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The League of Extraordinary Gentlemen

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“The League of Extraordinary Gentlemen” begins with a squad of British police officers in 1899 being brought into a severe state of befuddlement when a tank full of Germans shows up and rams into a bank building. This is alarming not because they are Germans — though I think that’s plenty alarming in and of itself — but because in 1899, tanks don’t exist yet. The Bobbies respond mostly by whapping on it with their batons.

A few minutes later in the movie, in Germany, a warehouse full of zeppelins gets blown up. All of this is the work of a mysterious figure called the Phantom, who seeks to pit the world at war against itself so that he may profit from the sale of his new futuristic battle technology. The film is curiously mum on how he got the technology; given that the film is about literary heroes co-existing in one universe, I suppose we are left to assume he obtained H.G. Wells’ time machine and brought everything back to 1899. Or maybe he’s FROM the future. I don’t know, or care.

Anyway, thus begins the anemic and forgettable — but not entirely unlikable — “League of Extraordinary Gentlemen.” Like most films, it is based on a comic book, and one whose premise delights me: fictional characters like Allan Quatermain, Captain Nemo, Dorian Gray and the Dr. Jekyll all hang out together and fight crime. If I had read all of the books these characters appeared in, I could probably come up with reasons why they couldn’t all exist in the same universe. But I haven’t, and neither have you, and I think the people who made the film were counting on that.

(From what I understand, the comic book is much more devoted to its numerous source materials than the movie is. Evidence: A grown-up Tom Sawyer was added for the film because the studio figured moviegoers would want to see an American.)

The first 38 minutes of the film are devoted to gathering the League. This is done by a man called M (Richard Roxburgh), who first contacts Quatermain (Sean Connery) in Africa and persuades him to help save the British Empire and the world from the Phantom. Additional members are Captain Nemo (Naseeruddin Shah); “Dracula’s” Mina Harker (Peta Wilson), now a vampire herself; a guy (Rodney Skinner) who stole the Invisible Man’s formula, but not the Invisible Man himself, because they couldn’t get permission from the copyright holder; Dorian Gray (Stuart Townsend), who has the power of being unkillable; Tom Sawyer (Shane West), now a CIA agent or something; and Dr. Jekyll (Jason Flemyng), still wrestling with that split-personality thing.

Then there’s a 14-minute second act where we learn everyone’s dark secrets and personal demons. James Dale Robinson’s screenplay lays everything out in a neat, orderly fashion that eliminates all the guesswork. If he were writing a quarterly report for a corporation, that would be an admirable skill. For an adventure film, it’s a bit less so. Stephen Norrington’s direction — which suggests to me he was NOT a huge fan of the comic book — is perfunctory and adds nothing.

Then the gang’s off to Venice to protect a summit meeting of Europe’s leaders, a gathering the Phantom is rumored to be targeting. The expected twists and turns occur, and the heroes get to use their particular powers in particular ways. None of it is especially imaginative; in fact, it says a lot about a movie when it can take place in an era pre-dating automobiles, yet still manage to have a speeding car chase, like this one does.

But it’s not completely useless. Some of the fights in the final act are rather fun, and Jekyll’s transformation into Mr. Hyde is a grotesque marvel. I hear a lot of people dismissing the film as dumb, and its premise especially so, but I don’t think it’s inherently any stupider than any other superhero flick. Its dumbness is in flinging the same old action-movie clichés at us and expecting us to think they’re new just because they’re set in Victorian England. Well, and also in having Mina Harker hanging out in the afternoon sun without a word of explanation. Surely even the people who made this movie can’t be so dumb as to not know vampires can’t tolerate sunlight. But the alternative — that they thought WE would be too dumb to know that — is even more unsettling.

Northfork

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I worry about the Polish Brothers, Michael and Mark. They came on the scene in 1999 with their indie hit “Twin Falls Idaho,” in which they played conjoined twins who both fall in love with the same prostitute. That film, like all great films, told a story that was at once unusual and universal — that is, the specifics were unlikely to happen in real life to the average viewer, but the themes and ideas were relatable to anyone.

Next came “Jackpot” (2001), once again directed by Michael and written by both. This one rather unsuccessfully told of two men traveling the country in search of karaoke fame. Another odd situation, but this time, the universals didn’t quite come through.

And now we have “Northfork,” which suggests “Jackpot” was a harbinger of things to come, and not merely a sophomore slump. For “Northfork” has yet another fantastically unusual premise, but completely fails to make it mean anything to us.

The year is 1955, and the residents of Northfork, Mont., are being relocated. A dam is about to be built, and the town will soon be under water as a result. Most of the locals have accepted their fate, moved to a nearby community, and look forward to the recreation the new lake will bring them. But a few holdouts remain, and a relocation team consisting of six men dressed in black is dispatched to persuade them to either move or learn to swim.

Meanwhile, there is a sick child named Irwin (Duel Farnes) who lies in bed under the care of Father Harlan (Nick Nolte), the town’s pastor. Irwin has extended visitations with a quartet of guardian angels, sort of, played by Daryl Hannah, Robin Sachs, Ben Foster and Anthony Edwards, and with character names like Cup of Tea and Flower Hercules. They are looking for something, and maybe the boy knows the answer.

The relocation team is led by a father and son played by James Woods and Mark Polish. They, like the rest of the people who populate the film, speak in deadpan. I do not recall any character even raising his voice. When there is humor — and it does pop up occasionally — you are liable to miss it, so dry is the delivery in every instance.

The Polishes have filled the story with religious symbolism and parallels, from the Flood to the angels to the contrast between the men in black and the pastor, who of course also dresses in black. What the Polishes have not done, however, is corral all their ideas into something coherent, or even emotionally stirring. It plays out, dreamlike, often beautifully shot and visually appealing, but seemingly without purpose. Even the actors, good though they are, seem adrift in the obtuse, meandering storytelling.

And so I worry about Mark and Michael. “Twin Falls Idaho” was one of my favorite films of 1999 (a very good year for film, you’ll recall), but “Jackpot” and now “Northfork” make me fear their debut was a fluke. I hope they will prove me wrong.

The Cuckoo (Russian/Finnish/Sami)

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“The Cuckoo” is told in three languages, and I don’t speak any of them. The film has subtitles, fortunately, making me luckier than the three characters in it, who don’t understand each other but keep talking anyway.

This light, mildly absurd comedy/drama is set near the end of World War II, opening with a Finnish soldier named Veikko (Ville Haapasalo) being chained to a rock and left to die. It is his punishment for making too much noise, thus reducing his effectiveness as a sniper. They have put him in a German uniform, too, so no one will want to help him.

He helps himself out of his predicament, MacGyver-style, and is soon in the company of a Lapp woman, Anni (Anni-Christina Juuso), whose husband died in the war and now lives alone in a hut. But Anni already has company: She has saved a Russian soldier (Viktor Bychkov) from death and is nursing him back to health. The Russian thinks the Finn is a German, and the Finn, unable to speak Russian, wouldn’t be able to convince him otherwise even if he knew that’s what the Russian thought. The Lapp, meanwhile, has her own ideas about what’s going on, and has no idea she’s wrong.

So begins this little comedy of errors, this trifling treat that neither amounts to nor aspires to anything substantial. It is, perhaps, a slight comment on war, and how it being a small world after all makes war look silly. But I gather writer/director Aleksandr Rogozhkin’s interest is in delivering simple, occasionally bawdy yuks rather than philosophizing about war. Which is fine with me; I’ve seen enough movies that philosophize about war, and too few that have Russian soldiers wearing Lapp women’s skirts.

The lonesome, beautiful Lapp landscapes are photographed nicely by Andrei Zhegalov, and director Rogozhkin handles the many long stretches of silence with confidence, never allowing silence to equal a lack of story.

It gets weirdly metaphysical near the end, but comes back down to earth in time for a sweet finale. Rarely have three characters understood each other so little yet communicated so much. It’s a pleasant, smiling film.

Pirates of the Caribbean: The Curse of the Black Pearl

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One doesn’t hold out much hope for a movie based on a Disney theme-park attraction, especially if one endured last year’s “Country Bears.” But “Pirates of the Caribbean: The Curse of the Black Pearl” exceeds expectations and breaks a curse of its own, the one that says pirate movies are always terrible.

Directed by Gore Verbinski (“The Ring,” “Mouse Hunt”), “Pirates” is unquestionably too long and has too many endings. But it otherwise buckles swashes, shivers timbers and battens down hatches the way big-budget summertime adventures ought to, and its seemingly interminable storyline is more than made up for by its juicy leading performances.

That storyline is as follows: Lovely Elizabeth (Keira Knightley) is trying to be an average 18th-century English girl, but her prim father (Jonathan Pryce) wants her to wear corsets and marry the newly promoted Commodore Norrington (Jack Davenport).

She has her eye, though, on Will (Orlando Bloom), an honest blacksmith’s apprentice whom Elizabeth and her father rescued years ago when they found him set adrift by pirates. He’s an adopted brother, more or less, and the romantic feelings are just starting to kindle.

Enter Jack Sparrow (Johnny Depp), whom Norrington calls “the worst pirate I’ve ever heard of.” (“But you HAVE heard of me,” Jack counters.) He’s mildly insane and seems drunk all the time, and he wears more eye makeup than is needful. He has no ship or crew at the moment, but he knows his piracy. So when Elizabeth is abducted by Capt. Barbossa (Geoffrey Rush) of the dread ship Black Pearl, Will persuades him to lead the way in rescuing her.

Will and Jack are an amusingly mismatched pair, with Bloom in fully earnest Errol Flynn mode and Depp as a devil-may-care mercenary — Han Solo, but more slurred and staggering.

