of how he conquered Broken Sword (Tony Leung Chiu Wai), Flying Snow (Maggie Cheung) and Long Sky (Donnie Yen); he has brought each of their swords to the king as proof.

Yet there are discrepancies in his report, which the king points out, leading to the conclusion that Nameless is an unreliable narrator, and that substantial details have been omitted. We see both versions of the events, his account and the king’s suppositions.

The first fight, between Nameless and Long Sky, sets the tone. It is fast, clever, thrilling to watch and astonishing to contemplate. How they got some of these shots to look so real and un-manipulated, I’ll never know.

Some of the film’s ideas and symbolism won’t resonate with Western viewers as much as they do with Oriental ones. There are Eastern philosophies at work, as well as a respect for China’s turbulent history, whose full import a non-Chinese audience can only guess at. But you could ignore the plot altogether and still enjoy the film on a visual level. That it tells a story of nobleness, heroism and patriotism is just icing on the cake.

Yimou’s previous films have generally been more introspective and more obviously uplifting. I direct you to “Not One Less” and “The Road Home” as two heartwarming examples. “Hero” is largely a genre film, but it’s a good one, and it has elements of his past endeavors sprinkled throughout it. His next film, which just premiered at Cannes, is another martial-arts flick — but it’s called “Lovers.” If Yimou is setting out to be a thinking man’s kung fu director, I say more power to him. With “Hero,” he’s off to a fantastic start.

Anacondas: The Hunt for the Blood Orchid

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They’re calling “Anacondas: The Hunt for the Blood Orchid” a sequel to the 1997 hit “Anaconda,” but it’s not one. It has none of the same characters, it’s not the same snake, it’s set on a different continent, and it has a different director and writers. The only thing it has in common with the first film is subject matter, which means if this is a sequel to “Anaconda,” then “Deep Blue Sea” is a sequel to “Jaws.”

You can get depressed just looking at the cast. “Anaconda” had Jennifer Lopez, Ice Cube, Jon Voight, Owen Wilson and Eric Stoltz. The new film? Say hello to Morris Chestnut and nobody else.

Anyway, it is set in the rivers and jungles of Borneo, where a couple of entrepreneurs backed by a drug company are looking for the “blood orchid,” a type of flower said to have restorative powers — “a pharmaceutical equivalent to the fountain of youth,” says one character in a helpful bit of succinct exposition. This flower only blooms once every seven years, so the group must find and harvest it ASAP, even though it’s the rainy season and the rivers are very dangerous and there are enormous cartoon snakes swimming around (except they don’t know about the snakes yet).

You have your usual eclectic group of travelers. The mastermind is Gordon (Morris Chestnut), who engages in third-grade-level trash-talking with Gail (Salli Richardson-Whitfield), a humorless woman who represents the pharmaceutical company sponsoring the expedition. Gordon and Gail are destined to fall in love, of course, since they are the Black Characters (a third black character, whom we will discuss shortly, does not count, since he is the comic relief and is therefore not entitled to a love interest). There’s a medical doctor named Ben (Nicholas Gonzalez), Gordon’s British business partner Jack (Matthew Marsden), and a researcher named Samantha (KaDee Strickland).

The aforementioned comic relief is Cole (Eugene Byrd) the technical whiz, whose job is to annoy you by talking fast and too much and basically being Steppin Fetchit. “Are you tellin’ me there are snakes out there?!” he sputters, just one of many “Are you tellin’ me” questions he shouts at random intervals. At several points, I honestly expected him to say, “Feets, don’t fail me now!,” run in place for a few seconds and then speed off into the jungle. But he didn’t.

The group hires a mercenary boat captain, not unlike a Mr. Han Solo, who insists his vessel, though it may not look like much, has got it where it counts. His name is Bill (Johnny Messner), and he speaks in a manly grunt and says ponderous things like, “Everything gets eaten out here. It’s the jungle.” His first mate (or something) is Tran (Karl Yune), the only person resembling a Borneo local in the main cast. (Bill, though living and working in Borneo, is of course American so that the American characters and American audience can be interested in him. Who wants to look at an Indonesian person for 90 minutes?!)

Anyway, the eight travelers are soon set upon by a cartoon depicting a comically large snake. This cartoon follows the people around a lot and occasionally eats one of them. That is essentially what the movie is about, though it does also feature a scene of a snake chasing a monkey, which is more than I dared hope for.

The dialogue is obvious and melodramatic, the musical score emphasizes screechy strings and ominous-sounding brass, and the scares are perfunctory, mostly of the we-thought-it-was-the-snake-but-it-turns-out-it-was-just-a-monkey variety. The snake never looks even remotely like a real snake, not even for a second, nor are the effects good enough to convince me that the snake and the people are ever in the same shot at the same time. Of course, you can make a suspenseful movie like this with a small budget and fake-looking monsters — think of “Jaws” again — but then you’d have to deal with “characterization” and “skilled directing,” and why go to all that trouble?

The Brown Bunny

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Now that I’ve seen “The Brown Bunny,” I’m even more puzzled than before as to why Chloe Sevigny would agree to be in it. If he was being honest, this is all Vincent Gallo could have told her in his initial pitch:

“Hey, Chloe, I’ve got this movie that I wrote and that I’m going to direct, and there’s a perfect part for you! The movie’s gonna be really, really boring and pointless, with one scene after another of me driving a car and not saying anything, and it’s going to look really amateurish, and when the characters DO speak, their dialogue will sound contrived. So it will be a total waste of a film. And then, at the end, you come in and perform oral sex on me. And it won’t be faked; it will be you ACTUALLY performing oral sex on me. How’s that sound?”

And then for some reason Chloe Sevigny said yes. I have to assume her agent was not present.

Gallo plays a motorcycle racer named Bud Clay, a fact we learn when the film opens with two solid minutes of motorcycles driving around a racetrack, sans music, dialogue, opening credits or anything. (I’m told the Cannes version of this film, which was nearly 30 minutes longer, contained two MORE minutes of this.) After the race, he gets in his van and heads for California, apparently to see his girlfriend Daisy (Sevigny).

Bud has an unusual power over women. He convinces a gas station attendant to drive cross-country with him just by saying “please” a couple times (he then leaves without her while she’s packing), and at one point he stops at a rest area and makes out with a leathery woman who turns out to be Cheryl Tiegs, honest-to-goodness Cheryl Tiegs, who never says a word. Does he KNOW her? Or does he just walk up to strange women at rest stops and begin kissing them? You get the feeling Bud is the kind of man who could convince an attractive young actress to have sex with him in front of movie cameras. For example.

Anyway, he finally gets to California and reunites with Daisy for the sole purpose of berating her (she allegedly cheated on him), calling her filthy names, and getting a Lewinsky from her. This Bud is one charming fellow.

I gave it another chance:

8/10/2011: Re-Views: ‘The Brown Bunny’ (2004)

There is no craft here. Gallo, a bit-part actor and occasional director (“Buffalo ’66”), constructs “The Brown Bunny” so badly that it must have been intentional, though to what end I cannot imagine. He appears to have been imitating the low-budget indie films of an earlier era — I did occasionally think of “Easy Rider” — but without the underlying substance those movies usually had.

There is always either nothing happening, or else something is happening, but the camera is looking elsewhere. (The one exception is The Scene, when of course the camera makes sure to get right up close to the action.) Bud gets out of his van to go knock on someone’s door, for example, but the camera stays in the van, watching him from a distance. Or he’s driving, with the camera in the passenger seat watching him, but with most of his head cut out of the frame so we mostly just get the driver’s-side window. Many shots linger for several seconds after the subject has left the frame. There is almost no music. Bud hardly speaks. It is extraordinarily dull and tedious.

I must also mention Gallo’s hilariously bad acting in what is supposed to be Bud’s pivotal, emotional scene. He whimpers and mewls like a drama queen on the first day of acting school, making what is already an embarrassing moment — we just watched him violate Chloe Sevigny, after all — even more unwatchable.

What does it remind me of most? “Manos: The Hands of Fate,” the legendary film that the “Mystery Science Theater 3000” crew declared their most unbearable experiment ever. Both films were made cheap, look cheap, are badly framed, bubble with misogyny, and feature scene after endless scene of people driving.

The longer the film goes on, the more I hate it. If this is a “feature film,” then so are your old home movies, or videotapes from a convenience store’s security camera. You can praise it for being boldly deconstructionist, or for flouting the rules of cinema, or even for including a scene of hard-core pornography. But I denounce it for being the worst thing a movie can be: boring. It’s not just one scene; the whole movie blows.

Suspect Zero

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“Suspect Zero” has two good ideas, and it squanders them both. First it asks: What if there were a serial killer who followed no pattern whatsoever and thereby avoided detection? He could go on killing for years and never be caught, for without a pattern, the cops wouldn’t even know they were dealing with a serial killer. They’d think they just had a series of unrelated murders.

Second, the film asks: What if there were a person who experienced “remote vision,” where he could see things without actually being there? Why, this sort of supernatural power, harnessed for good, could solve all sorts of crimes.

The problem is that both good ideas are used in the same film, and the second one takes the zest out of the first one. (A serial killer who follows no pattern? No problem! We have this remote-vision guy who’s seen him commit the crimes!) The movie, directed with abrasive style-over-substance bombast by E. Elias Merhige (“Shadow of the Vampire”), doesn’t know where to focus. On this “suspect zero” who leaves no trail? On the guy with a psychic connection? On the disgraced FBI agent’s boring backstory? Where, movie? WHERE?!

Aaron Eckhart, whose face grows larger with each passing year, plays Thomas Mackelway, an FBI agent who screwed up something back in Dallas and has thus been sent to “the minors”: the Bureau’s Albuquerque field office. (To emphasize Albuquerque’s B-list status, Mackelway asks, “Is there a Starbucks?,” to which his new co-worker replies, “That’s a joke, right?” But I used to live in Provo, Utah, where literally 95 percent of the residents belong to a religion that prohibits the consumption of coffee, and even WE had a Starbucks. So I looked on the Internet and sure enough, there are eight Starbuckses in Albuquerque, including one about 10 blocks from the FBI field office. Yeah, I have a lot of time on my hands, but yeah, don’t make a joke about a city not having something that everyone knows ALL cities have. I’m just sayin’.)

Anyway, Mackelway is soon joined by Fran Kulok (Carrie-Anne Moss), a colleague from Dallas who got some of the stank from Mackelway’s misdeeds on her — but that whole thing is so underdeveloped, it’s hardly worth mentioning, except as an example of how underdeveloped the movie is.

ANYWAY, Mackelway starts getting weird faxes from someone named Benjamin O’Ryan (Ben Kingsley), whom we have already seen commit a murder. Simultaneously, O’Ryan is shown having odd episodes wherein he writes down series of numbers while hearing voices. We don’t know what it all means, but in the meantime, the bodies are piling up, Mackelway is haunted by his past, the boss keeps complaining that he’s a loose cannon and a maverick, and of course it all ends with two men fighting each other next to a cliff. Sigh.

Aaron Eckhart and Carrie-Anne Moss do more or less what you’d expect them to do in a situation like this, i.e., they act all intense and serious and secretly hope the movie turns out better than they suspect it will.

And Ben Kingsley: “Gandhi” was a long time ago, wasn’t it? A very, very long time ago. He does an American accent in this film, but only sort of, and only occasionally. He sounds like a strangled Irishman. But he commits to his strangled Irishness admirably — dedicated work from a great actor, always a professional no matter how senseless the material.

Zak Penn’s script is said to have circulated through Hollywood for several years before finally getting made, and I wonder how much damage was done to it in the process. It has a few clear-cut ideas that are garbled in the execution; maybe they were better on paper. Of course, Zak Penn also wrote “Inspector Gadget” (1999), so maybe this is how “Suspect Zero” was supposed to turn out in the first place.

Superbabies: Baby Geniuses 2

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The people who saw “Baby Geniuses” in 1999 and lived to tell about it should not see its sequel, “Superbabies: Baby Geniuses 2,” or they run the risk of incurring post-traumatic stress disorder. Whatever progress they have made to rebuild their shattered souls since then, via therapy or alcoholism, will be undone at the sight of more babies behaving even more unfunnily.

This is a film so thunderingly unfunny that it makes “White Chicks” look like “Blazing Saddles.” It’s like the time I saw “Battlefield Earth” and thought, “Surely this will be the worst film of the year” — and then along came “Blair Witch 2” to prove me wrong. Here I thought “White Chicks” would be impossible to beat for sheer wrong-headed stupidity, but I see now I was only wishing it were so. “Superbabies” couldn’t be worse if it had been written and produced by actual babies, and I mean babies who are retarded and who hate movies.

Continuing the concept introduced in the dreadful first film, “Superbabies” focuses on toddlers who, like all babies, have a language of their own that only they can understand. Adults hear it as babble; they (and the movie audience) hear it as regular English, complete with slang. (The Latina baby says, “I’m thirsty! Girl needs a drink!”)

The four central toddlers — Archie, Finkleman, Rosita and Alex — dwell at Archie’s parents’ daycare center, where they stumble onto a nefarious plot by German broadcaster Bill Biscane (Jon Voight) to air a television show that will control children’s minds. In their efforts to thwart him, they are aided by Kahuna (played by triplets Gerry, Leo and Myles Fitzgerald), a superhero permanently at the age of about 6 who has been battling Biscane for decades. Kahuna delivers a lot of superhero-style lines that have been given a kid flavor, such as “Why don’t you pick on someone half your size?” and “I’m a small fry with a big attitude!” Every time he speaks, a little part of me dies inside.

Archie’s parents are played by Vanessa Angel and Scott Baio (!). Their last name is Bobbins, but their daycare center is called Bobbin’s World, with the apostrophe in the wrong place (since their name is Bobbins, not Bobbin).

But if we’re going to go down that road — the road where we talk about sloppy, lazy filmmaking — then we’d better pack a lunch, because we’re going to be gone awhile. Either the filmmakers are stupid, or they think we are. How else to explain in one scene emphasizing that a hologram is just a projected image that cannot be touched, and in the next scene showing a hologram picking up one of the toddlers? Or a fight scene where a bad guy is kicked in the crotch — and thus rendered unconscious? (I have a crotch, and I’ve been kicked in it, and the effect is the very opposite of unconsciousness.)

More importantly, the movie’s fundamental conceit is never presented believably. Not only is it creepy to see babies talking, but it’s not even done well. The kids’ facial expressions rarely match what the dubbed-in voices are saying — “I’m really scared!” cries one of them, grinning — and even the older characters, who actually spoke their own lines, often don’t quite synch up with the audio. It’s as if the whole film was shot without sound so everything could be dubbed in later, in a hurry, without concern for whether they got it right.

You will be sorry to learn that the director is Bob Clark, who also gave us “A Christmas Story” and “Porky’s.” His best work is clearly behind him, and now he’s making movies with his eyes closed and his iPod turned up loud, not caring whether the thing makes any sense or earns a laugh.

I want to quote two lines of dialogue from Gregory Poppen’s laugh-free, excrementally bad screenplay. It is spoken by two of the toddlers, Rosita and Finkleman:

ROSITA: (yelling) I don’t have aggression issues, and don’t make me pound on you to prove it!
FINKLEMAN: OK, Mrs. Tyson, don’t bite my ear off!

As a writer, I am deeply offended that one of my fellow wordsmiths even THOUGHT of this, let alone typed it up and submitted it as part of a final draft. Rosita’s line is bad enough, so hoary and jokey that even the lamest of vaudeville comedians wouldn’t have used it. But Finkleman’s reply — a Mike Tyson ear-biting reference? In 2004?! I might allow such a thing if the context truly called for it, i.e., if a character were actually biting another character’s ear. But in this case, Rosita is only yelling. The appropriate response is, “Don’t bite my head off!” Gregory Poppen probably thought of that, then free-associated from “head” to “ear” to “Mike Tyson,” then thought, “That’s comedy gold!” If he thought the rest of his crap was funny, he probably thought that was, too. I wish he were here, so I could murder him.

A Fair to Remember

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Ah, the county fair! What’s more American than a county fair, brimming with local color, down-home entertainment and unsettling odors? The county fair — poor white-trash cousin to the state fair — has been at the forefront of my mind recently as I found it necessary to visit five different ones within the space of nine days. Please note that I do not recommend this, no matter how much you like corndogs.

I wasn’t there for the love of corndogs — though heaven help me, I do love corndogs — but because I was playing piano with a band called The Quinn Brothers. This band consists of two (2) Quinn brothers and me and occasionally a drummer, though we have learned not to rely on that. We play upbeat rock-ish sort of songs, comparable maybe to the Barenaked Ladies in terms of style and tone and physical unattractiveness.

The Quinn who gets things done, Ben, decided that he and his brother who just likes to have fun, Tom, should take their guitars and their songs and form a band around them. Many of their songs are indeed clever and/or catchy; certainly the public has embraced much worse music than theirs, probably even in the last 24 hours. And so Ben and Tom recruited me to play piano, thus both creating and fulfilling my dream of being a rock star.

In an attempt to rock as much of the free world as possible while retaining as little of our dignity as possible, Ben booked us “gigs” (that’s what rock stars call them, “gigs”) at five county fairs all over Utah. Now, we didn’t get any of the good counties, like Salt Lake County or Utah County, but B-list districts such as Tooele, Morgan, Sevier, Summit and San Juan. In every instance, I visited a town I’d never been to before and traveled to parts of the state I’d only seen on maps or sped past on the interstate. Having seen them up close, I now feel a little differently toward these small towns that I once looked down on. Now, I don’t even want to pass them on the interstate. I want to stay as far from them as possible. We’re talking about towns where the leading causes of death are getting gored by rodeo bulls, and rickets.

But I kid the tiny villages! There’s something charming about rural counties and their old-fashioned, everybody-having-a-good-time, let’s-have-some-ice-cream-and-look-at-the-hogs fairs. The folks who go seem to be simple, decent people who don’t let society tell them how to dress or cut their hair or pronounce words. At each fair, I noticed at least one person with a limb missing, and I have to assume those limbs were lost not due to carelessness, the way big-city folk lose their limbs, but in the process of doing humble, extremely dangerous labor somewhere.

Each of the fairs we visited was different, but only slightly, and the entertainment was all about the same. We even noticed some of the same names on the schedule from place to place, indicating we were not alone in our attempt to find fame via the county-fair circuit. The thing is, a county fair is not conducive to demonstrating any type of real talent. People who can really sing or really play an instrument probably need to be in an auditorium, not on a rickety makeshift stage under a tent in front of audiences who are only vaguely interested in you and who are, if you’ll pardon the generalization, well over 1,000 years old.

There are sometimes non-senior citizens watching the fairs’ entertainment, but our experience was that they were always there to see the next act, not us. The next act was usually one of those show choir ensembles where 14-year-old girls in tight-fitting spangly outfits dance cheesily while belting out medleys of showtunes. To me, there is almost nothing funnier in all the world than these groups. I kid you not, I could watch them all day. There are always two or three girls who can sing and dance very well, but they are surrounded by girls who can do neither but who are still young enough to be permitted to indulge in fantasies that are destined not to come true. You can’t tell a 14-year-old girl that she’s too chubby to be a dancer and too nasal to be a singer. You let her try anyway, and let her perform at the county fair in front of her parents and all the other girls’ parents, and hope she loses interest before she gets to the age where she would NEED to be told to knock it off.

Something we saw only at the San Juan County Fair (in Monticello, in the far southeastern corner of the state) was a man called Toot Toot the Karaoke Clown. Toot Toot is a portly gentleman who is also a clown who sets up a karaoke system at a booth so fair-goers can croon between mouthfuls of churros. Toot Toot himself does no actual performing; he merely aids and abets those who wish to.

I am not certain what drives a man to become a karaoke clown, given that everyone hates karaoke and everyone also hates clowns. Did Toot Toot sit in his mobile home thinking, “I don’t just want to be something people hate; I want to be TWO things people hate”? What other combinations did he consider before arriving at karaoke clown? Tax-collector mime? Redheaded Nazi? Telemarketer John Mayer? The mind reels at the possibilities.

As for us, we were received by our audiences with only mild hostility. Many audience members seemed to be old and angry, and we did our part to advance both conditions. Whether we embark next year on another county fair tour depends on how famous we get between now and then, and whether the fairs consent to our demand for free corndogs. What’s rock stardom without perks?

Benji: Off the Leash!

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Many dogs have played Benji over the years, and “Benji: Off the Leash!” is the fictionalized story of how the current canine got the job. Since the dog was found and adopted in Mississippi, that’s where the film is set, even though it was shot in Utah and even though no one in the film even attempts a Mississippi accent. I suppose they figured kids, whom the movie is meant for, wouldn’t notice or care, but kids don’t write movie reviews, do they?

This is a harmless, simple film, written and directed by Joe Camp, who has guided every Benji endeavor since the beginning, some 30 years ago. He is neither accomplished nor gifted as a filmmaker, and “Off the Leash” frequently seems disjointed, as if scenes have been edited together in random order and as if certain characters have been forgotten from time to time. But at the same time, the movie trots along amiably enough, and Benji’s sad dog eyes and shaggy demeanor are impossible not to adore.

Benji does not have a name for most of the movie; they just call him Puppy, the abandoned mixed-breed offspring of a dog owned by mean dog breeder named Hatchett (Chris Kendrick). Hatchett’s vaguely abused wife (Christy Summerhays) and young son Colby (Nick Whitaker) tiptoe around him while he throws bottles at walls and mistreats the dogs. Puppy is cast out, but Colby secretly cares for him in his tree fort in the woods, nourishing him by sneaking his mother out of her cage and out to the fort so she can nurse him.

Meanwhile, a dog with an exceptionally long tongue is abandoned on a country lane and is soon pursued by bumbling animal control officers (Randall Newsome and Duane Stephens) who frequently fall down and/or bump into each other. Puppy sets about finding a home for Lizard Tongue (as he is called), and then to rescuing his own mother, who is sick but uncared for by Hatchett.

The animals in this film behave the way we like to imagine they do. They solve problems, formulate plans, and hatch schemes, demonstrating more rational thinking skills than the animal control officers do, for example. The acting is generally under control – even the slapstick doesn’t go TOO far overboard – and elicits only mild eye-rolling. The movie is so earnest and sweet that to criticize it harshly would be like kicking a dog, and far be it from me to go there.

Mean Creek

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For all the movies that have been made about teenagers, and even about misguided teenagers with inattentive parents specifically, few have captured kids’ interpersonal relationships as insightfully and accurately as Jacob Estes’ debut feature “Mean Creek.”

There are six kids here, and they all relate to each other in different ways, representing numerous levels of the middle and high school pecking orders. It is Kid #1’s connection with the other five that is most critical to the story, but Estes doesn’t stop there. He also shows us how Kid #3 doesn’t quite fit with his buddies #4 and 5, and how Kid #2 and Kid #6 resent Kid #4, and so on. What we’ve got ourselves here is a microcosm.

Set in rural Oregon, the story begins with young Sam (Rory Culkin), a boy of about 12 who is tormented regularly by George (Joshua Peck), an overweight, obnoxious boy with no friends who has adopted the title of school bully for himself. Sam’s protective older brother Rocky (Trevor Morgan) learns of this and alerts his buddies, Marty (Scott Mechlowicz) and Clyde (Ryan Kelley). Marty, who leads the trio of older boys, devises a plan to get revenge on George, adhering to good-hearted Sam’s rule that “we want to hurt him without really hurting him.” Clyde, who won’t smoke pot and is often disregarded by Marty and Rocky, goes along with it because going along with things is what he does.

The plan — which we do not learn immediately — involves a river-rafting trip on a Saturday afternoon. George is invited on the pretense that, despite the torture, Sam actually likes him and wants to be friends. Sam’s soon-to-be girlfriend Millie (Carly Schroeder) comes along, too, to provide femininity and conscience.

Almost at once, we feel sorry for George. He simply wants to be liked, and when his forceful personality turns people off rather than winning them over, he resorts to brutality as a defense mechanism. Sam, guided by Millie, wants to call the humiliation plan off. But Marty — who has a brief but telling scene with his older, abusive brother (Brandon Williams) — is determined to go through with it. The heated discussion among the six kids on the river leads to unfortunate events with dire consequences, which I will not spoil for you here.

It is essentially a morality play, a melodrama designed to teach lessons and suggest proper courses of action. What makes it compelling, even frightening, is the realization that what’s “right” is so often contrary to human nature. The characters’ natural reactions are completely sympathetic and sometimes completely immoral, too.

I like all of the performances — Rory Culkin’s sweet Sam, Ryan Kelley’s meek Clyde, Scott Mechlowicz’s macho, insecure Marty, and so on. I’m not sure I believe everything that occurs in the film, but I definitely buy the way things turn out in the end. If this smart, psychologically suspenseful film is any indication, Jacob Estes is a new voice worth listening to.

Exorcist: The Beginning

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I’ll tell you the history of “Exorcist: The Beginning,” and you tell me if you’re surprised that it sucks.

Originally, John Frankenheimer was going to direct it, but he backed out and then died. He was replaced by Paul Schrader, a very talented screenwriter (“The Last Temptation of Christ,” “Raging Bull,” “Taxi Driver”) and a passable director (“American Gigolo,” “Auto Focus”). Schrader finished shooting and gave Morgan Creek Productions executives a screening, whereupon Morgan Creek fired him. In the words of the New York Post, his movie didn’t have “the bloody violence the backers had wanted.” Schrader had made a more psychological film; Morgan Creek wanted blood and gore.

So Renny Harlin, director of such crappy fare as the fourth “Nightmare on Elm Street” and “Cutthroat Island,” was hired to replace Schrader, and the film — pay attention here — was almost entirely reshot. (There’s some debate over how much of Schrader’s footage made it to the final version, but the estimates range from none to only about 10 percent.) They had a finished movie, and they scrapped it, rewrote the script, and started over.

At some point in there, an executive ought to have swallowed his pride and pulled the plug, because it should have been clear to any sentient being that the movie was failing at every turn. Sure enough, they got the gore they wanted, and sure enough, most of it is gratuitous and off-putting. It’s the kind of violence that makes you angry because you can tell the filmmaker put it in just because someone told him to, and not because it emerges organically from the story. For example, we must watch the same flashback of the same little girl getting shot in the head by Nazis three different times. Surely one image of a child being shot in the head is enough for any movie — but, then, “Exorcist: The Beginning” is a movie that likes to show children being traumatized. (Wait’ll you see one get ripped apart by hyenas!)

It is set in 1949 in Kenya, where archeologists have discovered a Christian church buried under the sand. They are alarmed because the church appears to date back to well before Christianity came to that part of Africa. (The year they give is A.D. 5, which was actually well before Christianity came to ANYWHERE, let alone Africa.) Lancaster Merrin (Stellan Skarsgard), a former Catholic priest who lost his faith during World War II and who is now an archeologist — and who, in his later years, would cast the devil out of Linda Blair in the original “Exorcist” — is called upon to search for a particular artifact in the church and, if possible, to determine how the heck the church got there in the first place.

Well, things in Kenya are already pretty creepy when Merrin gets there, and his “don’t call me ‘Father'” routine just adds surliness to the mix. Computer-generated images that are supposed to look like hyenas are roaming around the dig site even during the day, and the standard Odd Events are occurring right and left (crucifixes mysteriously turning upside-down, maggots everywhere, that sort of thing). A French priest (Patrick O’Kane) went mad after climbing down into the submerged church through the ceiling, and now a little boy named Joseph (Remy Sweeney) is behaving strangely in an all-too-familiar way. A young priest (James D’Arcy) is hanging around for atmospheric purposes, and there’s a pretty doctor (Izabella Sorupco) with whom Merrin would like to do his own exorcising, if you know what I mean.

What made the original “Exorcist” (and none of its sequels) work was that it focused our attention on something in particular: the devil, and his inhabitation of a little girl. This prequel makes the villain too vague. We know there’s something “evil” around, but we don’t know what it is, or whom it has possessed. There is no suspense over the fates of the characters because not only do we not care about them, we don’t know what they’re being threatened by, either.

Maybe money became a factor. I would imagine after spending $30 million to make a film, you get a little cheap when you decide to remake it. The afore-referenced hyena attack might have been horrific if the hyenas didn’t look so laughably fake, for example.

Harlin achieves a few moments of delicious creepiness early on, before we realize the story isn’t going anywhere. By the time we get to the real exorcising, it’s too late. We’re bored with, and as, hell.

Without a Paddle

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You don’t know the name Steven Brill, but you should. He’s the reason so many movies suck. He wrote “Ready to Rumble,” the atrocious David Arquette wrestling comedy from 2000, and he directed Adam Sandler in “Little Nicky” (which he also wrote) and “Mr. Deeds.” His latest crime against humanity is “Without a Paddle,” an unfunny, outrageously simple-minded adventure-comedy that irritates, offends and bores, all at once.

Check out the pedigree on this thing. Its absurd story is credited to three people: Fred Wolf (writer of “Dickie Roberts: Former Child Star,” “Joe Dirt,” “Dirty Work” and “Black Sheep”), Harris Goldberg (writer of “The Master of Disguise” and “Deuce Bigalow: Male Gigolo”) and Tom Nursall (writer of nothing you’d care about). Then the actual screenplay is by Jay Leggett and Mitch Rouse, who co-wrote (with Rouse directing) “Employee of the Month,” one of the worst films to play at the Sundance Film Festival this year, or any year.

Anyway, everyone continues to do lousy work here, and they drag the usually enjoyable Seth Green and the potentially enjoyable Dax Shepard down with them. (Matthew Lillard, who rounds out the cast: Eh, this seems about right for him.) The three play lifelong friends who, upon the death of their fourth friend, decide they must, in his honor, embark on an Oregon river trip to find the lost treasure of D.B. Cooper (the man who parachuted out of a hijacked plane with a huge pile of stolen cash in 1971). Seems the late Billy had been compiling evidence and folklore up until his death, and had worked up a map that he thought would lead right to Cooper’s landing point. What better way to celebrate the memory of a dead friend than to discover an old felon’s stash?

A river trip through rural territory naturally means many (too many) references to “Deliverance,” and “Without a Paddle” meets expectations in that regard. The rest of their adventures are typical of outdoor comedies. There’s a lame encounter with a bear, who swallows their cell phone and later poops it out; run-ins with hillbillies and hunters; and a devastatingly tasteless scene with two gorgeous tree-hugger girls who keep their feces in brown lunch bags, which they subsequently drop on the heads of the redneck bad guys who are chasing the three friends.

Yes, this is the kind of movie where the centerpiece scene involves dropping poop on people’s heads. If that doesn’t discourage you from seeing it, I can’t imagine anything else I can tell you will.

Shepard’s character is named Tom, and he’s the crazy, irresponsible friend. Green is Dan, the uptight businessman who needs to cut loose and have fun more often. Lillard is Jerry, the professional with the suffocating girlfriend whom he learns to appreciate in the movie’s most inane, unnecessary subplot. You are the viewer, pummeled with tired jokes and zany situations, bored by yet another dreadful comedy.

Bright Young Things

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I have not read Evelyn Waugh’s novel “Vile Bodies,” on which the film “Bright Young Things” is based, but seeing the movie makes me think the book must be excellent. The film is a droll Jazz-Age satire of London’s privileged, useless young people, with some sparkling wit and clever plotting. It does not showcase any of those qualities enough for it to be a fantastic movie, but it is a good one, and it gives the impression that it comes from stellar material.

It is set in the 1930s, when England was between wars and the monied younger generation lived from one party to the next. The film, adapted and directed by British actor Stephen Fry, depicts these parties as wildly debauched, throbbing with cocaine, sex and alcohol, and attended by people who have titles like Lord and Lady and Earl and whatnot, but who don’t do anything with them.

The escapades of this crowd — these bright young things, if you will — are chronicled daily in the newspapers’ gossip columns, notably by someone called “the Chatterbox” in the Daily Excess (a fantastic name for a newspaper, to be sure). When the Chatterbox job becomes vacant after a fabulous bit of libeling, struggling young writer Adam Fenwick-Symes (Stephen Campbell Moore) is hired by Lord Monomark (Dan Aykroyd), the Canadian millionaire who currently runs the Excess.

Adam wrote a novel that was confiscated by customs officials, and he’s been trying to earn enough money to get married — not because his beloved, Nina Blount (Emily Mortimer), insists he be rich, but because their society does. The wedding keeps being postponed as Adam’s financial situation goes from one fortune or misfortune to the next.

The comings and goings of the idle rich are amusing to behold, particularly as we are able to look down on them for being so shallow and purposeless. That said, Adam’s eventual disgust with the lifestyle feels just as superficial, not to mention obligatory: It is the lone character arc in a film whose characters pride themselves on never arcing.

Stephen Fry starred in the 1997 film “Wilde,” so it is not surprising that “Bright Young Things” often feels like an Oscar Wilde play, and even has some plot points that resemble Oscar Wilde’s life. I liked this film, but it’s a hard one to peg. Its social satire is not, in the aggregate, strong or biting enough to make it a complete success in that department, and the characters — even the leads — certainly aren’t well-drawn enough to be an effective story, you know, like with a point and everything. It feels somewhere in the middle, with many spirited performances and lively supporting characters, but ultimately as purposeless as the characters themselves.

Almost Peaceful (French)

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The French film translated and abbreviated “Almost Peaceful” is actually titled “Un monde presque paisible,” or “A World Almost Peaceful.” It’s based on a novel called “Quoi de neuf sur la guerre?” (“What’s New About the War?”). These titles suggest, as the film does, that the cessation of war does not automatically mean that peace will break out.

Set in Paris in 1946, this gentle, loving drama takes place mostly in a small tailor’s shop of mostly Jewish employees. Albert (Simon Abkarian), the owner, successfully hid from the Nazis with his wife, Lea (Zabou Breitman), and their two children, who are now away at summer camp with other children of the war, attempting to recapture a sense of normalcy. Albert is self-effacing and jovial, even making jokes in reference to the Holocaust that only a Jew who lived through it could make. (Indeed, any gentiles within hearing are shocked to hear humor so soon after the tragedy.)

He and Lea employ another married couple, Leon (Vincent Elbaz) and Jacqueline (Lubna Azabal), parents of a toddler with a baby on the way. There is also Miss Andrée (Julie Gayet), a pretty young non-Jewish woman, and Charles (Denis Podalydes), a heartbreakingly sad man whose wife and children never returned from the concentration camps, though he constantly, futilely, remains vigilant in watching for their return.

Into this shop come two young new employees. Maurice (Stanislas Merhar) is in his 20s and spends his evenings in the company of prostitutes. Joseph (Malik Zidi), 19, is fresh-faced and innocent, and utterly inept in the art of tailoring. After he goes home at night, the other cutters and seamstresses redo his work, too kind to send an eager fellow like him to the unemployment lines for so minor an offense as being incompetent.

That is the general attitude in this shop, a place of tranquility after years of foreign occupation and genocide. Conflicts among employees are infrequent; their personal dramas take place mostly outside of work as they attempt to regain their footing in their brave new world. There may still be Nazi-sympathizing fascists in town, as Leon and Charles discover one night at a bar, but the tailor shop is a place for friendly conversation and camaraderie, period.

The film, adapted by husband-and-wife team Michel Deville and Rosalinde Deville and directed by Michel, occasionally resembles a soap opera, albeit it one with more sympathetic characters and better music. (Spry, hopeful-sounding works by classical composer Giovanni Bottesini dominate the soundtrack.) Albert and Miss Andrée enjoy a platonic dinner one evening that almost leads to flirtation; Lea is lonely and finds solace in talking to the similarly melancholy Charles; Maurice and Simone (Clotilde Courau), his favorite hooker, become an actual romantic couple; Joseph wants to be a writer and confronts the Inspector who arrested his parents during the Nazi occupation. These events are all enacted tentatively, the participants fearful of hoping for too much happiness too soon, and while not every subplot really connects, most are at least passably engaging. The scene between Lea and Charles is particularly effective.

Everything culminates in a visit to the French countryside to collect Albert and Lea’s children at an end-of-summer-camp picnic and party. All the central characters attend, and the combination of happy plot resolutions, spring-like classical music and beautiful scenery put a pleasant cap on a very humane, moving film.

Ask Eric Stuff 15

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Sweet Odin’s raven! It’s time for the 15th semi-annual bi-monthly edition of “Ask Eric Stuff,” a weekly feature wherein people ask Eric stuff and he answers them, at least once every six months.

If you want to submit your own questions as possible fodder, send them here. Please note that due to the volume of the questions submitted, Eric’s neighbors have been complaining, especially when he reads them late at night.

Dear Eric: I have been working out a lot lately. How much muscle mass should I put on before I can start shaving my chest? — Muscle-bound in Montana
Dear Muscle: However much it takes for you to become gay.

Dear Eric: Who should I vote for in 2004? — Third Party Curious
Dear Three-Part: Ah, don’t worry about it. 2004 is still a long way off.

Dear Eric: I’m always the one to clean the bathroom in our apartment. Even if I don’t do it for a really long time, my roommates never clean in there. How can I get them to do their share of bathroom cleaning? — The Maid in Apt. 114
Arrr, Maidy: If you stop using the bathroom, it won’t matter to you that it’s messy. Start using the kitchen sink for your bathroom necessities, and when a roommate questions the practice, tell her it was the only clean receptacle in the apartment. If you need to pee on her directly to get the point across, well, I would not try to dissuade you.

Dear Eric: Really, what is a “logarithm,” and why are they used? — Hate Higher Math
Dear High: A logarithm is what lumber mills use to make sure the logs are entering the factory at a steady rate. I don’t know what it has to do with math, except maybe some of the logs will be made into pencils.

Dear Eric: Whatever happened to Jared, the Subway commercial guy? — Sabrina from Savage
Dear Savagery: He’s just released a documentary where he eats at Subway three times a day for 30 days, causing him to gradually become an irritating commercial spokesman.

Dear Eric: Several years ago, I dropped out of BYU before graduating. I am now contemplating getting a General Education degree via Independent Study. Should I do it, and would it be worth anything in the job market? — Got My MRS Instead
Dear MRS: Thinking of going back to school, eh? It’s only been “several years,” and already your children are grown, your house is immaculate and your husband doesn’t need dinner on the table when he comes home? Please share your housewifery techniques with the rest of the good sisters who read this column, for I’m sure they would be delighted to know them!

Dear Eric: How do I get my new little kitty to stop clawing his way up the couch? He’s starting to wreck it. — Frayed Nerves and Couch
Dear Frayedy Cat: Animal experts have long known the way to get cats to stop clawing things. First, you need to catch him in the act. When you do, hold him gently but firmly by the neck in your right hand. Then, with your left hand, pull his head off.

Dear Eric: Is it OK to have blond hair and really dark eyebrows? — Bottle Blonde
Dear Blondie: Only if you are a hyena.

Dear Eric: Why don’t books have ratings like movies do? I find it hard to tell which books have inappropriate content. — Righteous in Raleigh
Dear Raleigh and Truly: It’s easy to tell which books have inappropriate content. Just start reading one. When you come to a swear word, STOP! It’s inappropriate.

Dear Eric: My baby won’t stop crying when I put her to bed. How do I get her to go to sleep quietly? — Deaf in Salt Lake
Dear Deafy: Just a wee bit of liquor, such as wine or sherry, placed carefully on the tongue, will make you forget about that screaming baby, if you drink enough of it.

Dear Eric: If bats are blind, why do they have eyes? — Curious in My Chair
Dear Curio: If no one wants to date ugly people, why do they have phone numbers? Seriously, I’m asking. Why? Do you know?

Dear Eric: Did anyone ever tell you that you look a lot like Clay Aiken? — Kristen
Dear “Kristen”: No, but that’s probably because I DON’T. Judge for yourself:

Clay Aiken

Clay Aiken
Eric D. Snider

Eric D. Snider

Alien vs. Predator

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The words “alien” and “predator” are never used in the film “Alien vs. Predator,” and in fact both of the headlining monsters could be described with either term. The only way you know which is the “alien” and which is the “predator” is that you’ve seen the movies that bore those titles and are thus familiar with each creature’s modus operandi: The “alien” is the phlegmy, reptilian thing that used to terrorize Sigourney Weaver in outer space, while the “predator” is a dreadlocked humanoid that used to terrorize Arnold Schwarzenegger or Danny Glover on Earth.

Apparently, they also terrorize each other — though we do not see this first-hand until 53 minutes into the film — and are unconcerned about incurring collateral damage in the form of any humans who happen to be nearby. You may be assured that in “Alien vs. Predator,” many humans are dispatched, in approximately the same order they usually go in slasher films (nameless characters first, then mean characters, then people we like, and so forth), which is essentially what this is.

The setting is an especially remote part of Antarctica, where ailing billionaire Charles Weyland (Lance Henriksen) has brought a crack team of experts, guides and scientists to investigate something his satellites spotted 2,000 feet below the ice: a pyramid. Alexa Woods (Sanaa Lathan), who was ice-climbing in Nepal when she got the call, says it’s too dangerous for them to go exploring without proper training, but Weyland urges them forward anyway, for fear some other satellite-owning entity will be tipped off and get there first.

Like the crews in movies such as “Armageddon,” “The Core” and Disney’s “Atlantis,” this crew is an eclectic mix of different personality types and accents, including a Scottish family man (Ewen Bremner), a hunky Italian archeologist (Sebastian de Rosa) and a gruff American oil driller (Carsten Norgaard). These are not “characters,” exactly, but types, and I’m puzzled why the film spends so much time with them before showing us the real action. I always marvel at such wrong-headedness in these movies: Haven’t the filmmakers seen movies like this before and wished, as their audience does now, that they would just get on with it?

The director and writer is Paul W.S. Anderson, maker of such overwrought, over-violent fare as “Mortal Kombat,” “Soldier” and “Resident Evil.” His fondness for the “Alien” franchise and the two “Predator” films seems to stretch only as far as it suits him, as he ignores their respective mythologies whenever he pleases and writes new history for them both. Viewers with only a passing knowledge of either series, though, may find the tying-together of the monsters’ stories to be perfectly reasonable.

Anderson was apparently hampered by 20th Century Fox’s request that the film be PG-13 (despite all of the “Alien” and “Predator” films having been R), meaning he couldn’t be as graphic as he wanted to be, and as many of the fans wanted him to be. Perhaps he doesn’t know how to make a PG-13 film (it’s only his second one, out of the six he’s done). In several instances, a scenario is set up but not finished, or an outcome is implied but not directly resolved, simply because Anderson couldn’t show what he wanted. It’s sloppy.

All of which is sort of beside the point, because what you REALLY want to know is, are the action scenes fun? And they are, mostly. Realizing that only one species can win, the surviving humans pick the favored monster and form an alliance with it that is surreally funny, probably more so than the film intended. That leads to a last act that is, if not clever or original, at least peppy. Most of the film is good enough that way: dumb, but not boring.

Yu-Gi-Oh!: The Movie

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If I understand “Yu-Gi-Oh! The Movie” correctly — and there is every chance I do not — it is about a card game featuring imaginary monsters and warriors that somehow, in this instance, summons ACTUAL evil beings that threaten mankind. Why would you make a movie that tells kids that their innocent card game might, under the right circumstances, result in their death? Where’s the fun in that?

This is one of the most incomprehensible films I’ve seen in a while, though I suspect kids who play the Yu-Gi-Oh! card game in real life will understand it perfectly. Dubbed from Japanese, the dialogue is the usual combination of awkwardly translated bluster (“Make all the smug pronouncements you want!”), important-sounding declarations (“Shadow Creatures, be gone! I command you!”) and whacked-out insanity (“You may have destroyed my clown, but you forgot about my deck virus trap card!”). Nearly every line, out of context, is hilarious. In context, it’s impressive just how boring the film is.

In the prologue, a boy named Yugi Moto (voice of Dan Green) completes something called the Millennium Puzzle at the same time that archeologists in Egypt awaken the evil spirit Anubis, who was apparently defeated a long time ago by a different incarnation of Yugi Moto. Somehow completing the puzzle makes Yugi a master with the card game (which they don’t call “Yu-Gi-Oh!” in the movie), and he becomes world-famous for his prowess.

Then there’s another kid named Kaiba (Eric Stuart) who is jealous and wants to defeat Yugi and take his three Egyptian God cards, which are what he uses to win every game. So Kaiba visits the game’s creator, Pegasus (Darren Dunstan), a swishy millionaire who has some secret card that can defeat even the invincible Egyptian God cards, if you can imagine.

And then somehow Anubis gets unleashed and sort of takes possession of Kaiba, and there’s trouble for Yugi and his friends, I think. It’s hard to be sure, it’s all so frenetic and obscure and unreasonable. The film’s main purpose seems to be to give kids game-playing tips — combinations of cards that can defeat other combinations of cards, when to hold ’em, when to fold ’em, that sort of thing. Watching it is vaguely like watching someone explain how to play poker when you have never played it and in fact have no intention of ever playing it.

I’ll Sleep When I’m Dead

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Were it not for our foreknowledge of the culprit’s identity, most of “I’ll Sleep When I’m Dead” would play like a British version of “Law & Order: Special Victims Unit.” You got your sex crime, your medical examiner’s report of forensic evidence, a psychologist’s expert opinion on the characteristics of the bad guy — all makings of a super-swell episode of America’s creepiest TV show!

Except “I’ll Sleep When I’m Dead” has a vigilante, not detectives, pursuing justice, and it’s boring, which “SVU” usually isn’t. Written by Trevor Preston and directed by Mike Hodges (“Croupier”), it’s absolutely nothing more than a simple revenge story, with nary a twist or innovation. A crime is committed, the perpetrator’s identity is discovered, revenge is sought. The end. I didn’t miss a minute of it, but I could swear the movie is missing a subplot, or a key scene, or SOMETHING that would explain why we ought to consider it anything more than the bafflingly plain underworld-justice flick it appears to be.

At first, we meet several different people, unsure how they connect. At times, we’re not even sure what they’re each doing individually, let alone how whatever they’re doing influences the others. Davey (Jonathan Rhys-Meyers) is a low-level drug dealer who somehow runs afoul of Boad (Malcolm McDowell), a more high-powered, tuxedoed drug dealer and all-around bad guy. His brother, Will (Clive Owen), formerly a tough guy and now a logger (what?), is reluctant to re-enter the world of vengeance and gunplay, but may be obligated to do so. Then there are some other men, mostly in suits, who drive around in cars and I’m not sure how they’re involved. The whole thing takes place at night, pretty much.

I’ll give it this: It has style. Set in the jazz-scored seedy underground of London, the film oozes with coolness, even if it doesn’t have anything to back it up.

We Don’t Live Here Anymore

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If you’ve often thought you’d like to see four respectable actors scream at each other for 90 minutes, have I got a film for you! “We Don’t Live Here Anymore” offers that and little else, forcing its actors — good actors, the whole lot of them — to engage in such melodramatic behavior that you begin to feel sorry for them. Not for the characters, who are all selfish and unlikable, but for the actors who had to play them.

The Lindens, Jack (Mark Ruffalo) and Terry (Laura Dern), are friends with the Evanses, Hank (Peter Krause) and Edith (Naomi Watts). Jack and Hank are best friends, both writing professors at some rustic university in some rustic town where it seems like writing professors would live. They have much in common, including a fondness for beer and jogging. Also, each craves the other’s wife.

Jack has succeeded in bedding Edith, and their well-orchestrated affair has lasted for some time now. Terry suspects her husband is sleeping with Edith, but Hank seems to have no idea he’s being cuckolded, being too busy flirting with Terry instead.

Perhaps already, without even seeing the film, you are detecting what’s wrong with it. It’s about four yuppies who are never happy with what they have and who complain and argue all the time. The premise fails the “Why would anyone want to watch this?” test.

If the four greatest living actors were in the lead roles, and if the greatest living director were in charge, and if the greatest living screenwriter had penned the script, then MAYBE the premise would work. But these actors are merely very good, and the director, John Curran, is not adept enough to wrangle Larry Gross’ over-dramatic script into something palatable.

Curran does achieve a certain artfulness, though, particularly in the first half of the film, before the realization settles in that the story isn’t going anywhere. He seems to believe the film has more to say than it does, and he directs it with soberness and passion. It is a wasted effort, though; the film is nothing more than a series of scenes set in darkened rooms in which grownups argue with and lie to each other. It is a Lifetime movie, only with a better cast.

Movin’ On Up

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I recently moved to Salt Lake City after living in Provo and Orem for nine years. You can imagine the thrill when my paperwork was approved and I received my exit visa. It would be the start of a new life for me!

It was never my intention that I, a California-raised lad, become a Utahn at all, much less a resident of Utah County. But that’s where BYU was, and where my post-graduation job was, and so Utah County became my home. Most of my college friends moved away to exciting locales such as Portland and Tampa, but I remained, hamstrung by the need for gainful, full-time employment.