Elizabeth, meanwhile, learns about the curse placed upon the Black Pearl and all her crew, in a breathlessly nightmarish sequence that hints at the film’s true exhilarating potential. Rush is deliciously menacing as Capt. Barbossa, more campy than evil, clearly enjoying every scenery-chewing moment as he speaks in the “yarr, matey” dialect we’ve come to expect from cartoon pirates. When he and Depp finally get in the same room at the same time, the ensuing ham-actor fireworks are, as expected, highly entertaining.

The film, written by the team of Ted Elliott and Terry Rossio (“Shrek,” “Aladdin”), is almost equal parts talking and fighting. It is also about 90 percent plot, with Barbossa needing Elizabeth to lift the curse, and Will learning about his past, and Barbossa, Jack and Will trading and betraying each other to meet their various needs — noble and otherwise — with alarming frequency.

It is all engaging, if not especially compelling; you keep watching because it’s neat to look at and is often good-naturedly silly, not because you really care what happens next. But you DO keep watching.

Cedar? I Hardly Knew Her!

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Zounds and huzzah! The merrye olde Utah Shakespearean Festival is again upon us. I’m sure I speak for all of us when I say: Forsooth! what doth yon bequiddle?

The festival, in Cedar City, draws audiences from around the world, everyone from Shakespeare aficionados to Shakespeare novices. Retired persons wander up from their enclosures in St. George, and parents bring their children down from Salt Lake City in a vain attempt to educate them. It’s a true celebration of theater, right there in the middle of a horrible, horrible desert.

One thing that is nice about the festival is that, as a tourist mecca, the dress is informal. There is no pressure to dress up for the shows, though I hasten to add that just because you’re on vacation doesn’t mean you look good in a crop-top. It is a casual sort of place, though.

Now, just because the atmosphere is relaxed at the festival doesn’t mean you are allowed to talk during the plays, even if what you’re saying is really, really smart, like in “1776” when John Adams kept telling his wife to send saltpeter, and then two unmarked barrels arrived, and the man behind me said, “Saltpeter,” like he was some kind of brilliant master of deduction. Even if your comment is THAT smart, you still aren’t allowed to talk.

Of course, no rules of etiquette, in the theater or elsewhere, apply to you if you are an extremely old person. By virtue of having successfully lived more than six decades without dying, you are entitled to behave however you like. I don’t read magazines like Modern Maturity, but I assume they contain articles outlining the differences between the way normal people and old people are expected to conduct themselves. (“How to Disconnect Your Turn Signal.”)

Anyway, while at the festival, be sure to take part in the Royal Feaste (the extra “e” is for “edible”). This is a thing where you eat old-style food while old-style performers pretend to be serving wenches and stuff like that, in case you’re the sort who likes to be amused while he eats. I think you have to eat with your hands, and that you also have to slaughter the animal yourself, but it’s possible I’m making that up.

After the feast(e), you’ll toddle off to see a show. The Shakespearean plays are performed in the Adams Shakespearean Theatre, named after the founder of the festival, Fred Theatre. It is one of the world’s best replicas of Shakespeare’s own Globe Theatre, with the obvious exceptions of having modern seating and being in Utah.

To make the experience really authentic, they have girls in period costumes and accents of some kind (English, maybe, but it’s hard to be sure) hawking their wares at intermission, shouting, “Chocolates! Caramels!” and so on. Among the things they sell that make me giggle: “tarts” and “horehound.” There is also a concession stand where you may purchase authentic Elizabethan treats such as cappuccino and Dr Pepper.

So eate, drinke and be merrye! Head downe to Cedar Citye and partake of the Utahe Shakespeareane Festivale before the summere passes you by. You’ll be glad you did, and William Shakespeare’s estate will be grateful for the royalties.

Legally Blonde 2: Red, White & Blonde

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I am always amazed at how sequels can betray the visions of their predecessors, even when the first films had little vision to begin with. Here is what I said about “Legally Blonde” upon its release in 2001:

“Some movies do what others have done before and are boring. Others, like this one, manage to seem fresh despite their inherent staleness. It’s all in how it’s played, the attitude employed, and the amount of self-awareness involved. I suspect the makers of ‘Legally Blonde’ have no illusions about the cleverness of their work. Silly little comedies need to be done without pretension, and this one couldn’t be less pretentious if it tried.”

Now we have “Legally Blonde 2: Red, White & Blonde,” which flirts dangerously with pretension by introducing an animal-rights plot AND by referencing the great “Mr. Smith Goes to Washington” as it sends its protagonist, California airhead-turned-lawyer Elle Woods (Reese Witherspoon), to D.C. in the hopes of saving her beloved chihuahua’s mother from an animal-testing facility.

Additionally, where the first film made staleness seem fresh, the sequel is stale all over again — largely because (like 95 percent of all sequels) it is merely a rehash of the first film, only without the benefit of novelty or creativity. It is a copy of a copy.

Elle becomes a congressional aide this time, bringing her perky sorority ways to Capitol Hill, much to the chagrin of her fusty fellow aides. The congresswoman they work for, Victoria Rudd (Sally Field), is an alum of the same dim-bulb sorority as Elle, hence the job and the support of Elle’s proposed animal-rights bill. (“Is bill-writing super-fun or what?!” Elle bubbles to her incredulous co-workers.)

Naturally, there is opposition to the bill, which would make it illegal for cosmetics companies to experiment on animals, but Elle is indefatigable. She wins the support of two key members of congress through her knowledge of dogs and hairstyles, and the doorman at her hotel (Bob Newhart) has additional tips due to his familiarity with the workings of the political machine. Nefarious double-dealing discourages her, but she is buoyed by her friends and fiance (Luke Wilson, in an extremely thankless role).

Kate Kondell’s script is so over-simplified, it actually has a character state the theme outright, addressing Elle: “None of us ever thought one person could make a difference until you came along.” Thanks for the yellow highlighter pen, movie.

He may have a point, though. For as mediocre and bland as the film is, Reese Witherspoon makes it tolerable. When all around her is banality, she is a zesty breath of fresh air, as light and lovable as any actress currently working.

Another amusing presence is Jennifer Coolidge as Elle’s 30-year-old friend Paulette. Coolidge’s delivery of even moderately funny one-liners is giggle-worthy. (“I can hear the ocean!” she declares as she holds a snow globe up to her ear.)

With a few entertaining bits and the unstoppable force of Reese Witherspoon’s charm, the film manages to pass by without causing any pain. But it is a weak comparison to its predecessor, a movie that truly knew how to wring laughs from a beautifully clueless character.

Terminator 3: Rise of the Machines

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A lot of things get wrecked in “Terminator 3: Rise of the Machines,” but in the process, something is rebuilt: Arnold Schwarzenegger’s career.

“Terminator 2: Judgment Day” (1991) was the last profitable Schwarzenegger film. The subsequent string of disappointments that included “End of Days” (1999), “The 6th Day” (2000) and “Collateral Damage” (2002) caused many to believe his bankability as an action star was finished. No wonder Arnold himself kept declaring his belief that another “Terminator” film would be made: If he didn’t hold out hope for that, what else was there?

“T3,” forsaken by original director James Cameron and given to Jonathan Mostow (“U-571”) instead, does not take itself too seriously. It acknowledges, as do all shrewd films in the 21st century, that it does not exist in a vacuum. Audiences haven’t merely seen the film’s predecessors; they have seen them spring up as cultural landmarks. It is therefore not only fitting, but perhaps even mandatory, that Schwarzenegger’s classic “I’ll be back” line — or some variation of it — be uttered in the new episode. He must wear leather, too, and sunglasses — but to tweak that formula is permissible, especially because it winks to the audience: “We know it’s a cliché now. We grew up watching the ‘Terminator’ movies, too.” Here is a film that works as an action film, and also as a mildly self-aware commentary on action films.

Mostly, however, it works as exactly the sort of summer blockbuster sequel fans crave. It includes a spectacular chase sequence through suburban Los Angeles, with Schwarzenegger’s Terminator character hooked on a crane and smashing through buildings and vehicles for most of it. It answers the necessary questions — Didn’t “T2” say there would be nuclear war in 1997? What happened? — and puts forth new ones, which it also addresses. It has a familiar formula, but with slight twists, primarily in that the Terminator’s evil counterpart is a lady this time, played by model Kristanna Loken. She is called the TX, but you may call her the Terminatrix.

TX was sent from the future, as were her predecessors, to kill John Connor and his associates. The good Terminator, as before, is here to protect them. Both are unstoppable killing machines. You see the dilemma.

John is played by Nick Stahl, with Claire Danes taking the part of Kate Brewster, an old acquaintance of John’s who reluctantly finds herself involved with the current shenanigans. She is engaged to a very bland fellow, but she has a destiny that does not include him. I think you know where this is going.

Given that this is the third film in the series, it is not surprising that it feels a little rehashed, especially considering how rote the formula is: The hero flees an unstoppable killing machine that is eventually stopped. The enjoyment, if there is any, will be in the nature of the fighting, not in the sudden, thoughtful plot twists. “T3” is enjoyable on that level. It delivers as a knock-’em-down powerhouse popcorn flick, and though it may be nothing new, it’s certainly an exciting incarnation of something old.

Spelling Counts

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Were it not for all the delusional people we have to write about, newspapers would be 80 percent blank every day. (The remaining 20 percent would continue to be reserved for articles about Martha Stewart.) So today we will talk a little about some insane people, especially as they relate to witchcraft.