Well, eff that. When the job ended, I had no reason to stay in the barren, nerdy wasteland of Utah Valley, so I moved here to your fine city — make that OUR fine city — known among hip individuals as The SLC. I have been to places that were more cosmopolitan, more culturally rich and more exciting than The SLC, but compared to the sleepy tranquility of Orem, Salt Lake is a crack-fueled 24-hour rock-star party with hookers.

I noted first that The SLC has crazy people wandering its streets. Honest-to-goodness actual CRAZY people. In Utah Valley, they are all either locked up or elected, and in either case kept away from the general public.

We also have smokers up here. Down south, you had to stand outside Denny’s if you wanted to meet a smoker. I don’t smoke, and I don’t like being around people when they are smoking, but somehow the fact that smokers are present excites me, as it reminds me of the fascinating diversity of truly huge cities like Austin and Spokane.

I have also, while walking the streets of The SLC, encountered African-Americans.

I am also smitten with The SLC’s downtown, where I live. I know there has been much hand-wringing about the supposed demise of downtown, and I suppose the many deserted, hobo-occupied buildings indicate it’s not as thriving as it once was. But I like it. I’m within walking distance of the library, two movie theaters, dozens of restaurants, and, when I feel like gazing at items I cannot possibly afford to buy, the Gateway. It’s not New York, but it might be Knoxville or Boulder.

Of course, though I have left Utah Valley never to return, I must admit even the most desolate, taste-forsaken places have their advantages. I have come up with two ways that The UV beats The SLC:

1) The Carl’s Jr. near my home in Orem was very good about asking, “Ketchup or fry sauce?” when handing over your order at the drive-thru window. The one in The SLC doesn’t do this, and twice I have driven away without remembering to request fry sauce and have had to either double back or curse Carl and his progeny as I drive home sauceless and forlorn.

2) Ninety-five percent of the people in Utah Valley are LDS, which makes it easy: You can assume pretty much everyone you encounter is Mormon, and speak accordingly. In The SLC, the numbers are about evenly mixed, which means it’s a crapshoot whether terms like “patriarchal blessing” and “ignernt” can be used effectively in communication. It’s also a crapshoot whether you can get away with words like “crapshoot.”

But on the whole, The SLC beats the unflattering knee-length shorts off Utah Valley in every conceivable way. It may not be THE place, but it’s certainly A place. And now it’s my place.

The Princess Diaries 2: Royal Engagement

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To watch “The Princess Diaries 2: Royal Engagement,” you should be required not just to have seen its predecessor, but to have LOVED it. Merely having liked it will not be sufficient to carry you through the less-focused, more-useless sequel, and if your disinterest in the subject prevented you from seeing the first film altogether, then surely you have not had a change of heart in the intervening years, unless you have suddenly became a 13-year-old girl.

This is young-girl wish-fulfillment, nothing more than harmless, vicarious fairy-tale living. The 12-to-14-year-old girls who watch it will get to see their representative — Anne Hathaway, returning as Mia Thermopolis, the dowdy teen who discovered she was a princess — kiss cute boys, get treated like royalty, have a wild slumber party, wear beautiful dresses, and have a storybook wedding. The only way the movie could pander more directly to its target audience is if free ponies were being given out at the theater.

It’s been five years, and Mia has just graduated from college and is preparing to take on full-time duties as princess of Genovia, the fictional Swiss-Italio-Franco sovereignty where her grandmother, Clarisse Renaldi (Julie Andrews), reigns. Grandma is stepping down soon for reasons not given (perhaps Genovia’s royalty has a mandatory retirement age), and Mia will take over.

But there’s a snag: Conniving Viscount Mabrey (John Rhys-Davies, in a rare non-troll performance), a member of parliament, points out the little-known and never-enforced and highly implausible rule that any reigning queen of Genovia must be married before she can take the throne. Whom does Mabrey suggest as the alternate successor, since Mia is single? Why, his nephew Sir Nicholas (Chris Pine), of course.

Parliament gives Mia 30 days to get married or forfeit the kingdom to Sir Nicholas. This means we must endure a montage of Mia encountering a variety of ill-suited suitors, including all the obvious ones that you could think of if you were writing this movie, including very old men, very young men, and very dorky men. (Shonda Rhimes, who actually did write the movie — and the Britney Spears film “Crossroads” before it — wins the prize for including, yes, EVERY obvious joke that the average viewer could have come up with herself.)

She settles on the bland Andrew (Callum Blue), Duke of Kentworthy, even though she’s not in love with him, while Nicholas and his uncle seek to sabotage the engagement and prevent the wedding. Mia and Nicholas, being rivals, naturally must fall in love, and once they do, I have to wonder why they don’t just marry each other. Cuz that sure would have gotten the movie over faster.

But never mind. Almost the entire cast from the first film is back, including characters who have no purpose in the new story. This includes Mia’s mother, stepfather and best friend, as well as the “hilarious” hairdresser Paolo (Larry Miller), all of whom sort of stand around the movie with their hands in their pockets waiting for someone to give them something to do.

In fact, this movie is so intent on going nowhere that it actually introduces NEW characters JUST to give them nothing to do! There’s an over-eager young intern training to be head of security, a few new friends for Mia (including one played by Raven-Simone), and Tom Poston — good ol’ Tom Poston, evidently in dire need of work — as a befuddled old Lord, all shoved into the movie and then forgotten.

The director is once again Garry Marshall, and Garry Marshall once again never shot a scene he didn’t like. Even with a running time pushing two hours — lengthy for a kids’ movie — he can’t bear to part with anything. Not the silly slumber party, not the sequence at Mia’s college graduation, nothing. Every last shamelessly slapstick morsel is wedged in here.

Marshall does achieve something noteworthy, though: He has Julie Andrews sing, the first full-fledged public singing she’s done since her ill-fated throat operation in 1997. (She’s done half-singing, half-talking performances a few times since then, but not a complete, honest-to-goodness song.) Her voice, though no longer as rangy as it once was, is still crisp and beautiful. Naturally, Marshall has to ruin it by bringing Raven-Simone in to duet the last half with her; after all, the movie’s audience doesn’t know or care about Julie Andrews. But I bet they’ll be thrilled with Raven!!!!!!!!

Andrews and Hector Elizondo are the highlights of the film, as they were of its predecessor, with Elizondo playing Clarisse’s head of security and secret boyfriend. They are elegant together, and funny.

Anne Hathaway still isn’t doin’ it for me. Put her in all the movies you want, Hollywood, I still don’t think she’s as pretty as I’m supposed to, and the fact that she keeps choosing dumb movies like this one and “Ella Enchanted” doesn’t make her seem any less ordinary to me.

Danny Deckchair

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We Yanks have enjoyed quite a few daffy Australian comedies over the years, and I think part of the reason is that, in addition to being so sunny, they’re also usually free of any social importance. “Muriel’s Wedding,” “The Dish,” “The Castle” and “My Myself I,” to name a few, are upbeat, often with sly dark comedy lurking in the fringes, and none of them care too much about making a point.

“Danny Deckchair,” on the other hand, combines Australia’s laid-back attitude with Hollywood’s penchant for ham-fisted moralizing. In America, it’s not enough that the characters enjoy a wacky adventure; they have to LEARN something, too. I liked it when Australian comedies offered a reprieve from this, but oh well. “Danny Deckchair” is generally funny enough to make sitting through its predictable, half-hearted attempts at lesson-learning tolerable.

Danny (Rhys Ifans) is an easily distracted, mildly competent Sydney construction worker with a bossy live-in girlfriend named Trudy (Justine Clarke) and a lot of good mates. But Danny gets bored easily, and when he’s bored, he hatches unusual schemes — like the time he made a slingshot big enough to launch a person, and then launched a person.

This time, sullen over Trudy’s nixing of his vacation plans and also over her flirtation with unctuous TV anchorperson Sandy Upman (Rhys Muldoon), Danny affixes several dozen helium balloons to a lawnchair (or “deckchair,” as they apparently call it down there) and rockets upward into the summer sky. He is quickly gone from sight, and Trudy and his friends — and soon the whole country, via TV coverage — are abuzz with speculation and worry about what’s become of him.

What becomes of him is that he lands in a small town called Clarence, which is currently in the midst of its annual Macadamia Festival. He alights in a tree owned by Glenda Lake (Miranda Otto), the local wallflower with no friends, though in a town like this, everyone is at least friendly, whether they’re actually “friends” or not. For Danny, being in Clarence is like starting over with a new life, one where people like his ideas and treat him with respect and neighborliness. He’s in no hurry to go home, and since the TV news for some reason never shows a recent photo of him, none of the locals recognize him. For Glenda, there’s a strange but likable man who has literally dropped from the sky into her world.

Back in Sydney, Trudy parlays Danny’s tragic disappearance into fame of her own, making her sufficiently loathsome for us not to care when Danny inevitably falls in love with Glenda instead.

And that’s the movie’s problem. It’s funny and charming up to a point, and then it becomes pedestrian. The odd folks in Clarence, Rhys Ifans’ agility in comedy both verbal and physical, the amusing touches in Jeff Balsmeyer’s script — it’s all well and good, but then it’s bogged down by the tedious plotting that only goes where we expect it to.

Balsmeyer directed, too, his first time in that capacity after years of experience as a storyboard artist. With a little more fat-trimming and a little less self-conscious quirkiness, he could be a wonderful storyteller. Like Danny, he has some attention-grabbing eccentric ideas; he just isn’t sure what to do with them.

Pimp, Pimp, Hooray!

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An Alaska man is on trial for his life because he allegedly watched the movie “Road Trip.” Now, I’m sure you’ll agree that while “Road Trip” was a bad movie, viewing it should not be a capital offense. So why the extreme reaction? Are the laws in Alaska so much more strict than they are here in the United States? Not at all: The man was watching “Road Trip” while he was driving, and prosecutors say it’s what caused the car accident that killed two people.

When I saw “Road Trip” in 2000, I said to myself, “This movie is so bad, I’ll bet one day it kills someone.” I hate to be right all the time, but here we are. Prosecutors say 29-year-old Erwin Petterson was watching the film on his dashboard DVD player — he also has a PlayStation 2 and a sweet CD system in his pickup truck — while driving from Kenai to Anchorage in October 2002. They say his distraction, no doubt from staring at the screen agape in horror at the movie’s unfathomable lack of comedy, led to a crash in which the occupants of another vehicle were killed. (Petterson was not seriously injured, though he is, sadly, still a tool who drives a pickup truck with a DVD player and a PS2 in it.)

The trial, which began last week, is the first of its kind in America or Alaska. Common sense dictates that more toys and gadgets in automobiles will mean more distraction, and that’s why DVD players are usually installed either so they’re only visible from the back seat, or, if they’re in the front, so they only work if the car is in park. (Why you would want to sit in a parked car and watch a movie on a tiny screen is beyond me.) But if you install the system yourself, those precautions are easily bypassed. (Well, “easily” in the sense that if you’re capable of installing the thing at all, you’re probably capable of bypassing the safety measures. I doubt I, personally, could install anything in a car, being barely capable of even driving one.)

Petterson is part of a rising trend wherein people spend fabulous sums of money to equip their vehicles with all manner of bling and gewgaws and frou-frou. I can’t relate to this. If I ever owned a really nice car, or put a lot of time and expense into turning an average car into something cool, I would never drive it. I’d be afraid of wrecking it, or having it vandalized. It’s the same philosophy that prevents me from ever spending more than about $30 for shoes: Why pay a fortune for something you’re just going to WALK on?

But devotion to cars is a common trait among men who are not me. I see it often in parking lots, where people straddle two spaces because their car is soooo much more precious than the rest of ours that they can’t run the risk of it getting scratched or dinged, which would surely happen if they let other cars park near it. Well guess what, Hector? You take your car out in public, you take the chance that something will happen to it. That’s the danger of living in a world that contains other people. If you don’t want to assume that risk, then leave the car in the garage — or better yet, find something more worthwhile to obsess over than the condition of your car. You know, like maybe ANYTHING. At the very least, quit hogging two spots. I often fire bullets into those cars, even if I don’t need the spot.

As with most cultural trends that I don’t like, MTV is doing its part to make it worse. The network has a show called “Pimp My Ride,” a sort of makeover show in which people’s beat-up cars are given the royal treatment and emerge, er, pimped.

(“Pimp” is an interesting word, by the way. It’s always been a noun, of course, as well as an intransitive verb, as in, “Dave acquires most of his income via pimping.” But at some point in the past few years, it became a transitive verb as well, meaning in addition to just pimping, now you can also pimp something, like a car, or even a “ride,” which is what the kids call cars nowadays.)

“Pimp My Ride” is a silly, harmless show, hosted by a person called Xzibit, who was a rapper before he chose to devote his life to ride-pimping. Xzibit and a team of ride-pimpers review the applications sent in by urban males with unpimped rides and select the rides most in need of pimping. (I am trying to say “pimp” and “ride” as often as they say them on the show, but believe me, I’m not even close.) Then they take the ride back to ride-pimping headquarters, fix whatever’s actually wrong with it, and then add luxury items like PlayStations, DVD players, waterbeds, dishwashers, barbecues, laundromats, and massage parlors — anything they think the average urban male might need in his ride. Of course, the average urban male’s ride is likely to be stolen, especially if it’s been pimped, but that is none of Xzibit’s concern.

I suppose the ride-pimping trend, both MTV-assisted and independently done, will continue as our society becomes increasingly mobile. Fifteen years ago, it was a pretentious luxury to have a phone in your car; now, you’re pretentious if you brag about NOT having a cell phone. No one is home anymore; everyone is always out. So it makes a certain kind of sense to have the amenities of home lodged in your automobile. But where will it end? How many Alaskans have to die before stricter safety measures are enforced? And why doesn’t “Road Trip” come with a warning label?

Open Water

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The marketing people are describing “Open Water” as “‘The Blair Witch Project’ meets ‘Jaws’,” and while I usually just find that kind of talk funny — we all had a laugh when an actor friend of mine was described by a casting agent as “Kramer meets a young Eugene Levy” — in this case, darn it, they’re right.

“Open Water” isn’t nearly as good as either of those films, but when it’s on its game, it has the best elements of both. Like “Blair Witch,” it is shot on video, has a very small cast, isolates its characters away from civilization, and terrorizes them with a mostly unseen menace. Like “Jaws,” it has sharks.

Written, directed, edited and produced by Chris Kentis, with his wife Laura Lau as cinematographer and co-producer, the film gives us married couple Daniel (Daniel Travis) and Susan (Blanchard Ryan), both professionals in high-pressure jobs, both in need of a vacation.

They take a break on what appears to be a Caribbean island, where they take a scuba-diving trip and, due to the crew’s negligence, are left behind in the water. Miles from shore with no means of attracting rescuers (if anyone is even looking for them), Daniel and Susan must tread water and try not to look like shark bait. Unfortunately, as you know from watching “Shark Week” on the Discovery Channel, pretty much anything made of meat is shark bait.

There are several minutes of almost unbearable tension as the couple, along with the audience, wants to know what’s lurking beneath the water’s surface. Smartly, Kentis rarely takes the camera down below, leaving us as in the dark as Daniel and Susan are. This leads to one of the film’s best dialogue exchanges, just after a shark has been sighted:

SUSAN: I don’t know what’s worse, seeing them or not seeing them.
DANIEL: Seeing them.

This matter-of-factness runs throughout the film, with dialogue that is barely stylized and realistically mundane. That, along with the super-cheap video shoot, gives us the sensation of watching real home movies of an especially masochistic couple.

Alas, the acting is not what it should be. In the early scenes, Blanchard Ryan and Daniel Travis seem awkward, stilted. Later, in the water, scenes that are written well — including a bit of ill-timed marital strife — come off sounding forced rather than natural. Only when Susan and Daniel are in immediately peril do the performers seem to stop acting and start BEING the characters.

This is mostly just off-putting, but in the end, it becomes truly detrimental, as I’m sure I don’t buy Susan’s behavior in the film’s finale. On paper, it probably works. The way it’s enacted, it doesn’t.

So it is not the classic that “Blair Witch Project” and “Jaws” were, but there’s a good chunk of it that rivals them both. Its positives probably outweigh its negatives; certainly it will send shivers up the spine of anyone who has ever been out on the open water and thought, just for a second, about the dangers down below.

Collateral

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How’s this for an endorsement: I dislike Jamie Foxx with a strong, violent passion, yet he failed to annoy me in “Collateral.”

He plays a relatively believable character here, a Los Angeles taxi driver named Max who’s been hacking “temporarily” for 12 years, hoping to one day open his own limousine service. He knows the streets of L.A. front and back, and knowing the territory too well is what traps him: He fears the unknown, fears taking action to improve his life, prefers to stick with what he knows. When a pretty woman (Jada Pinkett Smith) gets in his cab, connects with him, and gives him her number, he knows he’s never going to call her. He could use a little unpredictability.

He gets it later that night, when a charismatic, professional-looking man named Vincent (Tom Cruise) gets in his cab and soon has Max chauffeuring him around town to meet a variety of people, with each visit ending in the death of the visitee. Vincent is some sort of hitman, it seems, and Max is his hostage, valet and collateral.

The director, Michael Mann, brings his distinctively moody style — as in “Ali” and “The Insider” — to this film, too, tinging it with jazz and coloring it with the shadows and neon of metropolitan nighttime. The film has a distinct feel to it, enough to remind me how few films do these days.

The screenplay (by the fairly unknown Stuart Beattie) is more drama than thriller, given that most of the moments in the first half of the film that have tension in them have predictable outcomes — obviously, Max isn’t going to get killed OR get away from Vincent, so there’s little suspense there.

The finale, though, is suspenseful and tight, and only a little bit silly. By and large, the movie is smart, eschewing the pandering attitude taken by most action films and giving us a little credit. (One touch I particularly like: When Max inevitably must become an action hero and save the day, we discover he has no idea how to fire a gun.)

Foxx’s performance is merely a variation of the regular-guy-in-perilous-circumstances he played in such flops as “Held Up” and “Bait,” but it’s a realistic variation. Max cracks wise on occasion, as is Foxx’s wont, but he also exhibits fear and uncertainty.

Emotionally speaking, he’s playing straight man to Cruise (insert gay joke here) (and insert “insert” joke here), whose performance as the suave, forceful Vincent is enjoyably big. He blusters, charms and chatters his way through the film, coming down juuuust this side of campy, probably not earning him any nominations but certainly giving the film a boost.

Mann’s deliberate pace, typical of his movies — this is one of his shortest, and it’s two hours long — wears on me a bit; I’m not always certain why a particular scene goes on as long as it does, or why another one is included at all. But on the other hand, he’s made a solid film here, effectively atmospheric and intelligent, minor defects notwithstanding.

Saints and Soldiers

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Saints and Soldiers

Within the genre of films by Mormons, about Mormons, “Saints and Soldiers” is easily the best. It is so superior on almost every level, especially in its technical aspects, that it puts hastily assembled drivel like “Handcart” and “The Home Teachers” to even more shame than they were already put to.

Take it out of the genre comparison and it still holds up. Intelligent, mature and thoughtful, it is one of the better films of any kind that you’ll see this year.

On Dec. 17, 1944, German soldiers opened fire on a group of unarmed American prisoners near the Belgian town of Malmedy, killing 86 of them. “Saints and Soldiers” opens with this massacre and follows a handful of U.S. soldiers who escape into the woods. There is Sgt. Gunderson (Peter Asle Holden), now the de facto commanding officer of the little group; Louisiana boy Kendrick (Larry Bagby), who is going through serious nicotine withdrawal; Brooklyn native Gould (Alexander Niver); and Greer (Corbin Allred), nicknamed Deacon for his religious practices.

Deacon doesn’t drink or smoke, he carries a little “Bible” around with him, and he was a missionary in pre-war Germany. Though the word “Mormon” is never used, it’s clear that’s what he is, though I suppose a non-Mormon viewer might take him for a Jehovah’s Witness or a fundamentalist Christian. (Those of us in the know catch the giveaway: He’s from Snowflake, Ariz., where EVERYONE is Mormon.)

While hiding from the Germans and still deciding on a course of action, the band finds Oberon Winley (Kirby Heyborne), a British paratrooper who has landed in their midst. He has critical information that he must get to the nearest Allies command post before the Germans cross the Muse River. And so the plan is set: Get there before the bad guys do.

Through snow, cold and under the constant threat of being found by the Germans, the group trudges toward safety. But Deacon, the best marksman in the group, hasn’t slept in several days, and he is haunted by something, remembrances he keeps having of an earlier miscalculation. Gould, in particular, is mistrusting of Deacon, given his previous association with and affinity for the German people.

The performances are solid all around, particularly from Corbin Allred as the tormented Deacon and Alexander Niver (who played the little boy on “Charles in Charge” in the ’80s) as Gould. None of the performances are maudlin or melodramatic, even when the events are dire; the tendency to overact in highly dramatic situations is repressed.

Geoffrey Panos and Matt Whitaker’s screenplay is tightly written, drawing the characters with enough strokes to give them personality but not weighing the thing down with needless exposition or backstory. It explores the inherent conflict between religion and war, the idea that one must sometimes give up one’s personal responsibility in order to fight for something bigger, even if it means doing things one is normally opposed to.

The director is Ryan Little, who also made the little-seen but commendable “Out of Step” (2002). Little acts as cinematographer, too, and “Saints and Soldiers” is a highly polished, visceral film in that regard. The tone is intense and atmospheric; still, while distinctly “light” moments are few, the film nonetheless is not oppressive or dreary. It is dramatic, in the most complimentary sense of that word. It engages the emotions and the senses subtly and expertly.

Little Black Book

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A line from Shakespeare’s “The Tempest” prefaces “Little Black Book”: “Hell is empty. All the devils are here.” Properly, it’s “Hell is empty and all the devils are here,” but when a film starring Brittany Murphy bothers quoting Shakespeare at all, we’re not going to quibble. The viewer soon forgets the ominous-sounding quote even appeared, so light-hearted and sunny is the film that follows it. But surely it was there for a reason, and that reason brings us to why this is a most surprising and unusual film.

It is about Stacy Holt (Brittany Murphy), who has wanted to be a TV newswoman since childhood and has now become an associate producer — a job that is not nearly as important as it sounds; many shows have a dozen of them — for a Jerry Springer-ish daytime talk show called “Kippie Kann Do!,” starring Kippie Kann (Kathy Bates). Her mentor, a fellow producer named Barb (Holly Hunter), shows her the ropes while Kippie herself storms around the set, terrorizing staffers and only barely being contained by executive producer Carl (Stephen Tobolowsky).

Stacy, meanwhile, is dating Mr. Perfect, a hockey talent scout named Derek (Ron Livingston) who is out of town for a few days on assignment. While he’s gone, Barb plants a seed of doubt in Stacy’s mind: Why didn’t his past relationships work? Did he cheat? The only way to find out — suggested by another staffer as a Kippie Kann show topic — is to find his little black book (in the form of a PDA, these days), contact the ex-girlfriends, and drill them for information.

Using her connection with the Kippie show as an excuse and not revealing her true identity as Derek’s current squeeze, Stacy does indeed contact three former girlfriends — a model (Josie Maran), a gynecologist (Rashida Jones), and a chef (Julianne Nicholson). She tells them each that they’re sought as guests for the show, hence the need for pre-interviews, in which past relationships just happen to be casually discussed.

In the process of all this, Stacy discovers little lies Derek has told about his past. Not huge ones, but minor ones, and enough of them to concern her. Of course, she has fabricated her own web of lies in order to learn about Derek’s, and that fact is not lost on Stacy, who is essentially a good person. The question is whether she’ll get away with it.

Directed by little-known Nick Hurran and written by Elisa Bell (“Sleepover”) and Melissa Carter, most of the film feels light and airy — not funny, per se, but with a tone of joviality about it. Much of it is predictable: Of course Stacy will accidentally become friends with one of the women she’s gathering information from, and of course Kippie Kann will do one show live, rather than pre-taped, so that things can unravel during it and go out over the air immediately. (That is the only reason TV people in the movies ever do live shows.) It is not compelling as a drama, nor funny as a comedy. It feels like a hopeless film.

But then some things happen. There are plot twists and characters twists that would constitute “spoilers” if I told them to you, but they comprise the film’s worthwhileness. The climax is genuinely unexpected, and things don’t turn out the way the first two acts lead you to assume they will.

Such an abrupt change in tone is dangerous because it puts the film at risk of derailing altogether, but I think it works here. Holly Hunter is perfect as a sassy career woman, and Brittany Murphy — so talented and likable, yet often so bad at choosing which films to do — truly shines as Stacy. Her winning smile and accessible personality lend the film much charm, and help carry it over its rough patches.