Let us first speak of Kevin Carlyon, who as you surely know is the high priest of the British Coven of White Witches. (You know this because he has twice appeared on the cover of White Witches Monthly, which you subscribe to.) Two years ago, when Swedish scientist Jan Sundberg was planning to capture the famed and non-existent Loch Ness Monster, Carlyon placed a “blocking spell” on the imaginary creature to protect it. Nessie has appeared very infrequently since then, perhaps because of the spell but perhaps also because she is not real.

So now Carlyon is traveling back to Scotland to remove the spell so that Nessie can, as he told the BBC, “come back again and thrill the public,” because surely nothing excites a crowd more than standing next to a marshy, foggy lake and pretending to see something.

Carlyon said, “I left the protection spell running and now I want to undo it slightly so Nessie can make an appearance.”

It is things like this that make me glad I do not have supernatural powers. I am often worried enough about leaving the door unlocked, or the TV on, or my car windows down. If I had to worry about leaving a spell running, I’d worry myself into a coma (unless, of course, the spell in question was a coma-prevention spell).

Speaking of wizards and delusional people, last week’s release of the fifth Harry Potter book, “Harry Potter and the Huge Pile of Money,” inspired many insane idiots to complain about the “occult” material contained within those books. One of them posted a lengthy diatribe at HarkTheHerald.com, where being an insane idiot is almost a prerequisite for posting, in which he asserted that the current Utah drought is God’s punishment because so many children read the “evil” Harry Potter books.

Now, there’s no need to write in and scold this person (who of course remained anonymous, that being the other prerequisite to post anything on HarkTheHerald.com). Dozens of other people have already done that, including one who observed that such craziness is part of life, adding, “c’est la vie,” spelling it “se la vi.” (Our readers apparently have no problem with spells; it is spell-check they object to.)

The Harry Potter thing is a phenomenon, that’s for sure. The hundreds of people who were with me at the Orem Media Play at midnight last Friday can attest to that. Some of them were even dressed as Potter characters, which was very cute, especially in the sense of “cute” that means “weird.”

But an EVIL phenomenon? Heavens, no. The people who feel that way generally do so on the basis that the book, in dealing with sorcery and magic, is somehow TEACHING sorcery and magic to young readers. And they make a strong argument. I mean, those books are packed with page after page of intricate, detailed instructions on contacting the Dark Lord Satan, learning his will, and doing his bidding.

No, wait. I have confused the Harry Potter books with Hillary Clinton’s “Living History.” The Harry Potter books don’t have any of that stuff. They have passing references to very simple spells, most of which contain Latin-sounding words that indicate what they do. For example, characters say, “Lumos,” and their wand-tips light up. Walk around saying “Lumos” all day, nothing’s going to happen. It’s not an evil word, and saying it a lot won’t grant you access to any supernatural powers. I know, because I have tried, when I was trying to light the pilot on my oven.

So to all the delusional people reading this — and you probably don’t know who you are — get over yourselves. The Loch Ness Monster will begin existing when she’s good and ready, and the only thing evil about the Harry Potter books is how heavy they are. So quit worrying about it. But please, don’t stop being delusional. Your antics provide respite from the nonstop Martha Stewart coverage. And that’s a good thing.

On_Line

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There is nothing special about “On_Line.” It thinks it is new and exciting because it features the Internet in a starring role, but it’s really the same old “people are lonely” whining, only with new technology.

Taking place in January 2002 (yet featuring several shots of the Twin Towers — whoops!), “On_Line” is about two guys who run a sex-oriented Web site, Intercon-X.com. John Roth (Josh Hamilton) is the quiet, business-oriented guy, while his business partner Moe Curley (Harold Perrineau) has a different woman over practically every night of the week.

John is still pining for his ex-fiancee, who broke his heart a year ago. Now, tentatively, he seeks out new companionship with one of the exotic girls on his site. Her name is Jordan Nash (Vanessa Ferlito), and she’s used to guys logging on just to — how does one put this delicately? — pretend to have sex with her. She’s a cyber-whore, though I imagine she prefers a less pejorative term.

Moe, meanwhile, might actually settle down with a self-conscious artist named Moira (Isabel Gillies), who also strikes up a friendship with John.

More meanwhile, Jordan is friends with a fellow New Yorker named Al (John Fleck), who is also a cyber-whore at Intercon-X, albeit it a gay one. Al has a regular customer, a closeted Ohio college student named Ed (Eric Millegan), who desperately wants a real partner, one who doesn’t require his credit card number before proceeding.

Writer/director Jed Weintrob — an admitted online junkie since the very early days of the Internet — deserves credit for making scenes of people chatting over the Internet seem interesting. He uses split screens like they’re going out of style — oh, wait, they DID go out of style — and comes up with a number of other techniques to keep the action moving, even if the characters are seated and miles apart from each other.

What he can’t seem to do, however, is make this any different from the innumerable movies already made on the subject of New Yorkers finding love. A development late in the game suggests the theme of online communities banding together in real life, but it doesn’t last long or add up to much. Ed is a sympathetic character, and John Fleck is fantastically oily as his online partner; the rest of the performances are adequate and unmemorable. Those completely unfamiliar with the world of online sex may find it enlightening, or they may just find it creepy. Either way, they’re right.

Charlie’s Angels: Full Throttle

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I am pretty sure everything that happens in “Charlie’s Angels: Full Throttle” is impossible. The characters exist in a world where the gravity is enforced haphazardly at best, and where the laws of physics in general are treated with outrageous disrespect.

The title heroines, in particular — private detectives, though that doesn’t begin to describe their real duties — cannot be killed, no matter how many times they are shot at or hit or dropped from great heights. As befitting a trio with apparently superhuman strength and regenerative powers, the Angels do not fear death.

If you thought “Charlie’s Angels” was a respite from the slew of superhero films this summer, think again. These are a new breed of comic book character, the kind that came from a cheesecake ’70s TV drama rather than from graphic novels.

I was a fan of the 2000 film to which this is a sequel, which had the same cast of Drew Barrymore, Cameron Diaz and Lucy Liu, and the same director, McG. It succeeded because rather than reverencing its unintentionally stupid source material, it mocked it, embraced it and ran with it. It went over the top, which is where “Charlie’s Angels” needed to go.

The sequel, though, is just more of the same, and the novelty has worn off. Once you’ve gone over the top, the only place to go is down the other side. What happens in “Full Throttle” is SO ridiculous, SO incredible, that the film cannot sustain itself for its running time, and it doesn’t help that there is little cleverness in what the Angels do in terms of silly disguises or ingenious fighting tactics. Remember in the first film when Drew Barrymore fought a crowd while tied to a chair? There’s nothing even resembling that kind of resourceful wit in the sequel.

In case you care, the Angels this time are looking for two rings that, when put together, reveal the identities of everyone in the FBI’s Witness Protection Program. They’ve fallen into the wrong hands, and witnesses are dying. Et cetera.

Bernie Mac is characteristically funny as the Angels’ boss, Bosley (the brother of Bill Murray’s character in the first film; don’t ask how), and Demi Moore is a campy, luminous presence as Madison, a former Angel now working for herself – but neither is given enough to do. Ditto poor John Cleese, wasted as Liu’s father, showing up for nothing more than a bit of “Three’s Company”-style farce-via-misunderstanding.

McG, whose feature debut was “Charlie’s Angels,” demonstrates an exciting visual style in both films, and it goes a long way toward making this one passably entertaining. But a clearer focus of purpose is necessary. What made the first film work? It was not one scene after another of the Angels fighting in the same old repetitive way, that’s for sure.

28 Days Later

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In the intense opening sequence that begins “28 Days Later” and sets the tone for the rest of the film, animal-rights activists break into a London laboratory and set the test monkeys free, ignoring panicked objections from scientists who say the primates are too dangerous to be let loose. One of the monkeys bites an activist; a scientist, now out of his mind with terror, insists that now both monkey and activist must be killed.

Twenty-eight days later, a bicycle messenger named Jim (Cillian Murphy) wakes up in a hospital to find that all of London — and seemingly the entire world — has been wiped out by a virus spread by the aforementioned monkeys. The virus doesn’t kill you, though; instead, it turns you into something of a zombie, a single-mindedly murderous entity whose only desire is to attack other beings and pass the virus along.

Jim encounters a few other survivors, notably a resilient black woman named Selena (Naomie Harris), middle-aged Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns). They head for a military outpost outside of Manchester in the hopes of finding survivors there, too. But in the meantime, they must avoid the “infecteds” — who, in contrast to most movie zombies, move at an alarmingly fast pace — or risk becoming infected themselves. They also must fight the twin villains of fear and despair.

Director Danny Boyle (“Trainspotting”) has crafted an outstanding sci-fi flick, with a frenetic, high-energy climax and an unceasingly inventive visual style. The film moves rhythmically through a variety of circumstances and emotions, and Boyle handles them all with confidence. The scene in which Jim discovers his parents are dead is as calmly agonizing as the attack scenes are terrifying.

Alex Garland’s script allows for humor in the bleak situation, as well as providing ample opportunities for scaring the pants off the audience. I believe this film contains the most exciting tire-changing scene in movie history; that’s not to mention the many more conventional moments in which characters’ lives are threatened, and often lost, all portrayed with eerie matter-of-factness. Then it comes down to a gripping finale in which zombies are as much a threat to our heroes as a group of panic-stricken fellow survivors are.

The film’s tone throughout is melancholic and even contemplative. Rather than simply filling the screen with mayhem (though certainly it plays a part), Boyle lets his actors act. They remain human, despite the adversity; thoughts of “What meaning does life have now?” weigh on their minds as heavily as the more immediate, logistical issues of “How do we escape from these things that want to kill us?” The film is endlessly suspenseful, but it is more than thrilling; it’s satisfying and whole.

This is indisputably a genre picture, an apocalyptic thriller with social commentary built in — “People kill each other all the time; this is nothing new” — but it is also a surprisingly human film with some subtle, life-affirming strokes. Witness the scene in which the disparate band of survivors locates a supermarket and gleefully chooses their favorite foods. Witness the quiet moment on the way to Manchester when Jim sticks his hand out the window of the speeding car. Witness the burgeoning relationship between Jim and Selena — obligatory, maybe, but portrayed convincingly. Even in the worst of times, people are people. They like tasty foods, they think it’s fun to put their hands out the windows of fast-moving automobiles, and they like to fall in love. “Staying alive is as good as it gets,” one sour character says. The film makes the point that this is not true, that there is more to life than merely surviving. As terrific as “28 Days Later” is as a zombie flick, it’s just as good as a tribute to the indomitability of the human spirit.

He Had It Coming

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Back in November, “Snide Remarks” reported on the then-current trend of men attempting to kill their wives. They were doing a sloppy job of it, though, as befitting a gender that has many times demonstrated its inability to plan ahead even in simple things like buying anniversary presents on time, let alone planning complex murder scenarios.

Now, however, the pendulum has shifted to the other foot. Women are killing their husbands, and doing it much more efficiently, as befitting a gender that has been known to pick apart a conversation before it even occurs, sometimes even before they’ve met the person it will occur with.

The New York Post (motto: “We Don’t Make up Our News Stories; We Just Do a Poor Job Writing Them”) reported in May that Jackson Thomas of Brooklyn was stabbed to death by his wife, Judy, after he 1) berated her for spending too much time on the computer, and 2) made disparaging remarks about the size of her rear end. His comments led to an argument, during which he pushed her around a bit, leading her to pick up a kitchen knife. He then continued to approach her, saying, “What are you going to do, stab me?,” whereupon she stabbed him.

Judy was charged with second-degree murder and weapons possession, but the whole thing seems pretty cut-and-dried to me, pardon the pun. (Or don’t. Either way.) First of all, weapons possession? It was a kitchen knife. If that constitutes possessing a weapon, then I possess several weapons in my house, and that’s in addition to the stockpile of grenades I keep in the shed for when the United Nations takes over and I have to defend my own God-given liberty.

But more to the point, the jerk made fun of her, then practically dared her to stab him. He only had himself to blame. If you’d have seen it — if you’d have been there — I bet you, you would have done the same.

At any rate, it’s all remarkably similar to the story reported by Reuters in which Pearl Lynne Smith killed her husband during a dispute over who should feed the goats. (Correct answer: No one. You shouldn’t have goats.) The argument became heated, and Pearl pointed a pistol at her husband, ordering him to feed the goats. He refused and further exacerbated the situation by saying — you guessed it — “I dare you to shoot me,” which she did, once, in the chest. This occurred in Oklahoma, which makes it hard for people like me not to go on making jokes about Oklahoma.

Being unmarried, I have no way of knowing firsthand exactly what would drive a woman to mariticide. (I’m going to pretend I already knew what the term was for killing one’s husband, and that I didn’t spend 10 minutes on the Internet looking for it.) I don’t recall ever making a woman angry enough to murder me. The closest would be when I was a Mormon missionary and I enraged my companion so much that he punched a telephone pole and broke his hand. But that was a missionary companion, not a spouse, and he punched the telephone pole, not me.

So I called my mom. She and my dad have an excellent marriage, particularly when measured in terms of not killing one another; so far, the incidence of murder within that partnership has been zero (0). I told her about the Brooklyn woman and the Oklahoma woman and asked her what, if anything, would drive her to kill Dad. She said, “Well, he shouldn’t be daring me to do it, that’s for sure.”

She makes a good point. If you dare someone, that person is more or less obligated to do whatever you’ve dared them to do. The news story did not indicate whether Smith had followed up his dare with a double-dog-dare, but if he did, then I suspect a jury trial will not even be necessary and Pearl will be released on her own recognizance, back into the loving arms of her goats.

The Hulk

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Ostensibly, “Hulk” is about science gone amok and about the various things parents do to screw up their children. In practical terms, though, it is about an enormous green man smashing things.

He does it with awesome precision and a brutishness that is almost graceful, making us feel terrified and impressed simultaneously. It is with glee that we see him so thoroughly unhinged yet still so controlled that, after ripping the gun off a tank, he smacks it against his palm like a club before destroying the tank with it. That’s some good summer blockbuster behavior there.

The Hulk is the alter ego of Bruce Banner (Eric Bana), a brooding scientist who inherited his geneticist father’s mutated genes that came as the result of Dad experimenting on himself in the 1960s (and not in the same way a lot of people experimented on themselves in the ’60s). After being exposed to a barrage of gamma radiation as an adult, Bruce’s potential is unlocked and he becomes, when angered, the Hulk. His regenerative powers — which Dad harnessed from animals like starfish and lizards — prevent him from being killed, and the angrier he gets, the larger he gets.

Jennifer Connelly has a surprisingly large and vital role as Betty Ross, Bruce’s colleague and former girlfriend. Like the put-upon supporter of a troubled scientist she played in “A Beautiful Mind,” she lends emotional conviction here to a film that might otherwise lack it: Bana can do an incredible sulk and an excellent rage, but his interpretation of the role beyond that is limited.

Ang Lee — director of such varied fare as “Sense and Sensibility” and “Crouching Tiger, Hidden Dragon” — brings a fresh set of eyes to the comic book genre. He envisions the film almost literally as a comic book, often filling the screen with panels — a device employed for different reasons on TV’s “24” — and allowing elements of one scene to enter the picture before the last scene has fully removed itself. He’s a director who seeks out the most visually interesting way of telling a story, and that skill is brought to bear in “Hulk.” (We must acknowledge the hands of cinematographer Fred Elmes and editor Tim Squyres — both long-time Lee collaborators — in all of this, too.)

That said, I do wish Lee had explored a few things more thoroughly. The motives of Bruce’s increasingly insane father (Nick Nolte) are not always clear, and the elder Banner’s self-experimentation produces effects that could have been extremely fascinating if they’d been given more screen time. And the smarmy, in-it-for-the-money scientist played by Josh Lucas barely even registers as a temporary villain.

Fans should note that, contrary to the disappointing advertisements, the Hulk himself — entirely computer-generated — looks fantastic. CGI technology keeps getting better, and the Hulk’s appearance and movements represent the new state of the art. What Lee did for flight in “Crouching Tiger, Hidden Dragon,” he now does for tragic superheroes: He makes it all seem new again.

From Justin to Kelly

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You see everything Hollywood produces, you see a lot of bad movies. Hollywood produces bad movies the way plants produce oxygen. But with most bad movies, you can tell they at least sounded like good ideas at one point, perhaps very early on, and were simply mishandled. Or you get the feeling that, even if the premise was lame, in the hands of the right director, writer or star, it could have been salvaged.

So it is with some interest that we observe “From Justin to Kelly,” a film that everyone knew would be bad from the very moment it was announced. “Let’s take the two top winners on ‘American Idol’ — two individuals who have never expressed an interest in nor talent for acting — and put them in a film together!” went the pitch. And immediately, all sentient beings within earshot knew that, as sure as the sun hangs in the sky, it would be a bad movie.

There was no way it could have been otherwise. The notion behind it is as contrived, forced, manipulated and fake as any film ever made. Star vehicles — films produced because a star was available, not because someone had a good idea for a story — are loathsome enough. And this is a star vehicle that doesn’t even have any stars in it.

Kelly Clarkson and Justin Guarini do not play themselves, although their characters are named Kelly and Justin, and they do come from their real-life home states of Texas and Pennsylvania, respectively. And Kelly is a would-be singer, and Justin does like to dance. OK, so maybe they are playing themselves. Does it matter? I mean, how would you know? If a piece of white bread lies on a counter and doesn’t do anything, is it playing itself, or is it playing a fictional slice of bread that happens to resemble itself?

At any rate, Kelly and Justin are strangers who converge on South Florida with their friends for spring break. One does not get the impression any of the six attend school, so I am uncertain what they are taking a spring break FROM; nonetheless, they arrive ready for a week of tame, PG-rated debauchery.

Kelly’s friends are Kaya (Anika Noni Rose), who is African-American and mildly intelligent, and Alexa (Katherine Bailess), who is blond and, it is implied, would have sex with a walrus if it bought her a drink first. Kelly is the “prude” among them, complaining often about the way women are degraded at spring break in Florida. Still, she reasons, it is better than serving drinks to cowboys, which is what she does for a living back in Texas.

Justin’s friends are Brandon (Greg Siff), who couldn’t be more of a tool if he tried, and Eddie (Brian Dietzen), who is an incurable nerd, indicated by his wearing glasses and using sunscreen. Brandon and Justin have a business that sponsors beach parties, yet they are unaware that having a beach party requires getting an event permit first. Eddie is tagging along because he plans to meet for the first time a woman he’s chatted online with for a year.

In a jarring development, the film becomes a musical when, 10 minutes into it, everyone begins singing and dancing on the beach. Like every song in the film, even this number’s subject matter is unmemorable. I jotted in my notepad, however, that terms such as “rock,” “party,” “have fun” and “love” were used liberally, each in context meaning “have sex.” The word “sex” is never used, nor is actual sexual activity implied, nor does anyone even drink very much. This is all to preserve the PG rating, thus ensuring anyone who might possibly want to see their “American Idol” friends in a film will be free to do so.