I hesitate to call it a “good” movie, because much of it is useless. But overall, it feels just quirky and interesting enough to recommend it, albeit lukewarmly.

Code 46

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The law referred to by the title of “Code 46” is the one that prohibits genetically matched people from conceiving, or even mating. It became necessary after years of cloning and other artificial means of creating life made it impossible to tell whether you were committing incest without running DNA tests first.

Oh, it’s the future, obviously. The future of Michael Winterbottom’s cold, somber film is one where everyone in the world speaks English, but it’s a version of English that has quite a few words from other languages, mostly Spanish, sprinkled in. (No one says “papers,” for examples, but “papeles,” or the slightly less grammatical “papels.”) I don’t know where that fits thematically, but it’s an interesting twist, and one that receives no explanation within the film — typical of the sci-fi genre, where you create an imaginary world and let it just BE, rather than explaining how everything got to be that way. (Of course, this isn’t really a sci-fi film. But we’ll get to that later.)

Tim Robbins plays William, an insurance investigator with a gift for reading people’s feelings, enhanced by something he takes called an “empathy virus.” (You can also take viruses that enable you to speak Chinese, or play the piano, or whatever.) His current assignment is in Shanghai, where someone at the Sphinx Corporation, which issues visa-like “papeles,” has been making counterfeit ones and selling them on the black market. As a result, people are getting to places they shouldn’t be allowed to get to, and there’s been trouble because of it. (“If you can’t get clearance, there’s usually a good reason for it,” someone says, showing remarkable — but in this case well-placed — trust in Big Brother.)

William interviews all the employees, able to discern intimate details simply by hearing them recite one minor fact about themselves. The papel-faker, it is soon apparently to him, is Maria (Samantha Morton). But he feels a connection to her, so he tells the boss that the perpetrator is someone else.

Maria and William fall in love, slowly, despite William having a dull wife and son back home. Code 46 comes into play, though I won’t reveal how, and we learn of some powerful tools possessed by the government, particularly in the area of memory-manipulation.

Winterbottom and writer Frank Cottrell Boyce, a frequent collaborator, seem determined NOT to let “Code 46” be a science-fiction movie. Their focus is on the romance between the protagonists, but I hesitate to use that word because the proceedings are so muted and morose as to be entirely unromantic. Winterbottom exacerbates this by shooting stark, bleak landscapes and bare rooms a lot, and by indicating that in this future, sunlight is dangerous. So a lot of things happen at night, or indoors under depressing fluorescent lights.

There is too much stoicism and not enough vulnerability here. That would be OK if this were simply a futuristic film about a dystopian society, but it doesn’t work at all when you’re supposed to feel the emotions of the main characters. What we need, really, is an empathy virus. Winterbottom forgot to inject us with it.

And Now, the Nudes

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There’s too much nudity in this country. (Public nudity, I mean. On private nudity, I have no opinion.) You can’t turn on a football game (not that I would) without seeing a former pop star flashing her knockers at the world, and the movies are rife with female stars — many of them underage! — acting all hoochy and skankified. Maybe the Puritans got it right when, after a council of elders weighed the alternatives and examined the temptations being let loose on society, they made women illegal.

No, maybe that takes it too far. I come from a modest sort of upbringing, though, where you don’t go around showing the neighbors your business, although when I was about 6, I did go outside and play while wearing only my new Underoos (Superman variety), because I didn’t realize they were underwear, I thought they were a costume. But I was young, and I needed the money, or something.

My point is, my attitudes on the subject are apparently more old-fashioned than some. After Janet Jackson unleashed her aged bazoom, there was an uproar from conservative folks who were outraged that such a thing would happen during a Super Bowl halftime show, which has generally been a beacon of, if not “taste,” exactly, at least clothedness. But now the pendulum has swung the other way. Commentators are saying we overreacted, and that the FCC oughtn’t levy fines against the stations that broadcast the indecency, and that we shouldn’t be so uptight.

Look at the Europeans, they say. The Europeans are very casual about nudity, and their societies run just fine. But the Europeans are also very casual about bathing, and I don’t see America rushing to emulate that.

Of course, I’m uncomfortable with a lot of things in public. Even mild public displays of affection strike me as odd. When I see a couple walking down the street and the man has his arm around the woman, I think, “Why? Are you afraid she’s going to escape?” It always looks like a kidnapping to me.

At any rate, it is clear the nation is becoming more libertine than I’m comfortable with. And it’s not that I’m embarrassed by certain body parts, or find them “dirty” or whatever. It’s more that I think women ought to have more respect for themselves than to go dressing all trashy. It’s not the flesh that bothers me, but the mindset that wants to expose it all the time. Have we objectified women so thoroughly that the only way they can find self-esteem is to objectify themselves?

There has recently been a rash of dirty-old-man-ism in the media as guys have eagerly counted down the days until their favorite underage actresses turn 18. I’m not sure why it is more acceptable for a 35-year-old man to lust after an 18-year-old actress than a 17-year-old one — to actually go out with, yes, because there are laws to consider, but to lust after, what’s the difference? Not like her being 18 suddenly means she wants to date a greasy Internet loser who is twice her age.

MaryKate&Ashley Olsen and Lindsay Lohan are the most recent objects of this creepy affection, all three of them having turned 18 within the past several months to the cheers of many men much older than they. Yet all three girls also appeared, while still 17, in movies in which they dressed provocatively and behaved sexily — the Olsen twins in “New York Minute,” and Lohan in “Mean Girls.” Luckily, no one saw “New York Minute,” not even the people who made it, not even the projectionists in the theaters that showed it. The film was so bad that on some prints, instead of the movie, all you could see was 90 minutes of Satan sitting in a hot tub. But “Mean Girls” was good, and people did see it, and Lohan was in the public eye quite a bit with premieres and interviews and such, and is it fair to condemn men for ogling her when she appears dressed like this?

Chest in Show

Chest in Show
Bustin' Loose

Bustin’ Loose
It Was the Breast of Times

It Was the Breast of Times
Exhibit DD

Exhibit DD

These pictures were all taken when Lohan was still 17, mind you. The double standard isn’t fair: It’s creepy for men to fantasize about underage girls, but the underage girls dress as if they want men to fantasize about them.

And it’s not just celebrities, of course. If you spend as much time as I do hanging out at shopping malls and high school parking lots, you’ll see teenagers dressed in all manner of hoocheous clothing, including the most unfortunate trend of the past five years, the low-rise jeans. These things look good on maybe 1 percent of the population, but they’re pretty much all the stores sell at the moment, as you know if you spend as much time in the women’s clothing section as I do. You can’t buy non-low-rise; you have to buy the low-rise and show everyone your hip bones (or, in most cases, the plenteous flesh that covers them, squeezed so it oozes over the top of the jeans like melted marshmallow out of a s’more).

So it’s an epidemic of skankiness — a skankidemic, if you will — and I wonder how long it will last. To comport oneself with dignity is not viewed as something to aspire to in the modern age. We are informal and irony-laden: Anyone behaving with class MUST be putting on airs and must therefore be mocked. So you gots to act cool and casual and let it all hang out, yo. But maybe the pendulum will swing the other way. Maybe in 10 years it will become fashionable to cover one’s body completely, head to toe, shoulder to wrist. Maybe the new image of hotness will be the nun look. Maybe nudity will become boring, and covering everything up will be scandalous. I mean, probably not, but maybe. That would rock.

The Manchurian Candidate

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Jonathan Demme’s last remake, “The Truth About Charlie,” was a disappointment, but with his retelling of “The Manchurian Candidate,” he gets it right. Not that I want to encourage him to keep re-doing other people’s movies instead of coming up with his own, but this is a crackling good thriller.

It’s even better if you’ve seen the original. The world is so different today from what it was in 1963 that, even with essentially the same storyline, the new film seems light years away. Comparing the two films is striking. We are more cynical now, more suspicious — and rightfully so, it sometimes seems. The film matches that perfectly.

This time, Ben Marco (Denzel Washington) is a Persian Gulf War veteran plagued with nightmares and on the verge of insanity; he has met some of his fellow veterans who have already gone off the deep end. In 1991, two men in his unit were killed in an ambush while Raymond Shaw (Liev Schreiber) strove to save the platoon. Shaw was given the Medal of Honor and is now, years later, suddenly the vice-presidential nominee for his party, despite being introverted and quiet and despite Sen. Thomas Jordan (Jon Voight) having been the frontrunner for that position.

Shaw, a senator himself, is the child of senators, one dead and one quite alive, the formidable Eleanor Shaw (Meryl Streep). Mom has orchestrated most of Raymond’s career, pushing him forward when he would rather retreat to the background.

It becomes Marco’s theory that something happened in the Persian Gulf, hinted at by flashes of memory he’s having. He believes there was hypnosis, and that he and others have been manipulated since then by whoever was behind it. As an audience, we know he’s right: We get to see it in action a few times before the full scheme is revealed, always accompanied by an infusion of light and sound effects reminiscent of “The Twilight Zone.”

Demme effectively creates an atmosphere of oddness, giving the film an off-kilter feeling appropriate for its characters’ disorientation. If the film has a weakness, it is that it has opposition for its characters without giving them an actual villain to fight against, at least for most of the running time. They dread, but they (and we) don’t know WHAT they’re dreading.

Washington, Schreiber and Streep are all characteristically strong, with Jon Voight and Vera Farmiga (as his daughter, an object of Raymond Shaw’s affection) adding nuance to the supporting roles. The political satire is subtle, often funny and alarming simultaneously, and the film never forgets to thrill us.

The Village

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The tombstone of a boy who has just died tells us the year is 1897, and the simple dress and formal speech of the town’s inhabitants remind us of the Amish. They are happy, peaceful folk, the people who live in the village in M. Night Shyamalan’s aptly titled “The Village.” But they live in fear: Will they be the victims of Shyamalan’s first bad movie? Not to spoil it or anything, but yeah. They are.

“The Village” reads like a bad xerox of Shyamalan’s eerie-twisty-suspense movies, as if it had been done by not by Shyamalan himself but by devoted, incompetent copycats, copycats who missed the point and thought it was all about the atmosphere.

There is atmosphere to spare in this dread-filled tale of an isolated village whose residents fear an unseen terror in the woods beyond their borders. The village elders, led by fatherly Edward Walker (William Hurt) (I thought he was a priest, at first), have made a sort of truce with the things — monsters, animals, whatever they are — that inhabit the woods: The humans won’t cross the treeline if the Things don’t enter the village.

So far, this arrangement has worked, though not entering the woods means not having any contact with the outside world, either. Some of the elders make reference to having been in “the towns” before, but their children were born here and don’t know any other life. They respect “Those We Don’t Speak Of,” as they are called, but believe as long as they don’t enter the woods, they will be safe.

But the village has an idiot, a mentally retarded man named Noah (Adrien Brody), who innocently violates the truce to pick berries and in so doing apparently brings the Things’ anger upon the village. Dead, shaved animals are discovered lying around town in an ominous fashion, and then one morning all the doors have red slashmarks painted on them, suggesting the Things are familiar with the Old Testament.

To reveal much more of the plot would constitute “spoilers,” so I’ll be careful. I will say that there is a quiet, gentle man named Lucius Hunt (Joaquin Phoenix) who is in love with Walker’s vivacious blind daughter Ivy (Bryce Dallas Howard), and that when a villager is injured almost fatally, it is determined the only way to save the person’s life is to send someone through the woods to “the towns” to fetch medicine.

So yes, Shyamalan once again proves himself a master of manufacturing suspense, using all the elements of sound — ambient noises, sound effects and music — to create a mood, while occasionally composing striking visuals to match it. But “The Village” lacks the artfulness of “Unbreakable” or the simplicity of “The Sixth Sense” or the visual inventiveness of “Signs.” It is more ordinary than those films — not a problem if its story is compelling enough to carry it, but a major problem if it’s not.

Setting the film in 1897 leads to trouble almost immediately: The characters speak in stiff, formal language typical of the period, and few of the actors ever really warm up to it. There are likable, charismatic performers such as Sigourney Weaver, Brendan Gleeson, Michael Pitt, and a host of others with less recognizable names involved, and some of their characters’ backstories are hinted at, but just barely. We don’t feel anything for these people, and that is where Shyamalan has failed the most in his screenplay and direction. He has forgotten that the reason we loved “The Sixth Sense” wasn’t its cool twist, wasn’t even its spooky ghost story — it was young, tormented Cole and his equally tormented counselor Malcolm. We liked THEM. We got to know THEM. We need PEOPLE here, M. Night! Ghost stories are a dime a dozen, and so are movies about remote villages with backward inhabitants.

So, for that matter, are movies with surprise endings, and Shyamalan cheats to make this one. He tells us something that turns out not to be true, and if we’d known it was untrue to begin with, we’d have guessed the ending much more readily. He doesn’t imply it, or let us assume it; he SAYS it. And it’s a lie. And that bothers me, because the guy knows how to do surprises correctly; he’s done it before. Why cheat? Why stoop, M. Night? Why?

As with his other films, “The Village” has deeper themes than its fun surface story would suggest, this time involving pain and loss. But they are not realistically realized, nor even examined beyond a few cursory lines of dialogue. Shyamalan has followed his own template, but neglected to fill in the most important parts. The movie is a disappointment.

Thunderbirds

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I never saw the original “Thunderbirds” TV series, so I don’t know: Was it boring and stupid? Because if it was, then the movie captures it perfectly!

Fans of the show enjoyed its odd, marionette-based acting and what I assume were pleasantly cheesy special effects. The film, directed by Jonathan Frakes (“Clockstoppers,” “Star Trek: Insurrection”), uses real actors instead of puppets and has fairly modern special effects — though to be fair, many of the actors do seem rather wooden, so perhaps Frakes adhered more closely to the original formula than it first appears.

The Thunderbirds are a team of daring rescuers who fly around the world in their fancy jets whenever there’s trouble. I do not know whether they are supported by the U.N., but they are certainly international in their scope. No one knows who the individual members of the Thunderbird team are, nor where they operate from.

Turns out they live on an island, and they’re the Tracy family, consisting of father Jeff (Bill Paxton) and five sons. (Mom died in an avalanche or something. Dad’s still a little broken up about it.) Alas, there are only five magical Thunderbirds flying vehicles, so the youngest son — teenage Alan (Brady Corbet) — has to go to school and watch the TV news jealously as his dad and brothers perform acts of heroics.

The Tracys are aided in their missions by the lovely Lady Penelope (Sophia Myles) and her feckless valet Parker (Ron Cook), both of whom are British, which comes in handy anytime tea is needed, I guess. Also living on the island, for some reason, is a Polynesian family that includes a daughter named Tintin (Vanessa Anne Hudgens); also there is a scientist named Brains (Anthony Edwards) and his son, Fermat (Soren Fulton), who is Alan’s age and is very nerdy. No doubt he was named after Pierre de Fermat, the 17th-century French mathematician. Of course, his name was pronounced “Fair-MAH,” and the kid’s is “FUR-matt,” but you can’t have everything.

There’s a bad guy with dull intentions (he wants to rob banks) named The Hood (Ben Kingsley) who wears mascara and minces like a rejected James Bond villain. He locates Tracy Island and tricks everyone into going into space to help out one of the Tracy boys, leaving all the Thunderbird technology and spare planes at his disposal. Of course, he is unaware that there is a fifth Tracy boy, Alan, who is still on the island with Fermat and Tintin. It falls upon them to rip off the plot of “Spy Kids,” thwart the evil The Hood, and save the banks from being robbed by him. Yawn.

Now, if I wanted to see a “Thunderbirds” movie — and I didn’t, but if I did — I would probably want it to focus on, I don’t know, maybe THE THUNDERBIRDS. I wouldn’t want to see all of the Thunderbirds incapacitated for most of the film while their little brother scampers around an island with his two dorky friends trying to stop a fey bank robber. This would not be satisfactory to me as a “Thunderbirds” fan.

So fans of the old show won’t like it, though they will probably enjoy the cool opening credits and nifty retro production design. So who will like the movie? Well, it’s aimed at kids — what with the PG rating and the crotch-kick jokes and the simple-minded plot — and maybe they’ll dig it. Who knows with kids? They like some crappy stuff sometimes.

It is sad to see someone as dignified and well-respected as Ben Kingsley doing this sort of demeaning work. It’s like watching Julie Andrews snort cocaine off Adam Sandler’s butt.

The Hood has a henchperson named Transom (Rose Keegan) who has huge horse teeth, which makes her ugly. This is an example of Hollywood’s double standards: She has enormous teeth and it’s supposed to be funny, but when Julia Roberts has the same enormous teeth, it’s supposed to be beautiful. Make up your mind, Hollywood.

Harold & Kumar Go to White Castle

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“Harold & Kumar Go to White Castle” is a stoner comedy in the grand tradition of, um, “Dude, Where’s My Car?,” only funnier and snappier. I will tell you without compunction that I laughed many times during the film, and I will add that 90 percent of those laughs were at things I cannot repeat here. (Well, I guess I COULD repeat them, since this is the Internet, but I won’t.) The movie is approximately what you would expect; if you walk out of it offended, that’s your own fault for not doing your homework before you went.

It is the tale of two post-college 20-somethings and their attempt to satisfy some pot-induced late-night munchies. They are the Korean-American Harold (John Cho), a responsible type with much work to do for his investment-banker job this particular Friday night; and Kumar (Kal Penn), an Indian-American with great MCAT scores who refuses to go to medical school because he’d rather loaf around, smoke weed, and live off his father’s money.

They are residents of Hoboken, N.J., and they realize in order to sate their cravings for White Castle hamburgers, they will have to drive to a nearby town. Thus begins a series of adventures, sidetracks and distractions, most of them typical of the genre: There is a horrific bathroom experience, some vehicular mayhem, and a couple run-ins with wildlife; there are many jokes focused on post-adolescent gay paranoia, where being gay is the worst thing imaginable and is therefore the funniest thing to joke about; and there are hot chicks with whom Harold and Kumar may or may not get to fool around.

These are the film’s less inspired elements, exhibiting far less imagination on the part of writers Jon Hurwitz and Hayden Schlossberg (both first-timers) than some of the movie’s other scenes suggest. For example, there is a fantasy sequence where Kumar falls in love with a huge bag of pot that is among the funniest things I’ve seen all year. (Imagine all the love fantasies you’ve ever seen in movies, then replace the woman with a human-sized brick of marijuana.) There’s also a hilariously self-effacing cameo by Neil Patrick Harris … as himself, high on something and lost in the woods. (Cameos from other pals of the filmmakers abound, too, including Ryan Reynolds and Jamie Kennedy.)

So it’s hit-or-miss, but the lead actors are eminently likable, and the direction (by Danny Leiner, who also gave us “Dude, Where’s My Car?”) is brisk and snappy. The jokes that don’t work aren’t belabored; the ones that do are often gut-bustingly, outrageously funny.

I mentioned the lead characters’ race earlier. This is because they often mention it themselves. They have two Jewish friends whose heritage they make the butt of jokes, in addition to the cracks about their own ethnicities. There are also plot points involving racial profiling by police officers. None of it ever feels racist or anti-semitic; in fact, it’s just the opposite. The movie sees everyone as being from different backgrounds, but united by the fact that they’re all human, all flawed, and all acceptable targets for humor. If you make fun of everyone, then everyone’s on the same level.

Intimate Strangers (French)

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NOTE: This review was written without the cooperation of — indeed, against the wishes of — Paramount Classics, which at this time denied online film critics access to press screenings of its movies.

“Intimate Strangers” is a talky drama that feels like an erotic thriller. It gives us an unusual connection between strangers, hints at odd events in the periphery, and is driven by an ominous-sounding musical score. You keep waiting for something to happen … and then it doesn’t.

As talky dramas go, it’s passable, and well-acted by its principals. It’s about a somewhat scatter-brained woman named Anna (Sandrine Bonnaire) who goes to see a psychiatrist but walks into a tax attorney’s office down the hall by mistake. Not realizing she’s talking to a lawyer and not a shrink, she tells the attorney, William Faber (Fabrice Luchini), that her marriage is falling apart. She asks for an appointment to come back next week to start her “sessions.” Faber, a shy man who isn’t great with interpersonal relationships anyway and who lives in a room behind his office, is too stunned to say anything.

Anna learns the truth about Faber eventually, but she still keeps coming to see him. Talking to him is therapeutic, she says. Her husband wants her to have sex with other men, she says. Faber becomes a little obsessed with her, but he doesn’t know if he’s the man she wants to have sex with.

Director Patrice Leconte has made other relationship-centered films that were more engaging than this one. “The Widow of Saint-Pierre” (2000) was about a captain’s wife who befriends a condemned man while the latter is living in their home, awaiting his execution. “The Man on the Train” (2002) told of two men, one a professor and one a thief, who each begin to think the other’s life would have been interesting to have lived.

“Intimate Strangers” doesn’t approach either of these films’ level of insight or sophistication. Additionally, though it keeps raising the stakes — the husband even appears in Faber’s office at one point, and he’s not happy — it never actually allows anything to happen. It is intent on remaining a talky drama, when in this case a talky drama isn’t enough to compel a viewer to continue viewing.

Garden State

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Zach Braff’s appeal on “Scrubs,” the NBC series he leads, is his ability to underplay the comedy, to appear befuddled and intimidated as madness surrounds him. Even when performing wacky, silly comedy, he doesn’t seem wacky himself.

This same sublime sensibility permeates “Garden State,” the magnificent film he wrote and directed and in which he stars. As Andrew Largeman, a New Jersey native who moved to L.A. to be an actor nine years ago and who comes home now only for his mother’s funeral, Braff is indeed surrounded by lunacy, and he indeed reacts with calm perplexedness, as if he resigned himself long ago to the fact that he would have friends who work at Medieval Times and thus wear knight’s armor at the breakfast table.

Andrew reunites with his old high school buddies Mark (Peter Sarsgaard) and Dave (Alex Burns) because they happen to be operating the tractor that digs his mother’s grave. (These are not men who determined to make something of themselves in the business world; these are men who smoke pot all the time.) He also reunites, awkwardly, with his father (Ian Holm), with whom he has unresolved issues going back at least since he was 10, when we are told he first began being medicated for various psychological reasons.

And he meets Sam (Natalie Portman), a compulsive liar with more energy than she knows what to do with and a mother with a thousand housepets. Andrew and Sam have much in common, most notably their damaged families and their damaged methods of dealing with them.

Braff’s brilliance as a writer, director and performer is made manifest in the film’s ability to be both hilarious and poignant, often in the same scene. It is full of deliciously underplayed sight gags — a doctor has so many diplomas on his wall that he ran out of space and started putting them on the ceiling, for example — as well as large doses of truth and beauty, all accompanied by a stellar cool-kid rock ‘n’ roll soundtrack (The Shins, Colin Hay, Postal Service, Frou Frou, etc.).

I saw the film at Sundance and liked it a lot without loving it. I thought it got a little too jokey, and that it went on a distracting detour near the end, plot-wise. Having seen it a second time, I see now that I was wrong. The jokes are endearing, funny and clever, and that “detour” is in fact thematically quite relevant. I don’t know how I missed it the first time, but I’m glad I had a chance to redeem myself before it was released theatrically.

The film captures the feeling of post-college, pre-marriage, mid-20s disorientation so masterfully that it belongs in the same category as “The Graduate,” which did the same thing for the same demographic 35 years ago. It speaks to the confused, lonely people of Braff’s over-medicated, over-analyzed generation more clearly and more piercingly than any other film has done so far. He is great, Natalie Portman is radiant and exuberant, and the movie’s sweet story of love and cluelessness puts it up there as one of the year’s best.

She Hate Me

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The point of Spike Lee’s “She Hate Me” seems to be that Spike Lee has made a movie called “She Hate Me.” It has a dozen different trains of thought — everything from homosexuality to politics to race relations to corporate malfeasance — but none of them ever emerges to become what the movie is “about.” As far as I can tell, it’s “about” Spike Lee being bombastic and provocative without any particular target.

The protagonist is Jack Armstrong (Anthony Mackie), a bigshot at a biotech company that is on the verge of creating an AIDS vaccine when it is thrown into chaos by charges of illegal activity. The whistleblower is Jack himself, which his bosses (played by Ellen Barkin and Woody Harrelson, in a particularly, um, wooden performance) repay by making him their scapegoat, even though he had actually done nothing wrong. An investigation begins, and Jack’s assets are frozen by the government — no small thing, considering he’s been living the lifestyle of a fabulously wealthy New York City bachelor.