So instead of having sex, the characters merely dance as if they’re going to, right there in the sand, even though they are strangers. This is how Justin and Kelly meet — I believe it is their pelvises that are actually introduced first, followed by their loins, and then their hands. Eventually, their faces address one another, but they are busy lip-synching a generic pop anthem, so I don’t know what kind of impact they could have had.

Apparently it was great, though, because after that chance encounter, both hope to meet up again. They do so, in a women’s restroom. (Don’t ask.) Kelly gives Justin her number, but he loses it immediately — literally, within two seconds of receiving it — and is too stupid, I guess, to ask her for it again, even though she’s still standing about 10 feet away. This opens the door for Kelly’s evil friend Alexa to sabotage the blossoming romance so that she can have Justin for herself, presumably so that she can bite off his head and devour him like the human-sized cricket she is.

Later, Kelly’s non-boyfriend from back home shows up, and within one minute of screen time, he and Justin are in a hovercraft race to win Kelly’s heart. Meanwhile, Kaya meets a Cuban fellow who works in a restaurant, and Brandon keeps having run-ins with a pretty beach cop, and Eddie does a lot of stupid nerdy crap. And through it all, they occasionally sing, backed up by whichever good-looking extras were standing around at the time.

No one is a bigger fan of musicals than I am, but I have never had a harder time suspending my disbelief in people spontaneously breaking into song than I did here. Perhaps it is because each time someone sings, there is no REASON for it, and when they do sing, they don’t SAY anything. And the songs themselves are unoriginal and bland.

The director is Robert Iscove, who has two Freddie Prinze Jr. films under his belt. The writer is Kim Fuller, who brought us “Spice World.” Kelly and Justin are approximately as likable as they were on “American Idol,” but predictably have absolutely no chemistry as a romantic couple, and very little screen presence when they are not standing on a stage, singing.

Imagine “MTV Beach House: The Movie” and you’ve got “From Justin to Kelly.” Add up every person who appears in the film, including the extras, and you will find zero percent body fat and not a single unattractive face. It is a sand-encrusted tribute to chaste heterosexuality, a witless, unwatchable affront to all that is creative and clever in the world. What’s worse, everyone involved surely knew it would be this bad from the moment it began. Shame on them all.

Alex & Emma

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The first dumb thing Emma says in “Alex & Emma” is when she explains why she always reads the last page of a book before committing to the entire thing: “If I like the ending, I know I’ll like getting to it.”

Bullcrap. The endings of romantic comedies are always completely likeable – the two people who belong together wind up together – but a lot of these films are quite unenjoyable anyway. In fact, the opposite of Emma’s philosophy holds true with rom-coms. The ending, predictably sunny from the first reel, is irrelevant. What makes or breaks it is the journey. And “Alex & Emma” is broken.

Emma is played by Kate Hudson, who is the new Meg Ryan. I don’t mean she has merely assumed Meg Ryan’s duties as America’s romantic-comedy sweetheart; I mean she has actually BECOME Meg Ryan. If you go to Meg Ryan’s house, you will not find her. Her family’s like, “She was here, and then she was in ‘Kate & Leopold,’ and then she was gone. We’re stymied.”

Anyway, Kate/Meg plays Emma Dinsmore, a stenographer hired by Boston author Alex Sheldon (Luke Wilson) to take dictation on his sophomore novel. The catch? He only has 30 days to write the book from scratch, get it to his publisher and get paid, or else Cuban loan sharks will kill him. (They have already destroyed his laptop, which is why he needs the stenographer.)

So the work is intensive, and in theory, Alex and Emma fall in love in the process, even as they butt heads over Alex’s narrative choices. Meanwhile, we see the book itself — a romance set on an island off the coast of Maine in the 1920s – unfold, the central characters clearly based on Alex’s real life, himself and Emma included. Here is where Kate/Meg gets to play four different incarnations of the same character as Alex struggles to figure out the character’s correct persona. And guess what: Three of the versions have wacky accents! We get to hear Kate/Meg do Swedish, German and Spanish dialects, all of them bad, none of them funny. (A lesson I have learned: When a movie has an actor playing multiple characters, and the trailer plays up that fact by saying, “starring Joe Actor … and Joe Actor!,” you are in for a bad movie.)

As pitiful as it is to watch a bad movie about someone writing a bad book, it is even more pitiful to see a genuinely talented director like Rob Reiner doing such lackluster work. Meathead’s previous films include “This Is Spinal Tap,” “Stand by Me,” “The Princess Bride,” “When Harry Met Sally…,” “Misery,” “A Few Good Men,” “The American President” — good movies, all, or at least passably entertaining ones. What did he see in this story, which he co-wrote with three other men, that made him think it would have the kind of spark necessary for a rom-com to work?

It is curious that even as Alex frets over what kind of conflict to have in his book, the film has forgotten to include one for Alex. Seventy-eight of the film’s 93 minutes have gone by before there is any hint that Alex WON’T wind up with Emma, leaving 15 minutes for him to fix things and wind up with her anyway.

In the meantime, we are subjected to perfunctory examples of how Alex and Emma are allegedly falling in love: Her perky sternness gives way to compassion; his geeky verboseness gives way to longing gazes; you get the idea. But why are we watching it? It reminds me of the Monty Python “Novel Writing” sketch, in which an audience watches a man write a book, live, complete with a play-by-play announcer. That sketch is funny for precisely the reason “Alex & Emma” is boring: We’re watching a guy WRITE A BOOK!

Two actors bursting with charisma and style might have been able to make this generic stuff work, though I still doubt it. The exceedingly bland and Wilson and homogenized Kate/Meg, however, are far beneath the task. Top to bottom, this is made from the Romantic Comedy Template, right down to the inclusion of Norah Jones on the soundtrack. The problem is, it’s just the template, with most of the blanks left unfilled.

Persistence Can be Disarming

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Though I often encounter people who make me wonder if there’s any hope for mankind — the pot-bellied man who entered the Daily Herald offices shirtless the other day, for example — my overall feeling is that people are amazing creatures. And what amazes me most is our ability to get over stuff.

Think about it. Dreadful things happen to us regularly, and not just the average daily trauma, like seeing a fat, semi-nude man wander into your workplace to purchase a classified ad. Loved ones pass away, relationships end, people hurt us. Things happen, and we think for a while there’s no way we can possibly go on … and then we go on. Some time, some effort, and we get over it, at least enough to continue living. The human psyche has an astonishing ability to heal itself, if we let it.

I especially thought of mankind’s resilience when I read about the guy who hacked off his own arm to get out from under a rock.

You recall this story, I’m sure, from a month ago. It seems a 27-year-old Colorado hiker became pinned under a boulder in a Utah canyon for three days and, knowing he would die otherwise, used his pocketknife to saw off his arm and get free. His name is Aron Ralston; tragically, he lost an “a” from his first name during the ordeal, too.

All of America was stunned by this story, though we agree it would have been even better if he’d had to gnaw the arm off. Many of us wondered what we would do in that situation. It was difficult for me to imagine, though: What was I doing hiking in the first place? Was I crazy? Was I being forced at gunpoint? No, that doesn’t work, because then the gunman could have gone for help when I became trapped. Unless he wanted me dead. But if he did, why didn’t he just shoot me, rather than forcing me to engage in physical fitness? Perhaps the gunman, whose motives for making me walk through the canyon remain unknown, was killed by the boulder that fell on my arm. This makes the rock a cruel bringer of freedom and captivity simultaneously, which is an interesting literary device if nothing else.

But OK, let’s say somehow I was hiking and that I also somehow let a big rock fall on my arm — what then? I am fairly certain there is nothing that could ever persuade me to break the bones in my wrist and cut my arm off with a pocketknife. I wouldn’t even consider it an option. I would think, “Well, I guess I’m going to die here. I mean, what else am I going to do, CUT OFF MY OWN ARM?!?” And I would laugh at the absurdity of such a notion, placing it up there, in terms of feasibility, with alternatives like developing super strength or the ability to fly. And then I would probably pass out from the laughing. I’ve lost a lot of blood, I imagine.

So Aron Ralston clearly had more fortitude than I would, and his indomitable spirit is impressive. Also somewhat inspiring, in an odd way, is the survivalist attitude of Eric Rudolph, the serial bomber who evaded capture for five years while living in the wilds of the American South. According to USA Today, Rudolph — arrested earlier this month in North Carolina — told officials that to survive while on the lam, he ate acorns, lizards and salamanders. What separates this from the typical North Carolina diet is that he ate them raw, and without cornbread. (But I kid the North Carolinians! I love cornbread!)

Some authorities question the veracity of Rudolph’s claims, especially when he says he also ate scraps from behind a Taco Bell restaurant, which it doesn’t take a scientist to know would kill even the hardiest moose. But however he did it, I’m impressed. Living alone in the forest for five years takes strength and conviction, as does hacking off your own arm. Hearing these stories makes me slightly less apt to simply give up when I am faced with seemingly insurmountable problems, though how you can expect me to go on when scantily clad fat men keep entering my environment is beyond me.

Manito

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Eric Eason’s “Manito” is so vividly written and filmed that you can practically smell the mean streets it takes place on. More than telling us about specific characters, it tells us about a group of people: proud Hispanics in the Washington Heights neighborhood of Manhattan.

The title character, Manny (Leo Minaya), is just graduating from high school, and his older brother Junior (Frankie G.) has organized a huge bash in his honor. Their family has been through hard times — the boys are estranged from their father, for example, and while Junior lives with (and cheats on) his girlfriend, Manny lives with his grandfather.