It is during this time of financial hardship that Jack is approached by his ex-girlfriend Fatima (Kerry Washington), now a lesbian living with her girlfriend Alex (Dania Ramirez). Fatima and Alex want the thrill of being pregnant together, so they’re offering Jack $5,000 each to impregnate them. He’s still in love with Fatima, so fathering her child the, uh, old-fashioned way brings complicated emotions with it. But he’s also desperate for income. A deal is struck.

Fatima, entrepreneur that she is, soon brings a parade of lesbians to Jack’s door, each offering $10,000 (minus Fatima’s finder’s fee) for Jack to have sex with them and make them into mothers. They come in groups of six or eight and ask Jack questions to put their minds at ease. At one point, they make him strip naked so they can see what they’re getting. One of them actually says, “Now you know what it’s like to be a sexual object,” a powerful reminder that when it comes to social commentary, Lee and “subtlety” are not on speaking terms.

The story of a man paid to impregnate lesbians is certainly fraught with possibilities, both comic and otherwise, and the parts of the film that focus on it are better than the rest. But then Lee tries to inject too many other elements. All the business with Jack’s company’s Enron-like dealings serve no apparent purpose other than to show that Lee is ANGRY! about SOMETHING! but I don’t know what. Greedy corporations? OK, fine. So what? Being angry about that is old news. Make a statement about it, shed some light on it, put a twist on it, make jokes about it. Just DO something with it, ANYTHING.

Even within the pregnant-lesbians thread, Lee goes off on tiresome tangents, including a subplot about Jack’s connection with a Mafia family via their lesbian daughter, and some kitchen-sink melodrama regarding Fatima and Alex’s relationship.

It becomes absurdly political in the final act, with Jack testifying before Congress about his former employers, and then it becomes just plain absurd, with a resolution between Jack and the lesbians that is utterly preposterous. Is Lee satirizing something? Is this all a metaphor for something? Or is it just a heavy-handed mess, full of non-sequiturs (like George W. Bush’s face on a three-dollar bill during the opening credits)? My vote is for the latter.

Goose Encounters of the Bird Kind

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It was a windy, humid summer evening in July when I drove into my apartment complex and nearly struck a goose. I don’t mean that metaphorically, as in, “Eugene’s date was so offensive that when I caught a whiff of her, I nearly struck a goose.” I mean there was an actual goose, wandering around the parking lot, all long-necked and stiff-legged, waddling like Charlie Chaplin in a diaper. (I don’t mean the goose was in a diaper. I mean the goose waddled the way Charlie Chaplin would if he, Charlie Chaplin, were in a diaper.)

The goose’s presence was unusual because there are no bodies of water close enough to the apartments for her to have meandered over from home. We do have a swimming pool, but I doubt its high levels of chlorine and pee would make it conducive to sustaining waterfowl. So whence came this goose?

I parked my car and walked over toward her — I must assume she was female, for if she was male, she was technically a gander, not a goose, and I don’t want to say “gander” for a whole column — desiring to better learn her intentions and origins. Her neck was very long, and green in color, with a skinny head at the end of it — a Canada goose if I’d ever seen one, which I had not. All told, the bird was a little over two feet tall, and did not seem at all surprised to find herself walking along a busy downtown sidewalk (for now she had exited the parking lot and was moving street-ward). She was not threatening passersby, nor running about frantically. She was just walking around, looking around, like a tourist.

It was then I began to realize that we were not dealing with one of your smarter members of the goose family, as this particular specimen was entirely unafraid of cars. She moseyed out into the street, sort of zigzagging, her head lolling around as she took in the sights, the way three or four women who were friends might stroll casually down a city sidewalk, except she was in the street, and she was alone, and she was a goose. Cars were braking to let her pass, or swerving around her, or honking at her, which is a bad idea, because honking will just confuse a goose. (You have no idea what your horn is saying in goose language. For all you know, you’re insulting the goose’s mother.) One man had to stop his vehicle altogether because the goose was now in his lane — waddling with the flow of traffic, yes, but at a speed of approximately 1 mph, which was a good deal slower than the man wanted to go. He left his car in the middle of the road so he could chase the goose out of his path, and he pursued her for half a block before she finally deviated from the painted lines and made for the curb. Meanwhile, the man’s abandoned car was causing its own havoc with traffic; between a goose and a man who ditches his automobile so he can chase one, I don’t know who’s smarter.

The question was, why didn’t she fly away? Was she hurt? She didn’t appear to be, and she gave no indication of being in pain. I’m no goose doctor, but I would think an injured bird would nurse its wound, or favor one wing, or squawk a lot, or spurt blood, or something. Our subject was walking funny, but I think it’s just how geese walk. It was a little goose-step sort of maneuver, and I must say, it always looked scarier when Hitler’s SS did it. A fellow bystander said he’d seen her fly into the complex a little while earlier anyway. So it was apparently by choice that she was walking and not flying.

But we didn’t want her to get hit by a car, and in the post-dusk hours, this was becoming increasingly likely. In addition, she was wandering the streets of Salt Lake City, in Utah, a state where people hunt animals the way you or I go to the supermarket. I was surprised she didn’t already have shotgun holes in her.

By now she had crossed the street again and was approaching P.F. Chang’s China-Time Bistro and Good-Eatery. A Chinese restaurant seemed like a bad place for a live goose to hang out. Goose is not on their menu, but I wouldn’t blame them for adding it if the opportunity waddled right up to them and honked, “Eat me.” Clearly, something had to be done about this goose, and fast.

As luck would have it, one of the valets at P.F. Chang’s, unencumbered by diners who will actually pay to have someone park their cars for them, had enough free time and presence of mind to begin chasing the goose. His intent soon became clear: If he cornered the goose, she would have no alternative but to fly away, and once airborne, she would be safe, and would perhaps remember where it was she’d been heading in the first place.

I wouldn’t be surprised if the valet had experience in goose-pursuit, for it was only a matter of moments before he had successfully forced this one into the air. She flew quite capably and even beautifully, soaring up, up, up above the city street and toward freedom. A block later, she landed and started walking around again, sight-seeing as before.

I felt much better about the situation now, which was good, because I was tired of the goose and wanted to go home. We had established that the goose COULD fly, and simply didn’t want to. Gallivanting through a metropolitan area isn’t what geese are supposed to do, but as long as it was her decision, who am I to question? What am I, the goose police? No sir. After all, are we not all geese sometimes, remaining earthbound when we ought to be soaring, taking the easy route instead of the harder, more rewarding one? Do we not sometimes need the bored valet of experience to rouse us from our complacency and urge us toward our full potential? I daresay we do, my friends. That goose is us. Which will make it really weird when someone eats her.

The Bourne Supremacy

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I wasn’t a fan of “The Bourne Identity,” because I felt the movie made a lot of noise without really going anywhere. Jason Bourne got chased for the whole film, then there was a finale, then it was over. Never mind that action films seldom matter to the audience; this stuff barely even seemed to matter to the characters.

The sequel, “The Bourne Supremacy,” gets it right. Again written by Tony Gilroy (adapting the second of Robert Ludlum’s three Jason Bourne novels), but this time directed by Paul Greengrass, “Supremacy” offers the double agents and delicious espionage you expect from a CIA thriller, but without becoming bloated and ridiculous like 90 percent of action films made today. The cinema verite style that served Greengrass so well in his “Bloody Sunday” (about the violence that has plagued Ireland for three decades) is put to good use here, too, lending immediacy and believability to the action scenes.

I note a particularly wicked fist-, knife- and magazine-fight that is shot with hand-held cameras and without musical accompaniment that feels like it could be happening in the apartment next door. Compare this with most Hollywood action scenes, which feel like they could only happen in a movie.

Jason Bourne (Matt Damon), you may recall, was a CIA assassin who wound up with amnesia after the CIA ordered him killed. (Murdering its agents is the CIA’s way of getting out of paying retirement pensions.) Having dispatched those who wanted him gone, Bourne has fled to a remote corner of the world with his girlfriend Marie (Franka Potente), hoping to live out his life quietly.

Ah, but it is not to be. In Berlin, a CIA operation goes wrong, agents are murdered, and Bourne’s fingerprints are put on the scene by the real perpetrators, thus framing him. CIA operative Pamela Landy (Joan Allen), who was heading the disastrous mission, now has every reason to find the presumed-dead Bourne and make him dead for real. Like Michael Corleone in “Godfather Part III,” Bourne thought he was out, and they pull him back in: Framed for murder and on the run from Russians (yeah, the Russians are involved), he has to clear his name so he can go back into hiding.

There are some nice twists in the plot, not to mention fine, meaty performances by Joan Allen and Brian Cox, who plays a CIA bigwig who supervised Bourne’s old mission. The presence of those two heavy-hitters lends the film a little more credibility, as does its generally smart attitude toward action. Greengrass knows bigger is not necessarily better; interesting is better.

There is a brutal car chase through Moscow that comprises the film’s climax, and it is shot as well as any car chase I’ve ever seen. Some will complain about the shaky cameras, but for me, it makes it that much more intense. No longer do I feel safe, comfortably watching the mayhem as it’s slickly photographed and projected back to me. With this sequence, I feel like I’m in it, being pummeled and beaten along with the cars and their drivers.

The movie is fun stuff — not silly, not generally funny, but fun, you know? It’s serious about what it’s doing. It has enough confidence in the genre, and in its superlative material, to refrain from getting self-referential or goofy. It is what most action films aspire to be, except that most films chicken out and throw in a few more explosions just to be sure. “Bourne Supremacy” uses its explosions — and its rolled-up magazines, which can also be lethal — strategically and carefully.

Catwoman

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If “Catwoman” isn’t the worst superhero movie so far, it is certainly the stupidest. It uses every cliche in the genre, and even borrows some from other genres, like the Romantic Comedy Law of Girlfriends, which states that the female lead must have a portlier, wackier girlfriend whose primary interest is her (the lead’s) love life; and the Crime Drama Law of Cop Conservation, which holds that even major cities have only one police detective, and he is on hand at every crime committed within his jurisdiction.

“Catwoman,” based on the DC Comic character who originated in the Batman universe, is an absurd movie about a skittish woman named Patience Phillips (Halle Berry) who, after falling to her death in a river, is resurrected by a squad of mystic cats and subsequently has all the powers of a cat. For example, she is suddenly very good at basketball — you know, the way cats are — and she can climb up walls and stick to them — you know, the way cats do.

Patience is an advertising artist for Hedare, a huge line of popular cosmetics run by the Hedares, a cold married couple named George (Lambert Wilson) and Laurel (Sharon Stone). It is the Hedares who are responsible for Patience’s death; after she accidentally overhears that the company’s eagerly awaited new product, Beau-line, is toxic, the only way to keep her quiet is to kill her, obviously.

Once revived, Patience is surprised to find herself more agile, more nimble and more fond of fish than she used to be. She also has flashes of confidence, aggression and sass, qualities the old Patience never exhibited. Plus, now she craps in a sandbox. (Not really. I kid the catwoman!)

Dressed in a leather dominatrix outfit that, yeah, OK, I guess sort of looks like a cat, she begins committing and/or stopping crimes in the dark of night, drawing the attention of Tom Lone (Benjamin Bratt), the aforementioned solitary police detective in whatever city this is, whom Patience already had dealings with prior to her catamorphosis. Catwoman becomes a hero of the underwold, justice is sought against the Hedare evil-doers, and Catwoman becomes a suspect when one of their associates turns up dead.

Somewhere in all this “I am Catwoman, hear me meow” business is a fascinating study of feminism and the dual roles women are expected to play — naughty in the bedroom but demure in public, and so forth. But the movie has no idea how to deal with any of its more thoughtful topics, nor even how to handle its superficial ones: Is this movie supposed to be funny, dark, serious, or what?

There are a few lines of dialogue that are clearly MEANT to be campy-funny, but then there are others that were meant to be taken seriously that are campy-funny anyway. The director, a French film editor and special-effects supervisor named Pitof, hasn’t a clue how to treat the material, and the tone is all over the place.

The overall effect is stupefaction: How did one movie become so disoriented and foolish? How did they think audiences would react to this? Why make a movie in which the heroine is only occasionally heroic and very often dull? Does a character in this movie really wear makeup that makes her impervious to pain? WHAT WERE THEY THINKING?!

The performances are generally over-the-top, especially Sharon Stone, who I like so much but who makes the worst decisions of any woman in Hollywood. Well, except maybe for Halle Berry, whose commitment to her ludicrous role in this movie is admirable but embarrassing.

I’ve never cared much for cats anyway, but “Catwoman” clinches it. Next time I see one, I’m going to kick it into the river.

The Adventures of Ociee Nash

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“The Adventures of Ociee Nash” is 10 pounds of quaint in a five-pound bag. It is so adorably precious that you’ll just wanna love it and squeeze it and put it in a sack and throw it in the lake. If it were a person, you would find it cute for about 10 minutes, and then you would flee its presence at all costs, taking the lives of innocent bystanders in your haste.

The movie, a family-friendly period piece not to be confused with “The Adventures of Pluto Nash,” which was bad for different reasons, is suspect even in its title. Ociee Nash (Skyler Day), the 9-year-old Southern tomboy who serves as protagonist, engages in only one activity that can be called an “adventure,” and it comes late in the film. The rest of her experiences are benign, sunny and conflict-free — hardly the stuff of which “adventures” are made, at least according to my concept of the term. “The Dull Life of Ociee Nash” wouldn’t have been a very appealing title, I guess, but it would have been more accurate.

The year is 1898, and Ociee lives on a farm in Mississippi with her Pa (Keith Carradine) and older brothers. Her Ma died not long ago, and Pa doesn’t rightly know how to raise a girl to become a proper young lady, so he sends her to live with his sister, Mamie (Mare Winningham), in Asheville, N.C. Aunt Mamie is loving but reserved, and is surprised that a young girl would climb trees and wear dungarees and things of that nature. She gets Ociee into a dress, and then Ociee gets herself into all sorts of adventures!

No, just kidding. There are no adventures. She meets a few famous people, Forrest Gump-style, on the train ride to North Carolina, and she performs a mild act of heroism in Asheville, but none of this is accompanied by any sense of dramatic tension or plot-building. A subplot regarding Aunt Mamie and her demure courtship with Mr. Lynch (Tom Key) adds nothing, as does the presence of a man Ociee meets who is a gypsy (Anthony P. Rodriguez).

It’s all quaint, slice-of-life material, sort of a female version of Huckleberry Finn, but without any underlying theme or purpose. It was directed by Kristen McGary and written by her and her sister Amy McGary, adapting Milam McGraw Propst’s novel “A Flower Blooms on Charlotte Street.” Both McGarys have worked in Hollywood as set decorators and such but have not made a feature film before. The direction is competent from a technical standpoint, and clearly a good deal of love went into making the film. But that doesn’t excuse its flat, simple-minded narrative, or its dearth of interesting characters. The movie is simply a series of events, none more interesting than any other, propelled only by Ociee’s pluckiness and resourcefulness — which, as I said, become fatal after a few minutes. The viewer should beware.

The Blind Swordsman: Zatoichi (Japanese)

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To watch “Zatoichi” (aka “The Blind Swordsman”) is to understand a little better what Quentin Tarantino was doing in his “Kill Bill” movies. Here’s the blood, the swords, the unexpected humor, the themes of honor and loyalty, oh, and more blood.

You can see why Tarantino likes this sort of movie so much. “Zatoichi” is fun, in an outrageous, violent sort of way, written and directed by Beat Takeshi, one of Japan’s foremost pop-cultural icons. He does it all — comedy, action, drama, TV, movies — but his yakuza films are the best. His willingness to playfully combine styles makes this one, in particular, a treat.

Takeshi plays the title role, an expert swordsman who happens to be blind. He works as a masseur, wandering from village to village, often relying on the kindness of strangers such as the old Aunt O-Ume (Michiyo Ookusu), with whom he boards for a few days, and viewing the world with whimsical, Zen-like detachment.

Meanwhile, the residents of a particular village are plagued with organized crime, the “protection” money now being collected daily rather than monthly. Here another expert swordsman named Hattori (Tadanobu Asano) is seeking work as a bodyguard for the gangs’ bosses, desperate to earn money to save his ailing wife.

Zatoichi encounters two geisha girls named O-Kinu (Yuuko Daike) and O-Sei (Daigoro Tachibana), the latter of whom is actually a boy, but never mind. Their parents were killed by the gangs, and revenge is needed. Zatoichi is not the sort to go actively looking for trouble, not even to settle a score … but when trouble finds him, he can deal with it quite capably, thank you.

It is amusing how little there is of what you would call “fighting” in this film. Most of the combat is over very quickly; “killing” would be a better word for it. The blood, which flows freely, is computer-generated and looks fake — apparently on purpose, to avoid grossing out the audience TOO much. And it is often spilled in entertaining fashion, as with the recurring joke where swordsmen accidentally cut each other while sheathing and unsheathing their weapons.

Takeshi has a fondness for music and rhythm, evidenced by the little bursts of syncopation that find their way into the action, and by the “Stomp”-like dance number — yes, a dance number — that ends the film. The substance of “Zatoichi” is no greater than that of any standard sword-and-revenge flick. But its style is zesty and surprising, and that more than compensates for any ordinariness in its storyline.

Ju-On: The Grudge (Japanese)

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They’re remaking foreign films into English-language ones so fast now that they’ve lapped themselves: “The Grudge” opens in theaters while “Ju-On: The Grudge,” which it is based on, is still playing. I saw them within a week of each other (I saw the American one first, in case you’re curious), and I quickly realized it was useless to try to write two reviews when they are essentially the same movie. Of course, “Chasing Liberty” and “First Daughter” were essentially the same movie, too, and I managed to review both of them, so maybe I’m just lazy. You be the judge.

Rarely, if ever, has a foreign film been remade so closely. Takashi Shimizu directed both versions, some of the dialogue is the same (though translated into English, of course), the plots are nearly identical. Shimizu even uses the same sets and actors in several instances.

All of which begs the question, why remake it at all? The answer, of course, is that with rare, martial-arts-oriented exceptions, subtitled foreign films do not fare well in American theaters. “Ju-On” would have topped out at around $50 million, at the very most, even if it were released on 3,000 screens; “The Grudge” will gross four times that, all because the characters speak English rather than Japanese.

“Ju-On” does it more episodically, with chapter titles declaring the name of that segment’s main character, but both films tell the story of a house in Tokyo where a man once killed his wife and possibly his son and possibly himself. Now, several years later, all who enter the house seem to encounter a curse of some kind, insofar as they are soon beset by evil forces, haunted by the specters of the aforesaid wife and son, and eventually murdered.

The story is told out of sequence, jumping from past to present at various key moments, usually just as a person is being killed. This method mainly serves to make us think this ISN’T just a regular ol’ story about a haunted house in which all occupants die one by one. It’s particularly disorienting in the Japanese version, where unfortunately Shimizu cast actresses who look alike to play the various leads — same hair style and length, same height, etc. I’m not saying ALL Japanese women look alike; I’m just saying the ones in “Ju-On” do. If you don’t keep track of everyone’s names, you’re lost.

The American version streamlines it a bit, allowing for more focus on Sarah Michelle Geller’s character, an American girl volunteering at a care center while her boyfriend (Jason Behr) goes to school. Gone are the original’s subplots dealing with a detective who investigated previous murders and whose daughter came under the evil power of the house, too. I rather like that thread, as it shows the far-reaching power of the house, stretching across several years and affecting everyone even tangentially connected to it. The Geller version feels more compact, less broad in its scope, more like a traditional Hollywood thriller.

Both versions are very big on the jump-scares, where things occur suddenly and make you wet yourself. The appearance of the creepy androgynous Japanese boy (Yuya Ozeki) and his forlorn mother (Takako Fuji) is always a startling development, especially when either of them makes their weird bullfrog-croaking sound that is generally a harbinger of death. (The characters are played by the same actors in both films, which makes me wonder if they’ll become typecast as creepy Japanese people who show up and kill you. Is there a big market for that?)

In fact, there is nearly enough atmosphere and general creepiness to make you forget that neither film really adds up to anything. We learn very early on that something awful happened in this house and now everyone who enters will die. Then, at the end of the film, we discover that, um, something awful happened in this house and now everyone who enters will die. There is no twist, no “reveal,” no tying up of all the clues to make us see the clever plotting that was lurking beneath the surface all along. It’s disappointing to realize that the film truly IS nothing more than a series of people dying, albeit in armrest-gripping fashion. It’s good for a lark, but we usually like our thrillers to have something more to them.

The Grudge: C
1 hr., 36 min.
PG-13 for a little mild sexuality, some profanity, lots of scary stuff, some blood

Ju-On: The Grudge (Japanese): B-
1 hr., 31 min.; in Japanese with subtitles
R for “some disturbing images,” including some blood and violence; should have been PG-13

Working Without a Net

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Thanks to further advancements in Qwest’s ongoing commitment to incompetence, I was recently without DSL service for three days. Qwest’s explanation for the disruption was, “we r dum we dont no how 2 do stuf cuz we are 2 stupd lololololol w00t!,” followed by a fart noise. And that was after I asked to speak to a supervisor.

Having no service for three days meant I had to find other means of acquiring my news, entertainment and arguments. Like the pioneers of yesteryear, I had to dig up an old dial-up account I still had access to and try to make that suffice while I hunkered down for the long, wintery weekend, which actually occurred in the summertime.

Dial-up is not an acceptable alternative for someone used to high-speed Internet, however. It feels unbearably slow. It’s like driving a lightning-fast Porsche one day, and the next day, having a really slow Internet connection. (I am not good with analogies without Web assistance.) Believing in this case that it was better to go hungry than to eat lousy, worm-infested dial-up, I quickly abandoned it and resigned myself to enduring the weekend without Internet access at all.

This was going to be problematic. Anytime I have a question, I know our friend the Internet will have the answer, quickly and very often correctly. How was I going to learn anything without access to the Web? Already my mind was teeming with trivial questions, accompanied by panic over not being able to track down the answers. What were the opening lyrics to “Parents Just Don’t Understand” by DJ Jazzy Jeff and the Fresh Prince? What is Armenia next to? Is “crystal meth” the same thing as “speed”? What was the name of that guy who was in that movie with the girl who had the thing? Television and human interaction could only distract me for so long before I would NEED to know the answers to these questions.

It’s amazing how quickly the Internet became an integral part of our lives. Just 10 years ago, if you’d read that I was to endure a weekend without “the Internet,” you’d have said, “What’s the Internet? And how am I reading this column if it doesn’t exist?” And thus a time-space paradox would have occurred, and the universe would have ceased to be. That’s how important the Internet is.

My point is, in only a decade, online communication has become as essential to our society as the telephone or profanity. Reuters reports that 75 percent of Americans above the age of 2 who live in homes with phone lines have Internet access. (Infants and hillbillies remain the two toughest demographics to reach.) In Salt Lake City, where I live, even homeless people have Internet access. The public library has computers that are for use not just by library card holders, but by ANYONE. Bums, slackers, terrorists, foreigners, anyone. It is truly a modern era when even hobos can check their e-mail and read The Onion.

The Internet has its beginnings in the 1960s, when computers were complicated, massive machines that occupied entire rooms, much like the late Marlon Brando. It wasn’t until the mid-’90s that the Net came to be used by ordinary people, but when it did, it took off like a rocket. For many Americans — and I understand it is also available to people outside America — it is their primary source of information.

I spent a good part of the weekend being peeved at Qwest, not just for the disruption in service, but for the stingy manner in which they credited my account. Qwest’s DSL is actually powered by MSN, and until recently, MSN handled the tech support and billing (though for convenience’ sake, the charge would appear on your regular Qwest phone bill, next to the standard mysterious telephone charges like “Federal Excise Tax” and “Excised Federal Taxation Tax”). During that time, when there was trouble with the service, I would call MSN and they would usually offer me a month’s free service by way of apology, even if the system was only down for a few hours. I liked that, because I like free stuff, and because I like it when businesses make convincing displays of actually caring about their customers.

Now, though, Qwest has taken over the tech support duties and brought the DSL customer service down to the same level as its telephone customer service, which is to say ain’t nobody happy anymore. The lady I spoke to in the billing department calculated that three days of no service amounted to about three dollars’ worth — but that she would GLADLY credit me a full TEN DOLLARS! She said it like she was the most charitable person ever to walk the earth, like Mother Teresa was a selfish skank who stole from crippled children compared to her, but I wasn’t falling for it: If these were still the MSN days, I’d have gotten a full $30 credit, not to mention massive, slobbering apologies! Massive, I tell you! AND SLOBBERING! And why was she even bringing Mother Teresa into it? That’s not cool.

So I was steamed about the Qwest business, and between being steamed and a few social obligations I had to attend to, the weekend pretty much flew by, albeit in a manner that felt completely disconnected from the world. My newspaper didn’t come or was stolen by a neighbor one of those days, too, so I was cut off from humanity even further.

When I rejoined society on the Internet on Tuesday, I was able to track down the answers to my nagging questions in a matter of seconds: “You know, parents are the same no matter time nor place/They don’t understand that us kids are gonna make some mistakes/So to you all the kids all across the land/There’s no need to argue, parents just don’t understand”; it’s between Turkey and Azerbjaijan, and it has a town called Zod, like the General in “Superman II”; yes; and Jeremy Piven. Life was back to normal — plus, I had a free $10 coming my way! W00t!

I, Robot

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Will Smith is the king of the Independence Day cineplex, able to draw in crowds and entertain even tough critics with his wise-guy antics and action heroics. Fourth of July belongs to the Fresh Prince! Because this is 1997, right? What, it’s not? 2004? Oh. Well, then who does Will Smith think he is, barging in here like this?!

Gone are the days of “Independence Day,” “Men in Black” and even “Wild Wild West” (which, though scorned, made $114 million — unprofitable, but still watched by a lot of people). “Men in Black II” and “Bad Boys II” tried to recapture Smith’s hold on mid-summer movie-going, and each earned (well, made; “earned” is something else) well over $100 million. But discerning viewers noted that both films felt overly familiar. There was the strong sense that Smith was going back to the well too often, and that producers were creating movies to abet him in doing so.

This disappointing trend continues with “I, Robot,” which is yet another science-fiction story in which Will Smith makes yet another series of wise-cracks while shooting more guns and blowing more things up. Does he say, “Aw, HELL no!” in this picture? Obviously.

Based rather loosely on Isaac Asimov’s iconic short stories and adapted by Akiva Goldsman (“A Beautiful Mind,” “Lost in Space,” “Batman & Robin”) and Jeff Vintar (“Final Fantasy: The Spirits Within”), the film is set in 2035 in Chicago. Robots have become commonplace in American households, used as personal butlers, nannies and assistants, all identical in appearance and looking vaguely like Oscar statues. U.S. Robotics reports that with the rollout of the new models in a few days, there will be one robot for every five humans.

Smith plays Del Spooner, a police officer who doesn’t trust robots, even though one has never, ever, ever committed a crime or hurt a person (they’re hardwired to obey all human instructions and never to inflict harm). Spooner is so old-fashioned his CD player works via remote control, not voice command, and he loves “retro” tennis shoes like the Converse All-Stars. Coincidentally, his favorites are the 2004 models — the very year in which this film is being released! Why, you could probably go out TODAY and buy a pair of the very shoes he adores!!!

(He’s also so old-fashioned that he showers without a curtain and with the bathroom door open, though maybe that’s not so much old-fashioned as exhibitionist, as he knows a movie camera is liable to pan slowly across the open doorway while he’s in there.)

Anyway, Spooner’s mistrust of robots starts to seem more credible when Dr. Alfred Lanning (James Cromwell), founder of U.S. Robotics, is killed, and the only possible perpetrator is a robot (voiced by Alan Tudyk). Lawrence Robertson (Bruce Greenwood), the shifty head of the company, denies that any of his droids are capable of such a thing — but of course he’d deny it, what with the impending product rollout and all. Generally speaking, people don’t buy something if they think it might kill them (cigarettes and motorcycles notwithstanding). Could this one robot’s actions, if true, indicate a larger plan — an uprising, even?! As Will Smith would (and does) say, “Aw, HELL no!”

Spooner pursues the facts, against the wishes of his lieutenant (Chi McBride), who probably calls him a “loose cannon,” or at least implies it, and with the semi-cooperative help of the lovely Susan Calvin (Bridget Moynahan), a U.S. Robotics employee whose job is to “make the robots look more human” (i.e., creepy, and P.S. mission accomplished). The closer he gets to the truth, the more dangerous things get for him personally, and for his beloved grandmother (Adrian L. Ricard), and so on and so forth.

(I was amused when Granny said, of Spooner’s ex-wife, “When I was coming up, people didn’t get married, get divorced, then not speak to each other.” But this is 2035, and Granny looks like she was born around 1965 … which means that people did, in fact, get divorced and not speak to each other anymore when she was “coming up.” It happened a lot, in fact. This is an example of a curious syndrome you see occasionally in films set in the future, where the senior citizens act as if they’d been raised in the 1930s and ’40s, rather than in the 1980s or the 2060s or whenever. But I digress.)

Directed by Alex Proyas (“Dark City,” “The Crow”), this is a big, soulless action film. It made me feel a lot like “The Day After Tomorrow” did: It’s fun, sure, but uninspired. We’ve seen it all before — the glib cop, the spectacular pursuits, the ludicrous plot twists. All of these are entertaining elements, but they need some spark to them, some wit or innovation or freshness. “I, Robot” lets Will Smith do his old Will Smith thing yet again, with only the minimum level of actual entertainment to dress it up.

Maria Full of Grace (Spanish)

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It occurred to me several times while watching “Maria Full of Grace” that even without looking at the subtitles, and even though I don’t speak much Spanish, I could often tell what was going on simply through the actors’ body language, vocal inflection and attitude. The acting is so good that it nearly transcends language barriers.

I won’t say the film itself is quite that good, but it is impressive, the work of a first-time writer director, Joshua Marston, and a large number of semi-experienced actors who understand realism is most convincing for a harrowing story like this one.

The Maria of the title, played by Catalina Sandino Moreno, is a 17-year-old girl in a tiny Colombian village. She has a job de-thorning roses, a job which she quits after her unsympathetic boss won’t let her go to the bathroom when she’s sick, and then makes her wash the vomit off the roses she pukes on.

Unfortunately, Maria lives with her grandmother, mother, sister and nephew, all of whom depend on her for income. She has an unresponsive, sex-addled boyfriend who gives her little support, and is even less useful after she announces she is pregnant.

In the midst of these desperate times, Maria and her best friend Blanca (Yenny Paola Vega) meet Lucy (Guilied Lopez), barely older than they but more experienced in life. She has worked as a drug mule, swallowing little canisters of heroin and transporting them that way to New York. Her employer, Franklin (John Alex Toro), needs more mules, and Maria and Blanca need money.

And so Maria, full of grace and heroin, embarks on a journey that will find her in New York City, where more problems await her. Moreno plays Maria beautifully, with resolution and dignity, even as Maria engages in perhaps the least dignified job in all the world. (You have to swallow the stuff, then you have to crap it out, then you have to clean it off and hand it over to someone. And Maria thought her de-thorning job was bad.)

Marston’s script and direction are polished. The only trouble with the whole thing is that it is, when you get down to it, yet another movie about yet another young person trapped in yet another set of dire circumstances. It’s a “good person in a bad situation” movie, and while the grim realities of life are dealt with dramatically and capably, it is not as inspiring as perhaps it means to be. It may transcend language, but it doesn’t quite overcome the pitfall of cliché.

A Cinderella Story

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Pity Hilary Duff, less pretty and talented than Lindsay Lohan, and also less able to choose good movies to make. (Well, pity Amanda Bynes even more, as she seems to have disappeared altogether, but never mind.) In the race to become the most successful not-quite-legal teen-queen movie star, Lohan has won and Duff has landed under Mandy Moore and on top of the Olsen twins, crushing poor Mary-Kate. (That there should even be this many names to consider, while Hollywood has no work for Helen Mirren or Maggie Smith, is a sad thing to contemplate.)

Anyway, Duff’s new film “A Cinderella Story” is a frustrating and convoluted modern fairy tale in which characters behave irrationally and without motivation. The movie knows it wants certain things to happen, but it has no idea how to construct a story that will lead to those events naturally. Instead, things just HAPPEN, without regard for whether those characters would actually do that, or whether real people would actually say that, or whatever. The film exists in its own little fantasy world where cause and effect have no place, and where you can talk to a woman face-to-face for an entire evening, but if a 2″x5″ part of her face is covered with a mask, you won’t recognize her when you talk to her again the next day.

Duff plays Sam, a high school senior stuck with her vain stepmother Fiona (Jennifer Coolidge) and dumb stepsisters in a posh California suburb. Fiona makes Sam work at the family’s diner, which is the cause of Sam’s unpopularity at school. (Evidently this school is SO rich that NONE of the students have menial after-school jobs. In real life, I think being a roller-skating waitress at a diner would actually be one of the cooler occupations a high school kid could have.)

Sam’s been carrying on a relationship via e-mail, text message and Internet chat, “You’ve Got Mail”-style, with a boy called Nomad. He is sensitive — he wants to be a writer! He quotes poetry! — but he is also, unbeknownst to Sam but beknownst to us, captain of the football team Austin Ames (Chad Michael Murray). He’s one of those brooding, soulful hunks you see in teen movies, with two devoted male followers who love him as much as all the girls do.

They arrange to finally meet at the homecoming dance (held mid-week, inexplicably), and Sam is shocked to discover she’s in love with the unattainable Austin, and Austin is shocked to discover … nothing, because Sam won’t take off her mask and won’t tell him her real name. She’s afraid once he finds out she’s Diner Girl, he won’t like her anymore. The dance ends, Sam rushes out, and Austin begins a search for his Cinderella.

This is a movie where the plot complications exist only because the main characters are retards. Austin must be borderline amnesiac to not recognize Sam any of the several times he sees her after the dance — especially since he’s in a frame of mind where he’s searching the face of every girl he encounters to see if it’s her — and Sam’s wishy-washiness over telling him the truth gets old oh-so-fast.

Directed by Mark Rosman and written by Leigh Dunlap, neither of whom has any credits I recognize, the film is airy and blithely romantic at first, but very quickly descends into unintentional absurdity and stays there. A subplot in which Fiona sabotages Sam’s college plans makes no sense — if she hates the girl, why does she want her sticking around? — but that’s typical of the half-baked nonsense that comprises the film as a whole. It’s pre-fab “fun” at its most mirthless.

The Clearing

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The histrionics normally associated with kidnap dramas are not to be found in “The Clearing.” No one screams “Give me back my son!” into a phone, nor are there risky ransom-exchange scenarios, nor are there trite explanations for the evil-doers’ grudges.

Instead, we have a mature, character-based film in which kidnapping is the story, but the people are the substance. Robert Redford, Helen Mirren and Willem Dafoe give some of the most thorough performances of their distinguished careers, and first-time director Pieter Jan Brugge (who has worked for many years as a producer) makes a riveting debut as a filmmaker.

It is Redford’s character, a successful Pittsburgh businessman named Wayne Hayes, who is kidnapped. The doer is Arnold Mack (Dafoe), who says he worked in the same office as Hayes years ago, when Hayes was on his way up the ladder. Mack, whom we see early with a wife and what looks like an average home life, says he’s only the hired gun in the operation, following the instructions of an unnamed group that wants Hayes for unnamed reasons.

Hayes’ wife, Eileen (Mirren), an aging housewife who has not let her financial well-being turn her into a pampered layabout, must endure more torment than her abducted husband. Two FBI agents (Matt Craven and Gwen McGee) move into her home for the duration, and their investigation into Wayne’s personal and business affairs reveals information Eileen was content not knowing. One is tempted to wonder whether the Hayeses’ marriage will last even after Wayne is released.

Redford turns 67 this year, and this is the first time he’s ever looked it. His face, often seen in close-up, is craggy and expressive, weathered but still full of life and charisma. It’s the face of a man who has everything he wants in the world and has worked hard to get it, which I suppose is true of both the actor and the character.

Meanwhile, Mirren exudes dignity as the strong, wounded Eileen, a character whose aloofness hides her vulnerability. Her emotional moments — subdued, controlled and agonizing — are pitch-perfect; Mirren embraces the role so fearlessly and completely that she ought to be studied by acting students.

Justin Haythe’s screenplay pulls a neat trick with the story’s timeline that I won’t fully reveal here. We flashback a number of times to prior points in Wayne and Eileen’s marriage, but there’s something else going on, too, something rather ingenious. Note that the story is clearly divided into two distinct and separate settings: Eileen and the FBI agents and her two grown children (Melissa Sagemiller and Alessandro Nivola) deal with ransom notes back home, while Wayne and Mack walk toward a distant rendezvous point in the woods. Where the movie leads us is interesting, but not nearly as compelling as the journey there.

De-Lovely

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“De-Lovely” keeps making the point that Cole Porter was a fun-loving, carefree man-about-town — but if that’s true, then how come all the scenes involving him and his interpersonal relationships are so dull? They tell us his joie de vivre inspired his droll songs, but you wouldn’t know it from watching. You see Robbie Williams singing the title song and you think, “Man, that’s a fun ditty. How did someone as dour as Cole Porter write it?”

All of which is unfair to the real Cole Porter, who truly WAS a bon vivant of the first order, a well-monied man who loved laughter, champagne and witty repartee, and whose songs reflected his elegant (but naughty) tastes. “De-Lovely” hints at all those things, and Kevin Kline is certainly an actor capable of portraying them — but it never really lets Kline cut loose and be himself (or, more accurately, let him be Cole Porter). Sure, even life-of-the-party types have woes and secrets and travails, but things can’t be THIS bleak, THIS regularly. If they were, the guy would never have the strength to even attend parties, let alone be the life of them. He’d be too depressed.

‘Tis a pity, for Porter was one of the most charismatic and interesting personalities of the first half of the 20th century. His name has faded away with those of the other great songwriters — most popular music today is uncreative, both musically and lyrically; it’s the performance and personality that drive a song, and no one cares who wrote the thing. Being a “songwriter” is like being a “cobbler” or a “wainwright”: Do they even still HAVE those?

Sorry, I didn’t mean to sound so old there. I’m just afraid audiences won’t appreciate who Porter was, and therefore won’t know how disappointed they should be that “De-Lovely” doesn’t do him better justice. Oh well.

Written by Jay Cocks (“The Age of Innocence,” “Strange Days”), the film was directed by Irwin Winkler, whose skill as a producer (“Goodfellas,” “Rocky,” “Raging Bull”) seems to be greater than his skill as a director (“The Net,” “At First Sight”). His concept here is good, though: The film opens on Porter in his 70s — the old-age makeup on Kline is outstanding — being shown a theatrical version of his life, enacted before him on a stage in an empty theater. (Don’t worry that the whole film will look like a sparse stage play: Everything appears that way to Cole, but to us, it looks like a movie shot on location.) He is seated with the director of the play (Jonathan Pryce), and occasionally gives feedback — “It’s too early for another song,” he says at one point; elsewhere, he cringes to see his past misdeeds portrayed so convincingly.

The story properly begins in Paris in the ’20s, where Cole, living off his family’s vast fortune, had taken up residence and was living from one sophisticated soiree to the next. His amusing tunes and prowess on the piano make him the center of attention, but his own eyes are fixed elsewhere: the beautiful Linda Lee (Ashley Judd), a divorced American who finds Cole every bit as charming as everyone else does. They are soon married, despite his having an equal fondness for the masculine sex. She looks the other way at his dalliances, partly out of love, partly because she’s so bedazzled by the raconteur she married that as long as he keeps her entertained, she doesn’t mind what else he does.

To a point, anyway. She moves him from Paris to New York, ostensibly so he can take Broadway by storm (which he does), but with the added bonus of getting him away from his lover. She later moves him to Los Angeles, this time for a movie-musicals/goodbye-lover one-two punch. The lack of clarity on Linda’s motivations are one of the film’s drawbacks, and though I am no fan of Ashley Judd’s, I am hesitant to blame it entirely on her shallowness. The script seems weak in that area, leaving her actions entirely mysterious.

Cole has great success on Broadway, writing huge hit shows like “Red, Hot and Blue” and “Anything Goes” (which introduced the world to Ethel Merman and which is still performed by community theaters on a regular basis today — 70 years after its debut). Through it all, his public life is a cabaret, marked by the performances of his songs throughout the world and throughout the film (Elvis Costello and Alanis Morrissette are among the singers who give onscreen renditions), while his private life is constantly dramatic and tumultuous.

What I don’t get is how any of it is fun for him. Even his homosexual relationships, which are supposedly so enjoyable they justify cheating on his wife, seem subdued and plain in the few glimpses we get of them. I don’t mean to suggest we needed to see something steamy — but we did need to see SOMETHING, some reason why he might be interested in any of these dull, blank men. Seems like if he wanted a flat, monotonous relationship, he could have stayed home.

The film is a musical, and if you deleted every scene that didn’t have singing in it, you’d have a wonderful movie. Kline is not a great singer — neither was Porter — but he does break into song on occasion, and of course it’s always one that Cole wrote. Many more songs are sung onscreen by characters who are singers, as in a rehearsal for “Gay Divorce” (the irony of that title amuses me to no end), where an actor (John Barrowman) sings the hauntingly romantic “Night and Day” as the camera swirls around him and Cole coaches him on the proper emotional technique. Cole Porter always said he expressed himself better in his songs than in his conversations, and “De-Lovely” is the same way.

Touch of Pink

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The “gay son comes out to his parents” film has been made, oh, a million times now, and the “son or daughter raised in a modern society rebels against his or her parents’ old-world ways” film has been made, oh, two million times. Now we’re starting to see overlaps. Now there are films where maybe a Muslim guy living in Ohio has to tell his strictly traditional parents that not only is he not very hardcore on the Islam thing anymore, but he’s gay, too.

“Mambo Italiano” did it with old-fashioned Italian families last year, and now “Touch of Pink” takes care of the Muslims. The appeal for directors and writers in combining these subjects is obvious, because some of the jokes must write themselves: Is Mom more upset that Junior is gay, or that Junior’s boyfriend isn’t a Muslim?

Mom doesn’t even know Junior IS gay for most of “Touch of Pink,” a cute, ineffectual film that breaks absolutely no new ground but enjoys itself as it skips down the familiar paths. He is Alim (Jimi Mistry), a photographer in his late 20s living with his boyfriend Giles (Kristen Holden-Reid) in London. Alim’s cousin is about to get married back home in Toronto, and with Alim apparently having no prospects of following suit anytime soon, his mother Nuru (Suleka Mathew) flies to England to reconnect with her son, boss him around, take control of his life, and find out why he’s not producing grandchildren for her.

Alim wants to hide his sexual identity from Mom, a plan which Giles is surprisingly willing to go along with. She finds out eventually, of course, and the expected anger, denial, acceptance and hilarity ensue. All that is a given, and writer/director Ian Iqbal Rashid, in his first feature, handles everything competently but without much flavor.

His one master stroke — and it really is wonderful — is having Alim aided in all his decisions by the spirit of Cary Grant, played to enthusiastic perfection by Kyle MacLachlan. Alim grew up watching Grant’s films, and now he imagines the dead actor observing, commenting on and guiding his life. The amusing part is that all of Cary Grant’s suggestions, when followed, make Alim’s life complicated and silly — just like a Cary Grant movie, in other words. (Cary Grant is completely in favor of having Giles’ sister pretend to be Alim’s fiancee, for example.) I love MacLachlan’s performance, and I wish it had been in a better movie.

The central cast is fine, and would be better if they had anything to do that was more demanding than your average mediocre sitcom. The problem is that the film has big ideas, but Rashid never treats them bigly. The whimsical musical score is overactive, punctuating each and every bit of merriment, and when the movie thinks it’s being “serious,” all it’s really doing is being slightly less whimsical. It’s too light and fluffy — and not funny enough — to be remembered, especially since another movie just like it will come along in a few months anyway.

The Door in the Floor

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Ted Cole is a writer, and he is everything Americans expect their writers to be. He taps away on an old typewriter, drinks heavily, is gregarious when in public but reclusive when trying to write, behaves eccentrically, wears a beard, and is an unrepentant philanderer. Look up “stereotypical American author” in the dictionary, and that’s what you’ll find.

Maybe it’s true. Maybe that’s what all great novelists are like. Ted Cole, the character in “The Door in the Floor,” comes from a book by John Irving, and Irving is obviously a writer, so he presumably knows what writers are like. Maybe Irving himself walks around naked a lot at home and cavorts with local wives when he ventures into town, like Ted Cole does. We’ll have to ask Mrs. Irving.

At any rate, “The Door in the Floor” draws its title from one of Ted’s most popular works, a children’s book rich with symbolism and meaning — perhaps more than the movie has, but never mind that. Ted (Jeff Bridges) is undergoing a rough period this summer, trying to write a new book while dealing with his disintegrating marriage to his wife Marion (Kim Basinger). The faltering is due partly to Ted’s affairs, but it also owes some to the tragic death of the Coles’ teenage sons some time earlier. Their 4-year-old daughter, Ruth (Elle Fanning), might remember Tim and Tom, or she might only remember their photographs: She spends much time in the hallway of the family’s beachside bungalow examining the pictures on the walls and recounting their accompanying stories.

Ted and Marion are trying a separation for the summer, but to keep some consistency in Ruth’s life, they alternate nights sleeping at the bungalow, with whichever parent is off that night sleeping at the apartment in town. In the midst of all this, Ted hires a summer intern, 16-year-old Eddie O’Hare (Jon Foster), a junior at Exeter (where Ted went) and a would-be writer himself. There’s not much work for Eddie to do, as Ted spends much of his time at the home of Evelyn Vaughn (Mimi Rogers), allegedly drawing her but more precisely having sex with her. When Ted does write, he mostly revises, and his revisions are such that it only takes Eddie a minute or two each morning to process them.

This leaves Eddie with enough free time to develop a crush on Mrs. Cole, a mournful, somber, beautiful woman whose seriousness matches Eddie’s. Faster than you can sing “So here’s to you, Mrs. Basinger,” Eddie and Marion are sleeping together.

It’s difficult for that sort of arrangement, and in particular for the conversations that must precede it, to sound believable in movies; I suspect that when such things come to pass in real life, the boys involved can scarcely believe it themselves. But director Tod Williams, who adapted the screenplay from Irving’s novel, deals with it as well as can be expected, and does not overplay the sentiments. (Eddie and Marion’s initial encounters are decidedly, er, unromantic.)

Williams, whose only previous credit is the little-seen but well-received “The Adventures of Sebastian Cole” (1998), directs the film with confidence, finding humor in unexpected places, and often very much of it; the film seems to get funnier as it goes. Jeff Bridges, in particular, would appear to be having the time of his life playing a cad, even as Ted’s devil-may-care attitude clearly masks his inner pain.

And apart from the humor, the film has a sense of loveliness about it: the wistfulness of the ocean, the little girl’s poignant memories, Eddie’s coming-of-age puppy love (played with sensitivity beyond his years by Jon Foster) — the film is sweet, and nice, and very sad, but also very refreshing.

Apolitical Science

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One of the problems with living in a democratic nation is that you are occasionally required to care about politics. In totalitarian regimes, you never have to think about it. The government does your voting for you, and as long as you don’t actively oppose whoever wins, they don’t murder you. Less time thinking about politics, more time to watch TV, that’s what I say.

But that’s not how it works in America. This country is run by The People (note: The People, the populace, not People, the magazine), which means The People have to care about what’s happening. Or they at least have to pretend to care so those around them will think they’re good Americans. Of course, if you express the wrong opinion, some people will think you’re a bad American anyway, so sometimes there’s no winning.

We are currently in a period, much to my personal dismay, in which political apathy is not an option. You will care about politics, or you will be perceived by your fellows as a slacker American. It’s an election year, after all, plus we have this quasi-war of dubious popularity on which everyone must state his position, and now there’s this rabble-rousing movie “Fahrenheit 9/11” that has roused, among other rabble, even movie geeks, who now fancy themselves civic-minded political commentators (albeit weaker and pastier than most) (and that’s saying something).

My problem with political discussions is that anyone passionate enough to engage in them seriously is usually also so passionate that they refuse to consider opposing arguments. They don’t really want to “discuss” politics; they want to preach about them, and to convert the listener. And of course the listener, being similarly passionate, is either already converted, or else he’s trying to convert the preacher to HIS side. Everyone wants to talk, but no one wants to listen. It’s like hanging out with actors.

As a decidedly moderate individual (in regards to politics, anyway; where it concerns Oreos, I am fanatical), I am bemused as I watch these discussions take place in person or in Internet forums. Political conversations between myself and like-minded (i.e., dumb) individuals are usually quite tame and misinformed, and it isn’t long before we grow tired of the subject and start discussing Spider-Man instead. But the hardcore political people are something else. They have conversations that are astonishing in their brutality and stubbornness. They generally go like this:

LIBERAL: Everything that every conservative commentator says is a complete lie! They just MAKE STUFF UP!
CONSERVATIVE: You think WE lie?! What about the liberals?! THEY’RE the ones who lie!
LIBERAL: Oh yeah? What about THIS lie you guys told? [Cites some lie.]
CONSERVATIVE: That wasn’t a lie! That was the truth. (Or: We never said that!) You wanna hear a lie, how about THIS one, that the liberals told! [Cites some lie.]
LIBERAL: We never said that! (Or: That wasn’t a lie! That was the truth.)
CONSERVATIVE & LIBERAL: The only reason you think the way you do is that you’re uninformed. If you knew the truth, you’d agree with me.
LIBERAL: You’re an idiot!
CONSERVATIVE: No, YOU’RE an idiot!