But things are looking up. Junior is trying to run a painting business, and Manny is salutatorian in his class. Their neighborhood, once a haven for drug dealers and criminals, is getting better.

There is still danger, though, turning the film into an urban tragedy complete with two characters hugging in slow-motion, which in movie lingo means this is the last time they’re going to see each other). The problem is, the major action of the movie takes place in the final 20 minutes and then is not resolved properly, for good or for bad. In his search for grittiness and realism, Eason has left us hanging.

The first hour, however, is an impressively visceral piece of work. Sensitive Leo Minaya and smooth-talking Frankie G. create characters who, while not entirely fleshed out, imply volumes about themselves in creative little strokes. Junior gives a great doorstep spiel to a woman skeptical of the legitimacy of his business, and Manny’s interaction with a girl he likes is charming in its street-wise callowness.

Perhaps it takes too long to get going. A screening audience I saw it with grew noticeably restless. I, however, was fascinated by the society being depicted, and by the larger-than-life personalities it spawns. It is a promising debut for a first-time writer/director, and an engaging film on its own.

Hollywood Homicide

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If there were a TV show called “Hollywood Homicide,” the movie of that name that opens Friday could be a passable episode of it. As a series, it wouldn’t matter that some characters exist without being given much to do; after all, not everyone can be pivotal every week. And so what if the plot is just a very basic find-the-murderers exercise? Isn’t that what “CSI” is every week? As for those plot threads that don’t go anywhere, well, we can assume the show will get back to them in the next episode.

As a stand-alone work, however, “Hollywood Homicide” does not stand alone very well. It is pleasant enough, sure, and a fairly agreeable way to spend two hours. But it’s so lightweight and unfocused as to be thoroughly forgettable. If it didn’t have Harrison Ford, I don’t think anyone would see it even once. As it is, no one will see it twice.

Ford plays Joe Gavilan, an L.A. homicide detective who spends his off hours trying to make it in real estate, an activity that has thus far only brought expenses and headaches. His partner, the much younger K.C. Calden (Josh Hartnett), like everyone in L.A., really wants to be an actor. His moderate incompetence as a cop seems a sign he ought to pursue the arts, or at least something other than police work.

Gavilan and Calden are assigned to investigate the murders of four up-and-coming rappers. This leads them through the wild and woolly world of entertainment, with many hints that this — the interconnectedness of the city of Hollywood and show biz — should have been the film’s focus. Certainly there is much humor to be had in a grim quadruple-murder being investigated in the sunniest, loopiest, most surreal place on Earth. But much of the Hollywoodisms seem forced. The New Age goofiness, the yoga, the now-cliché image of a high-speed chase being captured by multiple TV news helicopters — this is all used to mildly humorous effect, but it wavers awkwardly between comedy and all-out parody. Are we making fun of La-La Land’s unusual components, or merely using them as plot devices?

Ford gives a winning performance, playing a character more bemused and weary than hard-boiled or cynical, a man whose lopsided half-smile got that way because it has often been employed during times when it was difficult to smile at all. We immediately sympathize with Joe Gavilan, in large part because we already love Harrison Ford.

Josh Hartnett is an undistinguished presence in the film, neither adding nor detracting. He holds his own against Ford the veteran, and maybe that’s saying something. But while Gavilan feels like he could have been played by no one other than Ford, any young male actor could have played Calden.

Directed by Ron Shelton (“Dark Blue,” “White Men Can’t Jump”), the film ambles along with a low-key wackiness about it, committed to entertaining, but unwilling (or unable) to distinctly identify what sort of entertainment it’s trying to provide. Buddy-cop? Hollywood spoof? Crime drama? It has elements of all three, but none of them strong enough to make the picture memorable.

Dumb and Dumberer: When Harry Met Lloyd

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“Dumb and Dumber” was about dumb characters, but it was clearly made by smart people. Its prequel, “Dumb and Dumberer: When Harry Met Lloyd,” is about dumb characters, too, but this time apparently made by people who weren’t very smart themselves. The film mocks its protagonists’ stupidity, blissfully unaware of how hypocritical that stance is in light of the cluelessness of the film itself.

I’m at a loss to explain why “Dumb and Dumberer” even exists, let alone to fathom any of the material within it. Events seem to transpire independently of each other, without regard for reason or sense, like a series of random sketches inspired by fever dreams. (The director and co-writer, Troy Miller, has had most of his experience working on sketch TV programs like “Mr. Show” and “The Ben Stiller Show.”)

For example: Since a bathroom scene is obligatory in a movie like this — especially after Jeff Daniels’ famous moment in the earlier film — the high school version of Harry (Derek Richardson) allows a chocolate bar to melt in his pocket, causing him to think, upon inspection in a bathroom, that he has had an “accident.” Inexplicably, the melted candy bar is soon all over the mirror and walls, as well as on Harry’s body, head to toe. How this much chocolate was obtained from a single bar is beyond me, and how Harry manages to smear it everywhere rather than simply washing it off his hands is even more incomprehensible. It does not matter that none of this would or even could occur in real life; what is important to the director is that the image of an entire bathroom slathered in chocolate goo is funny.

The story of Rhode Island dimwits Harry and Lloyd joins them in 1985, despite subtitles telling us 18 years have passed since Harry was born in 1969, which would make it 1987. Harry is adjusting to his first days in public school after being home-schooled all his life. He meets Lloyd (Eric Christian Olsen) immediately, and the sunny dunderheadism they share makes them fast friends. (Lloyd, by the way, lives at the school with his inexplicably Latino father, who is the janitor.)

Harry and Lloyd are called upon by the devious principal (Eugene Levy) to select classmates for the newly formed “special needs” class, of which they of course are charter members. The class is really just a ruse so the principal can embezzle extra funds from the state and run off to Hawaii with the lunchlady (Cheri Oteri); you will note that, despite the presence of Eugene Levy and Cheri Oteri, the film remains unfunny, a feat that must have required superhuman effort.

Since this film’s trailer is known to virtually anyone who has attended a movie within the past six months, it is worth observing that very few of the trailer’s scenes actually appear in the movie, apparently having been cut in the final edit. And while I applaud any efforts to make the film more endurable by shortening it, I fear it was overdone in this case. The closing-credits outtakes montage shows that several entire scenes were cut, and during the film proper, Harry has a flashback sequence in which he flashes back to things that did not actually occur in the movie.

This proves my major thesis, which is that the film barely has any structure at all, and that things can be added to or subtracted from it at will. It has the loose story of Harry and Lloyd being unwitting victims of the principal’s scheme, but then it has numerous unrelated sequences that have been included merely because someone thought they were entertaining, which, for the most part, they are not.

Olsen and Richardson are amiable leads, but they are light years from Jim Carrey’s awe-inspiring physicality or Jeff Daniels’ giggly inanity. That they resemble the other actors is their best asset, and you know you’re in trouble when you’re casting your film based solely on what people look like.

The one thing the movie has going for it is its relentless pursuit of verbal absurdity. There’s something almost Python-ian about exchanges like this:

HARRY: (holds up what is obviously a treasure map)
LLOYD: Is that what I think it is?
HARRY: No, it’s a treasure map.
LLOYD: Cool.

In talented hands, characters as harmlessly naive as this can be endearing, funny and memorable. Think of Peter Sellers in “Being There,” or hulking Lenny in “Of Mice and Men,” or even the clueless lot in “Waiting for Guffman.” Just because dimness is your subject matter doesn’t mean your treatment of it has to be dim. Dumbness is not the same as mindlessness. The Farelly Brothers knew that when they made the original; the people who made this movie don’t seem to know anything.

The Hard Word

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“The Hard Word” has a hard time committing to anything. It is, more than anything else, a heist film in which a team of criminals works to pull off a major theft, double-crossing each other all the while. Except the double-crosses are almost negligible and told to us early on, and the intricate planning of the heist itself takes only a few moments.

The rest of the time, the film seems unsure what it wants to be about, only that it wants to be edgy while it’s doing it. It introduces us to three career criminals, the Twentyman brothers of Australia (whence the film comes). Dale (Guy Pearce) is the smart, shaggy, rabbity one; Mal (Damien Richardson) is the simple one; Shane (Joel Edgerton) is the rageful, obsessive, possibly insane one.

When we meet them, they are all doing time in the same prison. Life in the lockup doesn’t seem to bother them; you get the idea they’ve been there a while, don’t cause any trouble, and are liked by wardens and inmates alike.

Nonetheless, freedom is better, and so when their dishonest lawyer Frank (Robert Taylor) springs them, they are glad to be out. Nonetheless, stealing is in their blood, and so they perpetrate an armored-car heist almost immediately upon being released, are caught, and are soon back in prison.

This time, getting them out will require a little more effort, but Frank has some tricks up his sleeve. It is also worth mentioning that he is sleeping with Dale’s wife Carol (Rachel Griffiths), and that he may have ulterior motives for getting Dale and the boys out of jail.

When he does, however, he has a job in store for them. Then the trouble really begins.

Written and directed by Scott Roberts (in his directorial debut), the film is a mixture of blood and dark comedy befitting a Tarantino film, except “The Hard Word” doesn’t really commit to that either. The violence escalates as the film nears its conclusion, then quickly drops off again, as if Roberts was only tinkering with the idea of staging a bloody comedy, not actually perpetrating one.

The acting is good, and the major characters are likable. The interaction among the brothers is especially good, and believable enough that we buy their loyalty to each other. But the conclusion is unsatisfying. It doesn’t pay off the way heist movies — which this is — ought to.

Jet Lag (French)

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Rose, the protagonist played by Juliette Binoche in “Jet Lag,” begins the film by saying she wishes her life were like an American movie. She’s thinking of “Roman Holiday” specifically, but she means fluffy, happy-ending American romances in general.

Who wouldn’t want a life like that, I guess. The irony is that while predictable, pat endings make for a comfortable, happy life, they often make for dull movies. Rose is lucky, though. Her life turns out happy, and it makes for a fun movie, too, even if it is completely by-the-numbers.

You’ve seen this movie before; you just haven’t seen it in French. Rose is a beautician who’s leaving Paris to get away from her loutish boyfriend, hopefully for the last time. She runs into Felix (Jean Reno), a harried businessman, at the airport and asks to use his cell phone. Soon the cell phone humor is rampant, as whoever Rose called uses the caller ID to call her back, which means Rose and Felix keep having to interact.

It leads to the film’s major set piece, a lengthy scene at a hotel where Rose and Felix must stay for the night when their flight is canceled. Part “Planes, Trains and Automobiles,” part every-romantic-comedy-ever-made, the film gives us ample time with the characters, in a variety of semi-wacky situations that never stray too far from reality.

Binoche and Reno do a lot for the film, giving some weight to what could have been two very stock characters. They’re an unlikely couple as far as romance goes — she with her flamboyance masking insecurity, he a downbeat bundle of nerves and heart medication — but by the end, they make sense together.

That said, the film’s story is so slight that it can barely sustain itself. It’s short, but not short enough. Still, in the realm of predictable rom-coms, this one has enough charm and humor to divert us for an hour and a half.

No Pirate Be I

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The film industry is in the midst of a crisis. Namely, how can it wedge Vin Diesel into every movie it produces, even when Vin Diesel does not, to the casual observer, seem to fit? Would it be prudent to cram him into a romantic comedy opposite Kate Hudson, or a period piece co-starring Dame Judi Dench? These are the issues with which the film industry is currently grappling.

Hollywood is also concerned about movie pirating — not movies ABOUT pirates, because we know those always suck, but movies that are BEING pirated, as in stolen. Entire films can be downloaded from the Internet. Industrious types armed with video cameras can tape movies at public screenings and sell them the next day. Why, thanks to modern technology, you can walk down any street in New York City and buy a DVD copy of “Star Wars: Episode III,” and it HASN’T EVEN STARTED SHOOTING YET. That’s how far piracy has gone.

The studios are beginning to panic. They don’t know how to stop people from stealing movies, short of producing ones that are worth paying for. And so extreme measures are being taken. At pre-release screenings, audience members’ bags are being checked for recording devices, and security personnel equipped with night-vision goggles are skulking in the aisles to check for copyright-infringing activity. For example, jotting down everything the characters say and drawing pictures to accompany the dialogue would be a no-no.

A word on these advance screenings. They’re usually held in the evening a few days before the film opens, primarily so critics can see it and get their reviews in the paper on opening day, but also to generate word-of-mouth among civilians. Radio stations give away free tickets to the screenings; as a result, the audiences tend to be unruly, being jazzed over seeing a movie 1) for free and 2) before anyone else does, even if the movie is 3) lousy. Often, radio station personnel are on hand to throw out more free stuff, in the form of T-shirts and hats related to the film. It does not matter how unappealing the movie is, nor how shoddy the workmanship of the merchandise; people will go CRAZY to get this free stuff, just because it’s free. They could be throwing out vials of the hanta virus and people would still shriek like trailer trash at the Springer show and knock each other over to get it. (Another thing I’ve noticed: The more eager people are to obtain one of the free T-shirts, the less likely the shirt is to fit them.) (If you get my meaning.) (My meaning is that these people are fat.)

This atmosphere doesn’t seem like it would breed a lot of sophisticated film thieves, does it? But who knows. Maybe one of the large, tank-topped, mullet-headed gentlemen screaming at the top of his lungs for a free “National Security” hat is also well-versed in the craft of video pirating.

It was at a public screening like this that I first encountered the anti-piracy squad. We’d seen them check bags at a few films before, but they usually skipped the movie critics because they figured we were not the source of the pirated movies, not because of our code of ethics, but because we cannot afford video cameras. At “Finding Nemo,” however, the new policy began: Everyone gets checked. Thoroughly. A young fellow, no more than 20 years old but dressed in a suit, asked to check my bag. As he rummaged through it, he asked, “Do you have any cameras or recording devices?”

This struck me as an odd question. Did he think I would tell him if I did? Did he think I had planned on videotaping the movie to sell it on the black market, but only on the condition that it not involve fibbing? Was I bound by some pirate code of ethics where I’ll loot and plunder all the live-long day, but I have to answer any direct questions truthfully? (“Yar, ye caught me.”)

A good deal of time and money is being wasted on these searches. Most pirated movies come from the big cities like New York and L.A., and the best-quality ones come from weasels within the studio — people with access to prints — not from people aiming camcorders at movie screens. (On the DVD copy of “The Matrix Reloaded” I bought in New York the day after the film was released, you can actually see the theater’s exit sign.) Sending goons down to Sandy, Utah, is not going to prevent anything. I don’t object to the searches on grounds of privacy, because in the modern world I am accustomed to not having any. I object to them because the movie studios constantly complain about their profits diminishing, and now here they are wasting millions paying security personnel to administer frivolous, unfocused bag checks. This is in addition to the fortune they’re already wasting on Vin Diesel.

May

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“May” is an astonishingly distasteful movie, yet an altogether enjoyable one, if that’s your thing. It is the sort of blood-soaked flick that straddles the line between humor and horror well enough to be a cult classic — which is a good thing, because heaven knows it will never find mainstream success.

“If you can’t find a friend, make one.” That’s the advice given to misfit girl May (Angela Bettis) by her insanely one-dimensional mother (Merle Kennedy). May has a lazy eye, which forces her to wear an eyepatch as a child, which leads to a poor development of her social skills. Now, all grown up and no longer pirate-like in her appearance, she is sweet and friendly, but offputting to strangers.

She works as a veterinarian’s assistant and grows fond of Adam (Jeremy Sisto), a mechanic who works down the street. He’s an amateur filmmaker, and when he shows her his cannibal-themed student film, she takes it all too much to heart. This is a girl whose best friend, to this point, is a creepy doll her mom gave her. Separating reality from fiction is not her forte. Soon enough, Adam can’t take any more of her strangeness, and dire things happen.

First-time writer/director Lucky McKee stays admirably committed to his giddily weird vision. His storytelling is uncluttered and relatively simple, though he does stray at times into a sort of over-deliberate strangeness where characters utter non-sequiturs just to remind us that yes, this movie is bizarre.

He also builds tension very well. The first shot of the film is of a girl’s eye spurting blood, but that’s the last glimpse of horror we see for quite some time. There is something evil afoot, though, and the sensation of that permeates everything, even when we’re laughing at the morbid humor that abounds.

Angela Bettis is strong enough as an actress to carry the film on her petite shoulders. I also liked Anna Faris as Polly, a sultry, David Lynch-ian lesbian who hits on May at work.

It is quite gross indeed; make no mistake about that. But it’s parable-like lessons and quirky sense of style make it a worthy effort, and a stand-out in its genre.

2 Fast 2 Furious

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2001’s surprise summer hit “The Fast and the Furious” was, as I said at the time, “a loud, pointless movie, but it performs its loud pointlessness pretty well.” It was packed with hot cars, fast races, gorgeous women and barrels of male bravado.

Its sequel, the stupidly titled “2 Fast 2 Furious,” has the cars but only shows off their speed in a few scenes. The gorgeous women are few in number and receive little screen time. The male bravado is mostly limited to Paul Walker calling everyone “bro,” a term which, even with his lazy surfer-boy accent, Walker is unable to render in a convincing manner.

This film’s more of a buddy picture, taking the focus off street racing and onto traditional undercover-cop shenanigans — a disappointing step downward, in my opinion, as it betrays what simple vision the original film had.

Walker’s character, Brian O’Conner, was once a cop but handed in his shield after letting Vin Diesel get away in the first film. (Vin Diesel remains away, having been refused his $25 million asking price for the sequel.) Now Brian’s in Miami, street racing again, where he’s picked up by customs officials who will clear his record in exchange for his becoming a driver for drug smuggler Carter Verone (Cole Hauser), thus infiltrating the operation. (Carter, by the way, is your basic torture-happy Bond villain, at one point employing a rat, a bucket and a blow torch to extract compliance from a sweaty fat man.)

Brian agrees to the plan, on the condition he get to choose his partner. He selects Roman Pearce (Tyrese), an old buddy from California. The two reunite in Barstow, whereupon they immediately begin to punch one another and roll around in the dirt. That is more or less how things work in this movie.

Walker, a bland, ineffective actor, is evidently in a much more serious movie than Tyrese is. Tyrese, in the sort of role usually reserved for Chris Tucker, lives it up, enjoying his several funny lines and seeing the movie for the hammy good time that it is. Walker seems intent on quashing all possible elements of levity, his half-hearted over-use of the jocular word “bro” notwithstanding.

But then there are the driving scenes. Directed by John Singleton (“Boyz N the Hood”), these are highly visceral, tightly edited infusions of energy, raising the film’s enjoyability several notches. The camera movements are fluid, even as the intense speed causes everything within the frame to jitter. Between these exhilarating sequences and Tyrese’s easy-going performance, the film is almost worth seeing, “bro.”

Whale Rider

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The first chief of a particular Maori tribe, so the legend goes, arrived on the back of a whale, and all subsequent chiefs have been his descendants. “Whale Rider” tells the story of what happens when the current chief’s heir in this patriarchal society is, in fact, an heiress. In so doing, it delivers a first-rate cinematic experience, and some of the best performances of the year.