And so on. Basically, each side is so convinced his group is right that he assumes anything the other side says is automatically false. Why? Because it’s the other side saying it. Since Al Gore is not the president, liberals say he should have won and Bush stole the election, while conservatives say Bush won it fair and square. If Gore had wound up in the White House after the 2000 election brouhaha, the arguments would be running exactly the other direction now: liberals defending him, and conservatives saying he stole it.

If it had been liberal commentators who said we should invade Iraq, the liberals would have no problem with it. But since it was conservatives who said it, it’s WRONG! Likewise, conservatives would have no problem with, um, whatever ideas the liberals have had lately, if it weren’t for the fact that it was liberals who came up with them. Whatever they are, I mean.

I have to assume this is more or less what the Founding Fathers intended when they slapped together this great nation of ours. Not the narrow-mindedness — though if they didn’t intend that, they might have expected it — but the impassioned discussions and strongly held convictions. We see it even in the Declaration of Independence, drafted by Thomas Jefferson in 1776: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness — though if we listened to that blasted conservative John Adams, no man would be able to pursue Happiness unless he had a Government license for Happiness-Pursuit tucked away in his Satchel.”

For people like me, who follow current events but have little interest in politics, who believe it scarcely matters who the president is as long as we have food to eat and places to live, who think Rush Limbaugh is a bombastic fathead and Al Franken is one of the least funny people alive — for us, these are trying times. Try to tell anyone in 2004 that you aren’t interested in political discourse, and they’ll say it’s because you just haven’t found the correct side to be on yet. But in fact, I have looked at all the issues, both sides, read the commentators — and I still don’t care. I have my opinions on who should be allowed to marry whom or abort what or invade where, and I’ll vote for whoever seems to agree with me the most. But I’m not going to expend all my breath and energy ripping apart the ones who disagree, because what good does that do? Any ripping-apart I do will be in the direction of people who occupy two parking spaces at once, or the people who live above me whose only method of communication is screaming. Politics are small potatoes compared to real life.

Anchorman: The Legend of Ron Burgundy

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I’m having trouble writing a review for “Anchorman: The Legend of Ron Burgundy,” because everything I write makes me sound like a quote whore. (You know the quote whores: The critics who heap exaggerated praise on even the worst of movies because they like seeing their names in print.)

“The funniest movie of the year! I laughed from beginning to end! This is one of the funniest films I’ve ever seen!” Ugh, I sound awful. But those are my honest feelings, and you should trust me: I never get quoted in ads anyway, so insincere gushing would be pointless.

“Anchorman” now enters the pantheon of my favorite comedies, the movies that make me laugh long, hard and often. It goes into the pile with “Blazing Saddles,” “Airplane!,” “Waiting for Guffman,” “Raising Arizona” and a Marx Bros. film, maybe “Duck Soup.” (By the way, I don’t find “Caddyshack,” “Billy Madison” or “Ace Ventura: Pet Detective” particularly amusing, so if those are your personal benchmarks, perhaps I’m the wrong one to listen to.)

Directed by former “Saturday Night Live” scribe Adam McKay and written by him and Will Ferrell, the film is set in the 1970s, when TV anchormen were MEN, manly, brown-suited men with porn-style mustaches and heavy drinking habits. Ferrell plays Ron Burgundy, the alpha male in the San Diego local news market. He is sexist, lively at parties, liked by everyone, only 10 percent as smart as he thinks he is, and, though a bad journalist, no worse than anyone else in local news.

He’s head of the KVWN Channel 4 news team, accompanied by cohorts just as immature as he is. There’s Brian Fantana (Paul Rudd), the ladies’ man roving reporter who has a cabinet of musky colognes, including one called Sex Panther. Then there’s the sports anchor, Champ King (David Koechner), a redneck in a cowboy hat. Finally, there’s Brick Tamland (Steve Carell), the congenial weatherman who is, we learn, functionally retarded. (I will not bother to quote any of his funny non-sequitur lines here, because there are dozens of them. OK, one: He believes a bear, seen at the zoo, is “a furry tractor.” There.)

The boys’ club is thrown into chaos when a WOMAN — bringer of cooties, object of juvenile-boy affection — named Veronica Corningstone (Christina Applegate) is added to the team as a reporter. The men object because they’re sexist, but also because, as grown men in a state of arrested development, they’re terrified of her. Their lusty advances toward her — this was before anyone talked about “sexual harassment” — are transparent and oily, but apparently they work on some women. But not Veronica. She’s smart and liberated.

Ron, however, seems to be legitimately in love with her, and Ferrell’s gift as a comedic actor is take a character as fundamentally slimy as Ron Burgundy and make him LIKABLE. The way he stumbles over his words when he’s around her, his awkwardly worded propositions, even the ill-hidden, um, arousal he experiences in her presence — these are all reminders that he’s essentially just a naughty little boy, not a lecherous, dangerous man. He’s a product of his times, and he’s sincere.

Ron and Veronica begin a relationship, which soon becomes public, and which becomes strained as Veronica rises up in the ranks. One of the film’s great strokes is in Veronica’s character, played with astonishing agility and comedic grace by Christina Applegate. I wrote of her in my review of “The Sweetest Thing” that she “apparently learned a few things about comedy while in the purgatory of ‘Married … with Children,’ for she has flair and timing.” She proves it again here, holding her own amongst the insanely funny group of male leads (which also includes Fred Willard as the news director) as well as Veronica does in her situation.

The film fully LIVES in the ’70s, wearing the decade like a polyester suit. It knows the ’70s are inherently funny, but does not underscore that fact with obvious era-specific jokes. The characters and situations could only have existed then — after the sexual revolution of the ’60s, but before the political correctness of the ’80s — and seeing them played out with such manic, brilliant glee by the cast makes this an exuberantly wacky movie.

Ferrell’s man-child persona, his knack for loopy non-sequiturs (“By the beard of Zeus!” he declares upon first seeing Veronica), his penchant for piling more comedy onto a joke until you think it can’t be any funnier, and then topping it with one more hysterical line — these are the secrets of “Anchorman’s” success. Ferrell, McKay and editor Brent White cut judiciously, never letting a joke get belabored, but letting the best ones roam free for a while, too. This is a masterpiece of comedy, ready to be watched, re-watched, quoted and imitated for years to come.

Sleepover

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“Sleepover” is yet another teen wish-fulfillment comedy where the 14-year-old girls in the audience get to pretend the 14-year-old girls on the screen — the ones staying up late, evading adults, and kissing cute boys — are themselves. These things are generally harmless, mediocre, slapped-together affairs where reviewing them is a waste of words, and this one is no different — except it isn’t harmless.

Tales of mild rebellion — Ferris Bueller skipping school and enjoying a day on the town, for example, are one thing, but “Sleepover” doesn’t know when to quit. At the end of junior high school, Julie Corki (Alexa Vega, from the “Spy Kids” films) hosts a slumber party for her two best friends and the fat girl she feels sorry for. The same night, there is a competing slumber party, held by the pretty, snotty girls who have just finished reigning over junior high and will, if unchecked, rule high school come September. (Well, they’ll rule the freshman class, anyway. They’ll still be freshmen.)

Staci (Sara Paxton), Farrah Fawcett-haired leader of the snotty girls, shows up at Julie’s house and introduces a scavenger hunt in which both parties must compete. The stakes? Primo lunch spot by the fountain in high school, while the losers have to sit with the nerds by the Dumpster. Julie was warned by her mom (Jane Lynch) that she and her guests were not to leave the house, but now she feels compelled to, as a matter of pride. Besides, one of the items on the scavenger list is a pair of boxer shorts belonging to Steve (Sean Faris), who’s only the cutest boy in high school!!

Julie’s mom went out with friends, leaving the slumber party in the care of Julie’s dad (Jeff Garlin), who is classic Movie Dumb Dad material, and her older brother (Sam Huntington), who might be funny in a different movie. The brother is easily manipulated, and the girls sneak out while Dad is doing something dumb and dad-ish, I forget what.

So the sleepover of the title disappears mere minutes after the film has begun, devolving instead into an adventures-in-suburbia story. Julie and her team run afoul of a buffoonish security guard (Steve Carell) who apparently has jurisdiction over their entire neighborhood as well as Old Navy. They wreck his car by driving another car into it — they’re not old enough to drive, but the chubby girl’s dad told her she could take his electric car “in an emergency.”

They also sneak into a bar, where one of the goals is to get a man to buy them a drink and take photographic evidence of it. That the man Julie corners turns out to be one of her teachers (Johnny Sneed) is creepy enough; the fact he doesn’t recognize her, doesn’t notice she’s obviously no older than 15, and tries to hit on her, is disturbing indeed (not to mention stupid: He just spoke to her at school THAT DAY).

Then there’s the matter of the boxer shorts. Julie winds up in Steve’s house, where Steve is getting ready for the big dance at the high school. Naturally, she winds up hiding in his shower, since that is the only place people in movies are allowed to hide. While she’s there, Steve enters the bathroom and — yes, indeed — strips naked while Julia watches. (He is then distracted and must leave the room, giving Julie a chance to commit theft of underpants.)

Are you sure you want to take your daughters to see this? I don’t have teenage daughters, but I can’t imagine I’d want them to watch a movie that glorified this sort of behavior. As I said, silly rebellion is one thing; vandalism, voyeurism, rampant disregard for safety and rule-following is something else. Besides, they’re only 14! Make these girls seniors in high school and the film would seem considerably less dangerous.

But then there’s the matter of excellent comedy, which for me can cover a multitude of sins. This film has none. It is weak and simple, with a by-the-numbers script from Elisa Bell (“Vegas Vacation,” heaven help us) and uninspired direction by Joe Nussbaum, in his feature debut. As always, there are plenty of good movies to take the girls to. There’s no need to resort to this.

Metallica: Some Kind of Monster (documentary)

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Rock ‘n’ roll stars of the ’70s and ’80s spent so much time building up public personas with costumes, makeup and carefully publicized hijinks that it’s amusing to see them be deconstructed before our very eyes in this, the Age of Reality. Once the fearsome Ozzy Osbourne was revealed by MTV to be nothing more than a harmless, befuddled family man, it was only a matter of time before the curtain would be pulled back on Metallica, the no-nonsense kings of heavy metal and idols of countless punk-hating, pop-hating long-haired adolescent males.

Guess what, head-bangers? For two years, your boys had a full-time therapist, but no bass player. “Metallica: Some Kind of Monster” is a highly enjoyable documentary that follows the band through the departure of its bassist in January 2001 to the release of its new album “St. Anger” in 2003, with enough dysfunction and emotional blood-letting in between to fill three seasons of “Six Feet Under.” I couldn’t care less about Metallica’s music, but this documentary sure entertained me. Fans, who presumably would delight in a peek behind the scenes even if it’s disillusioning, will probably love it even more.

It is a time of soul-searching for Metallica. Bassist Jason Newsted has left, leaving the remaining members — singer/lead guitarist James Hetfield, drummer Lars Ulrich and guitarist Kirk Hammett — to contemplate their place in the world of rock, and to examine themselves.

Enter Phil Towle, a therapist and “career coach” who has worked with sports teams and other organizations that must function well privately in order to perform publicly. Phil becomes a non-playing member of the band, present at all rehearsals in addition to holding regular group-therapy sessions with the members. Metallica’s producer Bob Rock fills in as bass player in the meantime, and the group gets started on a new album.

After years of Hetfield — he of the tough-guy fu-manchu facial hair and growling singing style — writing most of the band’s material, the decision is made to produce the new album more collaboratively. Hetfield, Ulrich and Hammett sit around the studio, jamming on their instruments, improvising lyrics, and passing their ideas around. This method becomes funny after Hetfield emerges from nearly a year in rehab for his alcoholism. With a new lease on life and a fresh perspective on the world, Hetfield doesn’t exactly fit in with Metallica’s gloom-and-doom style anymore. Asked to come up with lyrics for a particular strain of music, Hammett writes the typically dark, “My lifestyle determines my deathstyle,” while Hetfield pens the more optimistic, face-the-world, “I’m tired of being afraid.”

The post-rehab Hetfield gives the film its resonance, for he exemplifies what Metallica and all other attitude-heavy rock bands face in the modern world. There is an inherent conflict between rock ‘n’ roll, which is supposed to be dangerous, rebellious and spontaneous, and responsible adulthood. Hetfield and Ulrich are both family men with wife and children waiting at home. Their days of hard partying are mostly behind them. How can people like that create the crunching, nihilistic heavy metal that fans crave? How can anyone who spends all day every day being trailed by a psychiatrist be angry enough to produce good rock music, when good rock music almost by definition must stem from raw, un-therapied emotions?

Directors Joe Berlinger and Bruce Sinofsky, both respected documentarians, capture all the angst, adventure and humor of rock stardom, and wisely don’t overplay elements like Ulrich’s anti-Napster campaign of 2002. (It’s in there, but the other stuff is so much more interesting.) They see the ironic situations, but let them speak for themselves, rather than underscoring them with clever editing or humorous voice-overs. By the time “St. Anger” is released and the film is over — a good 20 minutes later than it should have been, probably — you’ll have witnessed a curious creative process, seeing not just an album made but a group of people redefined.

Riding Giants (documentary)

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DVD sales for “Riding Giants” will probably be brisk, given the film’s popularity and critical success, but I wonder if buyers will be disappointed. If ever a film needed to be seen on the big screen to be appreciated, it’s this one. How can you fully understand the importance of surfing a 30-foot wave when the wave only appears to be 20 inches tall?

The film that opened the 2004 Sundance Film Festival — the first documentary to do so — is an enthralling, entertaining, jaw-dropping look at the history of surfing, told mostly by the men who brought it into vogue in the 1950s. Greg Noll is interviewed extensively, and if that name means anything to you … well, then you’ve probably already seen the movie. If not, take the movie’s word for it, he’s a big name in the surfing world.

It was Noll who, in the late ’50s, became the first celebrity big-wave surfer. His outgoing personality and flamboyant style helped bring the sport out of obscurity into greater popularity. But what helped even more were the “Gidget” movies. “Riding Giants” asserts that where there were maybe 5,000 active surfers in 1959, when the first “Gidget” film came out, there were 2 million just five years later.

We learn about the difference between big-wave and small-wave surfing — it has to do with the style, too, not just the size of the waves, smart-aleck — with the focus of the film being on the magnitude and danger of big-wave surfing, as opposed to the hot-dogging trickery of small-waving. We learn the pros and cons of having a leash attaching your surfboard to your foot. There is a wealth of old footage and photographs showing the big kahunas of yesteryear surfing Hawaii’s stunning Waimea Bay and the treacherous Mavericks of Northern California. We catch a glimpse, through the words of the surfers interviewed, what the appeal is, how a mere sport can become a true way of life.

And we see some killer waves, and that is sometimes meant literally. Watching surfers wipe out is exciting in its own right, but when we see them succeed, gliding flawlessly and unbelievably quickly down a giant wave, it’s absolutely thrilling. Director Stacy Peralta, the skateboard champ who brought us the similarly excellent doc “Dogtown and Z-Boys” a few years ago, captures as well as any film can the exhilaration of surfing, telling a number of incredible stories along the way.

Angry Letter: ‘White Chicks’

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In response to my review of “White Chicks” — the worst movie of the year — I received this e-mail:

I thought the movie was very humorous. The jokes were hilaroius and if that didn’t catch your attention then the horrible make-up did the trick. [Ho ho, I didn’t say the movie didn’t catch my attention. Most train wrecks are pretty attention-grabbing.] Their demeanor when “made-up” was funny enough by itself. The theme was a one of a kind and it was just an overall good movie. No, it wasn’t the funniest thing i’ve seen but it definitley gets my vote. I think some of the co-stars in the film attributed to the movies success. Your reviews sucked! [Apparently, I wrote many reviews of this movie.] You have a bias opinion because obviously you don’t like the wayan brothers work if not all of black comedians productions. Not every comedy needs a punchline it could just be funny! Stop writing these remarks.. it’s not fair to be so damn bias.

Feeling especially mischievous, I replied to the writer, whose name was Lana, with this:

“Thank you for the very stupid e-mail. My readers enjoy reading angry letters written by illiterate people, so I know they’ll love yours.”

Lana replied thus:

before you reply pehaps you’d like to think about what you’re saying. Do you
know what illeterate means? Get a real hobby

I have never been more delighted in my life than the moment when Lana accused me of not knowing what “illiterate” means, and misspelled “illiterate” when she did so. I gave this reply:

“Yes, I know what it means. According to the dictionary, it’s ‘Violating prescribed standards of speech or writing.’ For example, misspelling the word ‘illiterate,’ as you did, or any of the other 10 mistakes you made in your initial e-mail. So yes, I know what it means, and yes, you are it. But I’m glad you liked the movie.”

She did not reply to that, alas.

Angry Letters: the ‘Nayme Gaimme’ column (again)

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Yeesh, more angry letters about the funny names column.

King Arthur

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Antoine Fuqua’s “King Arthur” assumes the ambitious task of taking the romance and magic out of that familiar tale and giving us a more fact-based account instead. Fans of Camelot and Excalibur and all the sentimental trappings normally associated with Arthur will be disappointed to find that this film is more about war than chivalry, and that everyone is filthy most of the time.

The concept is intriguing. While King Arthur is among cinema’s most often visited characters, the reality of the legend has not been explored before in film. This depiction is still not entirely accurate, of course, and much of the real King Arthur is still unknown to history. But it takes a shot at it, and it tells a good story, anyway.

Set in around 460 A.D., we learn of the Sarmatians, recruited by Rome as youths and sent on 15-year posts to guard and protect the part of Britain that Rome occupies, i.e., everything south of Hadrian’s Wall, midway up the isle. These knights, under the leadership of Rome-appointed Arthur (Clive Owen), go about the countryside protecting and defending, all the while looking forward to the day of their release.

We meet noble Lancelot (Ioan Gruffudd), whom we saw as a boy in a prologue that has no relevance to the rest of the film; the mighty Bors (Ray Winstone), father of a dozen bastard children by the same woman, whom he doesn’t feel like marrying; Dagonet (Ray Stevenson), strong with an ax; Galahad (Hugh Dancy), who above all wants to return to a normal life of love and romance; Tristan (Mads Mikkelsen), who has a hawk for a friend; and Gawain (Joel Edgerton), whose devotion to the battle rather than returning to his homeland makes him an easy bet for getting killed.

Arthur and the knights have two regular groups of enemies. There are rogue Britons called Woads who live like savages in the forest and who want Rome out of their country once and for all; they are advised by a mad wizard named Merlin (Stephen Dillane). And then there are the Saxons, barbaric killers from the north who seldom dare to cross Hadrian’s Wall. They are led by Cerdic (Stellan Skarsgard), who must constantly remind his bitter son Cynric (Til Schweiger) that he, not Cynric, is in charge.

The Woads are about to get their wish, as Rome is pulling its military presence out of Britain altogether. But on the eve of their release, Arthur and company are given one final order: Go north into Saxon territory and get a landowner named Marius and his family — especially his son Alecto, who is the pope’s favorite godson — out of there safely before Rome removes itself and the place goes to hell. Few of the knights are interested in this “Saving Private Ryan”-ish task — and they haven’t even SEEN “Saving Private Ryan” — but Arthur is assured by Bishop Germanius (Ivano Marescotti) that once it’s done, they’ll be free men. Arthur gives his men his word, and Arthur’s word is good as gold.

What they find at Marius’ compound is that Marius (Ken Stott) has created a nice empire for himself full of false propheting — he’s told everyone he speaks for God — and rife with the byproducts of religious over-zealousness. Naturally, he doesn’t want to leave, Saxons or no Saxons. A Woad named Guinevere (Keira Knightley) is among the people captured and tortured by Marius’ servants; her presence in the film is unnecessary, but perhaps is a gesture to those who simply can’t imagine a King Arthur story without her.

Arthur, a Christian who believes in equality and free will, is already undergoing a crisis of faith, and now here’s Marius, believing some are born to be servants and insisting Rome and the church agree with him. These deep themes of disillusionment, fate and honor fit right in with a movie that often seems oppressive and heavy. The lush green countrysides blanketed in fog, photographed beautifully by Slawomir Idziak, feel mournful and melancholy, and while there are numerous light moments in the story, it is overall one of duty and combat.

Director Fuqua, again doing “Training Day”-quality work after his “Tears of the Sun” misstep, admirably handles the scope and size of the film, and the script by David Franzoni (nominated for an Oscar for “Gladiator”) affords several opportunities for a good director to shine. There is, for example, a terrific battle sequence set on a barely frozen lake, with knights and Saxons facing off while ice cracks all around them. It thrills nearly as well as any action scene we’ll see this summer.

Clive Owen is an excellent choice as Arthur, for Owen excels at playing weary, obligated men. Note his performances in “Croupier,” “Gosford Park” — even that series of BMW short films where he played a chauffeur driver. Owen’s characters tend to be resourceful and intelligent, but secretly yearning to be freed of whatever duties have beset them. In this film, that is Arthur to a tee.

By the end, unfortunately, all of the larger themes dissolve into battle scenes that recall the battle scenes in the “Lord of the Rings” films — bearded men shooting arrows at each other all look the same after a while — only without the added layer of humanity. “King Arthur” is a good enterprise, and it makes a good run at it, but by the last act, it’s just the same old Saxon violence.

Signs, Co-signs and Tangents

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The sign on the vending machine at the post office says, “Change is given in Susan B. Anthony dollars!,” with the exclamation mark at the end. I don’t know if the punctuation is meant as enthusiasm or as a warning. Do they mean, “Hey! Guess what?! Change is given in SUSAN B. ANTHONY DOLLARS!! Woo-hoo!!!”? Or do they mean, “BE CAREFUL: If you use this machine and require change, you’re going to be stuck with Susan B. Anthony dollars. Just so you know”? (The point is moot anyway, because what the machine ACTUALLY gives you are Sacajawea dollars.)

* * * * *

The sign on the shopping cart corral in the parking lot at Albertson’s says, “For your safety and convenience, please return shopping carts here.” In truth, returning the shopping cart to the corral is neither safe nor convenient for me. Not convenient because it means walking farther, and not safe because I’ve been drinking heavily. The MOST convenient thing would be to just leave the cart in the parking lot, like most people do, and that’s not particularly unsafe, either, though it does increase the potential for damage to people’s cars.

But most people don’t think about that stuff. Most people see “for your safety and convenience,” and they think, “Hey, I like things that are safe and convenient! I’m going to do whatever that sign tells me!” If the sign said, “For your safety and convenience, please remove your pants,” people would be halfway unzipped before they realized that didn’t make any sense. I know I would be. (See: I’ve been drinking heavily.)

What Albertson’s MEANS is, “For OUR convenience, please return shopping carts here.” They should make it say that.

* * * * *

The signs on several parking spaces at Golden Corral say, “Reserved for senior citizens.”

This is Golden Corral. Isn’t the whole place reserved for senior citizens?

* * * * *

The sign near the check-out at Wal-Mart says, “For your convenience, tobacco and alcohol is sold only at register #19. Thanks!”

I’m ill-equipped to even address the issue of using “is” when “are” is called for — unless “Tobacco&Alcohol” is a new combo product I don’t know about — let alone to handle the fact that this poorly worded sign is reproduced and placed on every register in the store.

The more important issue is, how does selling cigarettes and beer at only one register make things more convenient for me, the average customer? It benefits me in no way whatsoever. And if I were actually buying tobacco and/or alcohol and/or Tobacco&Alcohol, it would be the very opposite of convenient — inconvenient, that would be — to make me stand in one specific line instead of whichever line I wanted. What if register #19 has the longest line in the entire store, full of dumpy women stuffed into their belly shirts buying baby formula while accompanied by three filthy barefoot children? Then I, as a cigarette or beer purchaser, have been inconvenienced beyond all reason, if I am indeed forced into register #19’s line!

* * * * *

The poster in the doctor’s examining room lists several sexually transmitted diseases and their symptoms. For chlamydia, it says, “burning sensation when you urinate,” followed by the explanatory “(pee).”

It is alarming to think there are individuals capable of having sex and contracting chlamydia who have to be told what “urinate” means.

* * * * *

The billboard says, “Super man,” and it has a picture of Christopher Reeve, who of course fell off a horse and now he can’t walk and that means he’s a hero, or something. Then it says, “Strength. Pass It On.” It is a billboard advertising “Strength.” It does not indicate where a person can obtain this product, however. Is it at stores? Is it online? Where do you get Strength?

Another billboard from the same campaign has a picture of some guy and says, “Climbed Everest. Blind.” This billboard is brought to you by “Vision,” which seems rather cruel, given that it has a picture of a blind guy on it, though I guess maybe he doesn’t know.

But anyway, apparently, this guy climbed Mr. Everest despite being visually impaired. That is a stunning achievement indeed. It caused me to reflect on my own limitations, specifically the fact that if I were his guide up the mountain, I would stop after a couple hours of climbing and say, “Well, here we are at the top! Didn’t take as long as I thought it would!” and then head back down. And that makes me a bad person.

Napoleon Dynamite

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“Napoleon Dynamite” is a gloriously quirky, hysterically funny ode to rural dullness that is probably the fairest, most accurate film representation that Preston, Idaho, will ever get.

First-time director Jared Hess, who co-wrote with his wife Jerusha, lovingly mocks the denizens of his hometown, and of many other people’s hometowns, through the muted, unenthusiastic characters who inhabit the film. This is a place where culture, fashion and mustaches stopped developing in the 1970s, with the exception of some girls’ hairstyles, which managed to reach the mid-’80s. It’s a town that viewers will identify as thoroughly dorky, while the residents themselves are oblivious to their gaucheness.

Fans of the Coen brothers (“Raising Arizona,” “O Brother, Where Art Thou?”) will recognize the sort of lovable oddballs here, chief among them being the title character (played by Jon Heder), a high school senior who draws fantasy creatures, fancies himself a nun-chuck expert, and generally behaves with unselfconscious individuality. Napoleon lives with his 30-year-old brother Kip (Aaron Ruell), a pasty, ambitionless fellow who maintains a long-distance Internet relationship with a woman in Detroit. When their grandmother is injured in an ATV accident, their uncle Rico (Jon Gries) comes to stay, bringing his attachment to his high school football glory days (i.e., 1982) and a number of stupid get-rich-quick schemes with him.

Meanwhile, Napoleon makes friends with Pedro (Efren Ramirez), a new student from Mexico, helps him run for class president, and also attempts to find a date to The Big Dance. Apart from those minor threads, there is no plot to speak of; the narrative here is as insignificant as the town itself. This is a slice-of-life movie about a place where there is no life to slice.

And it’s a complete joy to watch. Hess, expanding on his short film “Peluca,” has created a wonderfully quaint, dull little town and a passel of entertaining characters to populate it. Heder, all droopy-eyed, slack-jawed and sleepy-sounding, is a riot as Napoleon, his faux-profanity and exasperated sigh earning laughs every time, along with his blissful unawareness of his own strangeness. (He knows he’s a little different from most kids, but he has no idea the extent to which it goes.) I don’t know what Heder will do with his career after this, but I’ll be surprised if he ever creates a character as sharp as Napoleon Dynamite.

Every performer acts with deadpan perfection, including Aaron Ruell as Kip, Efren Ramirez as the indefatigable Pedro, and Jon Gries as the uber-loser Rico. The dialogue is funny, the timing dead on, the physical humor nicely executed. There are no life-altering conflicts, and very little learning, growing or hugging. It’s one of the most agreeable, most likable films I’ve seen in a while. I noticed that even when I wasn’t laughing, I was still smiling, happy just to be there.

America’s Heart and Soul (documentary)

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The problem with “America’s Heart & Soul” is not its message, which is that America is a land of opportunity full of diverse, salt-of-the-earth people. The message is fine. The problem is that simply stating a message over and over again for 88 minutes does not a movie make. That, my friend, is boring.

Director Louis Schwartzberg, bless his heart, loves his country so much he composed this love letter to her. The film is full of beautiful vistas and nice-seeming folks, each of whom gets four or five minutes of screen time before we move to the next one. We meet a cowboy in Telluride, a weaver in the Appalachians, a Vermont dairy farmer, a New York City bicycle messenger — dozens of artisans, tradesmen and laborers, all doing their thing, all enjoying their freedoms, all reminding us of America’s most inspiring melting-pot characteristics.

But there is no point to it all, other than to say America is great. Which, again, is a perfectly reasonable thesis — one I agree with — but it makes for a lousy movie. Movies needs stories, character arcs, SOMETHING. “America’s Heart & Soul” only sticks with its subjects long enough to tell us who they are, not to show them learning, acting or changing. There are no plots or story lines. It’s an endless series of snapshots tied together only by a loose thread of patriotism. Singing a few rounds of “The Star-Spangled Banner” is much more stirring, and doesn’t take nearly as long.

Before Sunset

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Celine (Julie Delpy) and Jesse (Ethan Hawke) met nine years ago on a train in Austria, spent the day together in Vienna, and parted ways, promising to meet in Vienna in six months. That much you know if you saw “Before Sunrise” (1995), which I did not. What you did not know is that the planned re-encounter never happened, and this beautiful young couple — who never learned each other’s last names or contact information — never saw each other again.

Until “Before Sunset,” that is, when Jesse is in Paris on a book tour and Celine is wandering through bookshops. Jesse has written a semi-fictional story about two young people who fall in love one magical evening in Vienna — proof that he never forgot Celine. That he should meet her again now seems pre-destined. Alas, he must catch a plane back to the States in a couple hours. All he can do is walk and talk with Celine through the streets of Paris in the time he has.

The film, again written and directed by Richard Linklater (with the stars getting co-writer credits), unfolds in real time for 80 minutes as Celine and Jesse re-connect and rekindle their affection for each other. They do almost nothing but talk, filling one another in on what’s happened over the past nine years, and expounding on some of the interesting philosophical ideas Linklater is famous for. It’s interesting conversation even for disinterested bystanders like ourselves.

Hawke’s voice has a whine to it that I’ve never liked, and his character says “I’m just kidding” too often in the film. Apart from that, Jesse and Celine are perfectly likable, sympathetic people, and seeing them begin to fall in love as if spying on them — the camerawork is unobtrusive and observant — is a reasonably satisfying experience.

Spider-Man 2

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I wrote of the first “Spider-Man” film that it was “probably the best superhero movie ever made.” Now comes the sequel, about which I can make the same assertion, but without the “probably”: This is the best superhero movie ever made. Period.

“Spider-Man 2” is funny, thrilling, even heartbreaking. It has the whirring plot and high melodrama of a comic book, the witty dialogue of a Coen Brothers movie, and the intricate combination of characterization and action of … well, of the first “Spider-Man,” which more or less set the bar.

The screenplay, which passed through a number of hands but is finally attributed to screenwriting veteran Alvin Sargent, lays out all the plot threads early. Peter Parker (Tobey Maguire), now a college student, neglects his friends, his classes and his pizza-delivery job because of his Spider-Man duties. Mary Jane (Kirsten Dunst) continues to pine for him, and he continues to abstain from her for her own good. Their best friend Harry Osborn (James Franco) still hates Spider-Man for killing his father, and in fact is becoming more and more like the late insane tycoon every day. Aunt May (Rosemary Harris) can’t pay her mortgage. And Peter’s spider powers are on the blink for reasons he can’t ascertain.

Meanwhile, our villain in the making is Dr. Otto Octavius (Alfred Molina), a brilliant scientist who has constructed four artificially intelligent mechanical arms to aid him in developing cold fusion. (It doesn’t completely make sense to me, but hey, I’m not a brilliant scientist.) In a demonstration gone awry, the arms fuse themselves to Octavius’ spine and, being artificially intelligent, wreak havoc on anyone trying to separate them from him. (Here director Sam Raimi shows us his horror roots with a chilling hospital scene, done without any musical scoring, that involves a chainsaw and a good deal of mayhem — but not much blood, since Raimi’s working in the PG-13 genre now. He can still work up a good scare, though.)

Back to Peter. His growing frustration over not having a normal life and his intense love for M.J. cause him to do the unthinkable: He gives up being Spider-Man. This thwarts the now-insane Octavius’ plan, which was to capture Spider-Man for Harry Osborn in exchange for Harry giving him the materials he needs to complete his mad fusion experiment.

Ah, the drama. The characters continue to win our sympathy and devotion, and the supporting cast buzzes with energy and invention. J.K. Simmons’ blustery newspaper boss J. Jonah Jameson is as hilarious as ever, and Elya Baskin has a nice turn as the slumlord at Peter’s apartment building. Raimi favorite Bruce Campbell makes an appearance as a smarmy theater usher, and Hal Sparks joins Spider-Man for an elevator scene that will long be remembered as the movie’s funniest moment.

Yes, it’s all much funnier than you’d expect, but not in a clownish, stupid way. Raimi remembers that for as much angst is inherent in a regular-guy-gets-superpowers story, his job is to make the thing entertaining. He offsets the weightiness with humor, and the setbacks with triumphs.

The effect is astonishing. The action scenes in this movie are the very zenith of modern filmmaking, a perfect combination of acting, cinematography, special effects, music and sound. The camera swoops and dives through New York as if it were Spider-Man himself, follows characters as they plummet from buildings, and gives us a dizzying perspective of all the thrilling goings-on. A sequence set aboard an elevated train bursts with adrenaline, then segues to a moving, very human resolution between Spider-Man and the train’s passengers, and that transition epitomizes the film as a whole. It isn’t all action, or all laughs, or all drama. It’s an ingenious combination of the three. It’s some of the most fun, and some of the best fun, that I’ve had in a theater in a while.

U-Haul Come Back Now, Ya Hear?

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This is the last column I will write from my beloved condo in Orem, Utah. Why? Because I am dying.

No! I kid. I’m alive and well and have at least another five years in me before my body succumbs to the steady barrage of chocolate fudge Pop-Tarts it is forced to absorb. The reason I will no longer be writing from Orem is that I have sold the condo and, by the time you read this, will have moved to an apartment in Salt Lake City.

Out-of-state readers may not recognize the significance in this move, so I will explain it in clear, lucid terms: Orem is in a place called “Utah Valley,” and Utah Valley does a thing called “suck.” Utah Valley is for families and college students, and has little to offer someone who belongs to neither category. I have lived here since 1995, first as a BYU student, then as a professional journalist, and now as neither. I did not generally get along with Utah Valleyans when I attempted to amuse or inform them as a newspaper writer, and my subsequent dealings with them have not inspired any emotion beyond what you would call passing apathy. To me they are like second cousins: nice enough, I suppose, but I feel no strong kinship with them.

Salt Lake City, on the other hand, located 40 miles to the north, is in a whole different valley and is a good deal bigger, hipper, cooler and awesomer. A majority of its citizens AREN’T Mormon, which is a rarity in Utah. And while I am a Mormon, and love the Mormon religion, and even love Mormons in large groups when they are acting in their capacity as Mormons (i.e., at church), I am not fond of them in large groups when they dominate every aspect of everyday life. I like a little variety, a little nuance, a little shocking worldliness every now and then. Sometimes it’s good to see examples of what you don’t believe in to remind you of what you do believe in. Besides, maybe I’ll start drinking beer, and maybe I’ll want to buy it on Sundays. You never know.

Why love a religion and its principles, yet decline to live in a place where 95 percent of the people believe the same way? I dunno. It makes sense to me. I love the ocean, too, but I wouldn’t want to live in it.

Anyway, it’s the SLC for me now, and that meant having to move all my stuff. Moving is one of the few things that everyone in the world can agree on: We hate it. Some people enjoy packing, some people enjoy unpacking, some people might even enjoy lugging boxes onto a U-Haul. But NO ONE enjoys ALL of it. There is always some part of it — for most people, it’s most parts of it — that is loathsome and agonizing.

You think you’ve established a nice existence for yourself, with a lot of comfortable belongings to surround you. Then you move, and you realize your entire life can, in fact, be put into boxes and carried away.

More sobering is when you’re actually lifting and carrying those boxes, and you realize that maybe you do have a lot of belongings after all. In fact, maybe you have TOO MANY belongings, because maybe there are what, A MILLION BOXES HERE?!?

Since I hate moving so much, I felt awkward asking friends to help me. If I were honest, all I’d be able to say is this: “Look, I know how much I hate moving, and I assume you feel the same way. And of course you know that if the situation were reversed, I would find any excuse not to help you. In fact, some of you have moved in the past, and when it happened, I did indeed discover ways of not helping, often going to elaborate lengths. But you knew not to take it personally, because you knew me and you knew my ways. And now I am asking for your help. We both know you are a better person than I am, and now is your chance to prove it.”

Luckily, several friends either had not personally experienced my unwillingness to help them move, or managed to overlook it and help me anyway. One of these was my Fat Brother Jeff, whose familial connection obligated him to help. For some reason, he was wearing shorts that were too big for him, as he has recently lost 40 pounds (only 300 to go!), and so they kept falling down when his hands were occupied with carrying boxes or furniture. We all found great amusement in this, as it was like watching an episode of “America’s Funniest Home Videos.” (Which episode? All of them.)

Another task I had to perform was to evict Raoul (names have been changed), my ill-tempered, absent-minded Argentine roommate. He couldn’t stay in the condo, since I was selling it, and he certainly couldn’t move to the SLC with me, since I don’t like him. You don’t have to go home, but you can’t stay here, that was the gist of it. He moved out while I was out of town a few weeks ago, so I returned to find myself living in a 100 percent Raoul-free environment. Surprisingly, he remembered to leave the door key behind. (I thought for sure he would forget and take it with him.) But, to remind me how scatter-brained he was, he left the toilet running (you have to jiggle the handle) and the sliding glass door open. He had also ordered two pay-per-view films of a questionable nature from DirecTV in my absence, as I discovered upon examining the bill a week later. So Raoul was gone, but his spirit lived on.

This was especially so when I had to clean his bathroom prior to vacating the premises. A normal person would have cleaned his own bathroom before he moved out, and maybe Raoul did address the lavatory in some way that to him meant he had cleaned it. But this is the same man who believes merely wiping the raw meat from his hands with a dishtowel after he has made hamburger patties is the same as “washing” them, so his idea of “cleaning” something is probably different from ours. Maybe he spat on the bathroom floor, rubbed it around with his foot, and called it a dia. My point is, his bathroom was a frightful mess.

The shower, in particular, did not appear to have been cleaned ever, at any point. Somehow the filth replicated itself, because while the shower was only three years old, it was encrusted with at least five years’ worth of dirt. I tried all normal cleansers, but my weapons were useless against it. Finally, with a lot of elbow grease — which I’d been saving in an empty can on the stove every time I cooked elbows — and some heavy-duty industrial-strength cleaning products, I made the shower inhabitable. How long it stays that way is up to the new residents, who, if they are true Utah Valleyans, probably wish I hadn’t said “suck” earlier.

The Notebook

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I have never read any books by Nicholas Sparks, but I have to believe they are not very good. “The Notebook” is the third one to be adapted for film, after “A Walk to Remember” and “Message in a Bottle,” and the third one to be mediocre and treacly.

It is set in rural South Carolina in the 1940s. The wealthy Hamilton family of Charleston has a summer home in this tiny town, and local lumber worker Noah Calhoun (Ryan Gosling) immediately takes note of Allie Hamilton (Rachel McAdams), a beautiful 17-year-old with an infectious laugh. He convinces her to go on a date with him — threatens to throw himself off the Ferris wheel if she doesn’t, actually — and soon teen love is in full bloom.

Allie’s parents, including her absurdly mustached father (David Thornton) and her charm-and-good-graces mother (Joan Allen), do not approve of Noah, of course, since he is a common laborer with no money. But it is just a summer fling, and Allie is going to college in New York in the fall.

Due to tragic misunderstandings and both parties’ fiery temperaments, Allie and Noah split on bad terms, and when he writes letters to her thereafter, her mother hides them from her. Noah goes off to World War II, and Allie meets a soldier whose family has money, Lon Hammond (James Marsden), whom Mom and Dad accept with open arms.

All of this is framed by a story set in the present, where an elderly man (James Garner) visits a woman (Gena Rowlands) at a nursing home every day and reads a story to her. It is apparently a device to help refresh her memory; we gather she has Alzheimer’s or something. It’s obvious that she is Allie.

The only question, if there is any question, is which man James Garner is: Noah or Lon. I don’t think there’s much suspense on that issue, but the movie, directed by Nick Cassavetes (son of Gena Rowlands and her late husband, the director John Cassavetes), withholds information about the elderly couple long enough to convince me they were hoping to surprise us.

The cast, which also includes Sam Shepard as Noah’s craggy, down-to-earth father, is stellar, and the whole thing almost works. Gosling and McAdams make a nice couple, and Garner and Rowlands are both, even at this stage in their careers, as sharp as ever. Some of their moments together are legitimately touching.

But the movie is too simple-minded. When it doesn’t know what to do with a character anymore, it has the character die. It allows its plot to progress almost entirely without opposition. The story of young love is charming, but it needs a real conflict, and “my parents don’t approve of you and my mom hid your letters” doesn’t count. Angst has been substituted for drama, and while it’s a sweet movie, it’s also drearily uninspired. I suspect the couples who would enjoy it thoroughly would equally enjoy sitting at home and gazing into each other’s eyes for two hours.

Two Brothers

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There is probably no audience for “Two Brothers.” It might appeal to children, but it would be too slow-moving for them. Animal-loving adults might take interest, but they would find it overlong and bland every time humans appear onscreen. If its story were streamlined and some extraneous people-centric scenes cut, it would be a fine film indeed.

Instead, it is merely OK — tedious for long stretches, but lovely and guileless the rest of the time. Written and directed by Jean-Jacques Annaud, who gave us the similarly themed “The Bear” (1988), it is set amid the religious ruins in the jungles of southeast Asia. Here two tiger cubs are born and, before they can grow up, separated from each other and their parents. One kitty is found by animal hunter Aidan McRory (Guy Pearce) and winds up in a circus. The other remains wild for some time before becoming the pet of an administrator’s little boy (Freddie Highmore, soon to be Charlie in the remake of “Willy Wonka and the Chocolate Factory”), ultimately making his way to a private zoo owned by His Excellency (Oanh Nguyen). There he is made fierce, while his brother, sitting around in a circus cage, loses his edge altogether. They are eventually reunited, but I won’t tell you how.

Annaud’s achievement here, as in “The Bear,” is in conveying the animals’ thoughts without having them speak or introducing a narrator. The remote jungles of Asia — beautifully captured by cinematographer Jean-Marie Dreujou — could just as easily be the setting for a National Geographic nature special; the animals do not appear to be performing tricks or “acting” in any way. Of course, they ARE acting, because Annaud has a story to tell and needs them to behave a certain way for the cameras, and the fact that that isn’t obvious is part of the film’s wonderful charm.

The humans’ stories are far less interesting, and while Annaud earns points for not belaboring them — Guy Pearce gets a girlfriend almost behind our backs — he could have cut them down even more. It’s the tigers — natural, serene, playful and powerful — that have the power to fascinate us, not generic English imperial figures.

Fahrenheit 9/11 (documentary)

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“Fahrenheit 9/11,” the new anti-Bush documentary by Michael Moore, is the second film this year whose reviews can be generally predicted based on the reviewers’ personal beliefs.

With “The Passion of the Christ,” critics who count themselves as staunch Christians reviewed it positively, while those either less religious or non-Christian went the other way. (We are speaking of general trends here; I realize there are exceptions.) I see the spectrum being similarly laid out for “Fahrenheit 9/11”: Politically conservative viewers ignore its savvy filmmaking techniques and find it unfair and wretched, while liberals disregard its artistic and factual flaws and find it a masterpiece of film journalism.

If you have cheated by glancing at the grade I’ve given the film, you may surmise, accurately, that I am somewhat in the middle. I am no great fan of George W. Bush as a man or as a president, but I agree with many of his political views. (Note that the war in Iraq does not fall into the category of “political views.”) I think “Fahrenheit 9/11” is a good film — a bit meandering and unfocused at times, and probably so intent on discrediting its victim that it occasionally loses its train of thought, but it makes compelling arguments, and — more importantly if we are judging it as a film — it makes them well. He may not know how to dress when he goes out in public, and he’s an infuriating jackass a lot of the time, but Michael Moore certainly knows how to entertain.

Moore’s thesis is that Bush is a bad president and should not be re-elected. He starts his crusade with a recap of the farce that was the 2000 presidential election, complete with hillbilly banjo music for accompaniment, and insists Bush stole the election. He observes that people pelted Bush’s limousine with eggs while he was driven to the inauguration, says his first eight months in office were marked by failures and frequent vacations, and so on.

Then came Sept. 11 and its aftermath, and Bush used it to his advantage, according to Moore. The Bush family’s close financial ties with the Saudis led to several members of the bin Laden family being allowed to leave the country a few days after Sept. 11. The recent 9/11 commission found that there were ultimately no improprieties in this, but that fact doesn’t support Moore’s position, so it is omitted.

You must understand up front that Moore is not even pretending to show all sides here: This documentary (and yes, documentaries can be overtly biased; they are not news programs) is based on Moore’s personal opinions, which presumably come from the facts available to him. With “Bowling for Columbine,” the issue seemed to be that he got some facts wrong. Here, the facts he includes are generally correct; it’s the facts he omits that will cause an uproar. He makes the issue of Bush’s competency sound far more one-sided than it is — but of course Bush supporters are free to make a film of their own if they care to.

Moore says the Bush administration used the random post-9/11 “terror alerts” to keep America afraid, so that we’d be in a “let’s fight terrorism” mood when he invaded Iraq. And why did he invade Iraq? Personal grudge against Saddam Hussein, of course. He’d previously said, in regards to Osama bin Laden and the U.S.’s inability to find him, “Terrorism is bigger than one person…. I don’t know where he is. I don’t spend that much time on it.” But if terrorism is bigger than one person, why go to all this trouble to catch Saddam — a man who had little or no direct connection to 9/11 anyway? That’s what Moore wants to know, and I’m curious, too.

Some of Moore’s tactics are less successful, as when he observes that only one of 535 members of Congress has a son or daughter in active military duty in Iraq, and therefore harasses congressmen on the street, asking if they’ll encourage their children to enlist. This is buffoonish and embarrassing; it’s Moore being a provocateur just for the sake of it.

But he redeems himself with Lila Lipscomb, a resident of Moore’s hometown of Flint, Mich., whose son was killed in Iraq. Her story is moving, and Moore mostly stays out of the way as she expresses her grief. It is emotionally manipulative, of course — all wars, just and unjust, have casualties — but it’s effective and stirring.

One of Moore’s centerpieces is Bush’s reaction upon being told the Twin Towers had been attacked: He stayed in the elementary school classroom he was visiting and continued to read with the children for another seven minutes. Moore shows several clips of the president with the kids, the clock ticking as he does nothing. I don’t find this nearly as appalling as Moore does. Bush is clearly thinking, preoccupied with the message he has just received. What good would it have done to cancel the visit with the kids and rush out of the room? It was seven minutes, not a day, not even an hour. No matter who the president is, and no matter what he does, someone will be there to serve as armchair quarterback, shouting how it OUGHT to be done.

Moore points out the contradictory messages sent about terrorism: Harmless old men are harassed by the FBI for making anti-war statements, while airline passengers are still allowed to carry matches and lighters onboard in the wake of the Richard Reid attempted shoe-bombing. But we all know that if matches and lighters had been banned, Moore would be complaining about the over-reaching, invasive anti-terrorism measures being taken.

So it’s an obnoxious film, to be sure, but it’s also slick and engrossing. Moore says any fence-sitters in the audience will leave having moved to the anti-Bush side, and that might be true; Moore is certainly persuasive. But regardless of how audiences vote in November, they will have this sharp, flawed, powerful film sticking in their memories.

(Note: The film was rated R by the MPAA, a decision Moore protested to no avail. Does it deserve the rating? By the MPAA’s usual twisted logic, yes. Objectively, no. Any teenager politically minded enough to want to see it should probably be encouraged to do so. It has four uses of the F-word, twice as someone quotes a song lyric, and then twice more as the actual song is played. There are also a few glimpses of some rather graphic war-related images: a burned corpse is stomped on, another one is shown close up, from a distance we see a public beheading, and so on. The four F-words make it pretty much an automatic R for the MPAA; two is usually the max for PG-13, though sometimes you’ll get three. The violence shown is not beyond what you might see on the news, though there would probably be a warning before they showed the footage.)