Our narrator and heroine is Pai (Keisha Castle-Hughes), a boyish 11-year-old girl whose twin brother died at birth, along with their mother. This was soon followed by her abandonment at the hands of her young, irresponsible father (Cliff Curtis), leaving her in the care of her grandparents. Her grandfather, Koro (Rawiri Paratene), is the tribal chief, desperate for an heir, his two sons both having failed to live up to their potential. With Pai’s twin brother gone, that leaves her. But a girl is of no use in a society that allows only men to be chiefs. “My grandfather’s wish was that I’d never been born,” Pai tells us. “But he changed his mind.”

If ever a grandfather loved his granddaughter, it is Koro. He picks her up from school each day on his bicycle and turns up to support her in her school performances — where, notably, she is the lone girl forced to do traditional male dances. When he sees some boys making fun of her, he gives one of them a gentle but stern smack in the head.

But Koro’s love for Pai is tempered by his certainty that she can never be chief, and is thus no good to him. He endeavors to find an alternate, going outside the family line and training the first-born sons within the village, refusing to let Pai attend the training. Pai is hurt by her grandfather’s rejection, yet cannot stop loving him. She gains strength from her grandmother (Vicky Haughton), who has lived with the old codger all her life and has found small ways to stand up to him. (“You may be chief out there, but I am chief in this kitchen!” she hisses at him when he tries to boss Pai around at dinner. Subdued, Koro defers to her authority.)

Directed by Niki Caro and adapted by her from Witi Ihimaera’s novel, the film sweetly examines the struggle between love and one’s perceived duty. Koro and Pai love each other immensely, yet there are clear boundaries that must not be crossed, and yet the existence of those boundaries does not diminish their love. The situation is heartbreaking: It would almost be better if Koro didn’t love his granddaughter at all. His rejection of her as a potential leader would somehow make more sense that way.

Incredibly, the film makes both points of view sympathetic. For as stubbornly old-fashioned as Koro may be — and though it’s obvious he will have to change his way of thinking before the film’s end — we nonetheless feel for him and his old-school way of thinking. There is a moment late in the film when Pai narrates, “He wanted to die. There was no reason to live anymore.” The shot is of a whale that has beached itself, and that’s who Pai is ostensibly referring to — but standing next to the whale is Koro. That composition is no accident, I’m sure.

Leon Narbey’s cinematography is beautiful, almost surreal, as if a place like this couldn’t really exist in our world. Lisa Gerrard’s musical score lends a similarly ethereal effect, leading up to the film’s mystical finale.

Keisha Castle-Hughes, new to films, gives a natural, unforced performance as Pai, her large, expressive eyes telling much of her story. As her grandfather, Rawiri Paratene is equally natural, lending utter believability to a role far removed from most viewers’ lives. And Vicky Haughton deserves special recognition for bringing beauty and grace to the role of the grandmother.

I’m sure I have never seen a film like this before. It is subtle, but makes its points clearly and simply. It is storytelling at its very best.

The Eye (Cantonese)

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From Hong Kong comes “The Eye,” a supernatural thriller that has already caught the eye of Tom Cruise, who bought the rights to remake it in English.

As a Hollywood product, however, I suspect it will look even more like “The Sixth Sense” than it already does. In Chinese, written and directed by twin brothers Oxide and Danny Pang, it has enough style to overcome the weaknesses and over-familiarity of the story.

With dark atmosphere to spare, “The Eye” tells of Wong Kar Mun (Lee Sin-je), a young woman who has been blind since age 2. She receives a cornea transplant, restoring her sight but bringing with it unwanted side effects. For example, she sees ghosts. Some of these ghosts are mean. Their purpose, and what to do about them, Mun determines, must relate to the person the corneas came from. And so a search begins.

The Pangs are trading more in suspense than horror here. Actual violence is hinted at more than shown, and only occasionally even hinted at. The idea is to put us into Mun’s world, ghosts and all, and at that the Pangs are wonderfully successful. Mun’s desperate retreat back into darkness rather than deal with the dreadful things she sees is a chilling psychological touch in a genre that often ignores psychology.

The film moves at a deliberate, methodical pace, now and then exploding into scenes of nightmarish terror. One scene on an elevator will surely haunt you for days, and a key moment half-way through when Mun has a major realization is one of the best plot-related shocks in recent memory.

The problem is, it doesn’t add up to much. The story’s climax is a disappointment because it’s exactly what we expected; the subsequent resolution fails to add anything, either.

There is also too much reliance on music and creepy sound effects to achieve atmosphere. These can be used effectively, and often are here. But at times they seem to overpower what’s occurring on screen, to the extent that we notice the sound more than we notice what it’s supposed to be underscoring.

But I liked the film. It’s creepy and forbidding, the way good thrillers are. I suspect it would not hold up to multiple viewings, but it’s a kick one time through, anyway.

Reigning Like Julius Tweezer

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I’m obsessed with tweezers now. I credit my friend Chad for this development, which began, as do so many obsessions, with an emergency trip to New York City, followed by a waxing.

Chad, who lives in Boston, recently suffered an epic and tragic breakup, and no amount of ice cream or television could console him. Seeking to get away from Boston and the situation for a few days, he urged me to meet him in New York for a weekend, during which time we would hate all things relating to love, romance and affection. I happily agreed to his proposal, for I had recently endured some relationship trauma myself, in the form of a restraining order from Bea Arthur. Besides, I will do anything my friends ask of me, especially if what they ask of me is that I go to New York.

Now, despite what you have been led to believe by watching romantic comedies set there, New York is actually the perfect place to go if you hate love. The opposite of love is indifference, and New Yorkers are champions of apathy. Nowhere is this more evident than in restaurants, where servers will bring your food — grudgingly — and then disregard you completely until they feel it is time to bring your check. There is no interaction with servers between receiving the entrees and paying the tab, because the servers no longer acknowledge your existence. You are dead to them. Pressed, they will deny ever knowing you.

It was during our weekend of despising all things related to romance that Chad said my eyebrows needed to be waxed. This alarmed me. I had always studiously avoided developing a uni-brow by occasionally swiping between brows while shaving, and apart from that, they looked fine to me. I never really pay attention to anyone’s eyebrows, unless they are egregious in some way. I always notice Tommy Lee Jones’, for example, because it is a single eyebrow that circumnavigates his skull. And once in St. George my friend Smacky and I saw a woman whose eyebrows had been removed altogether and painted on manually, except she painted them so they were arched, and so no matter what you said to her, she always looked surprised. We imagined her becoming a model for horror-movie posters.

But apart from aberrations like these, I was rarely observant of anyone’s eyebrows, mine included. And now here was Chad telling me he had not only noticed them, but that they needed to be waxed. What confused me most was that when he brought it up, we had not even been discussing eyebrows, nor hair of any kind, nor indeed anything related to grooming. If I recall correctly, our conversation had been on the nature of restaurant service in New York City, the quality of which I believe you already know. Was he suggesting my eyebrows — which I now took to be squirrel-sized and horrific — were the cause of our server’s ignoring us? Or was he just randomly changing topics, as he is wont to do?

It turns out to have been the latter; talking to Chad is like riding the Tilt-a-Whirl. My bewildered, mildly hurt expression at his sudden pronouncement was met with the explanation that while they looked “OK,” they needed to be “cleaned up a little.” At no point did I question how he became an expert in such matters or why he thought HIS eyebrows were all that hot, nor did I express my discomfort in his noticing that I even HAD eyebrows, let alone commenting on them, nor did I ever agree to let him perform work on my face. Yet somehow, later that day, I was sitting very still while he applied drugstore-purchased chemicals to portions of my brow, followed by a piece of latex or something, followed by a quick ripping, followed by a steady flow of bitter tears.

In general principle, I oppose the waxing of any part of the male human body. For some of us, the abundance of hair is the last vestige of masculinity in our emasculating society. But I had to admit: My eyebrows looked better. They were more trim and svelte, more heavy with skepticism when I lifted one of them, more indicative of deep thought when I furrowed both of them. I had finely tuned my eyebrows — a major instrument in the symphony of the face — and could now propel them to greater heights of expression.

The trouble is, you can’t just wax your eyebrows once and forget about it, and not just because the pain lingers for days. Hair grows back. This necessitated my purchasing tweezers and adding two minutes into my daily morning schedule to allow for eyebrow maintenance. Bear in mind I have a French fry-based diet and have not been to the gym since before Christmas and own only two pairs of shoes. Yet here I am, obsessed with a tiny, tiny part of my physical appearance.

I am also, as I mentioned so long ago that it may have been in a different column, obsessed with tweezers in general. Newly fascinated by the efficiency and cleanness of the tweezing process, I soon sought out other areas that might need to be tweezed. My nose hairs were not a concern; I already had a little electric trimmer for that. This left the hairs on my feet, which I twoze only a few of before mentally noting that no greater pain could possibly exist in all the world.

Duly chastened by my foray into non-approved tweezing, I now admire tweezers with caution and respect, using them for their appropriate purposes and nothing more. I’m a changed man. Bea, if you’re reading this, please take me back.

Finding Nemo

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About the only thing the Walt Disney Company can do reliably anymore is let its Pixar division do its thing.

Left to their own devices, the whizzes at Pixar produce a computer-animated film every couple years that is as funny, clever and charming as anything within its field of competition. Their streak, which has thus far included the “Toy Story” films, “A Bug’s Life” and “Monsters Inc.,” continues with “Finding Nemo,” a whimsical undersea adventure that, like its predecessors, is both simple and nuanced, hiding deep themes beneath colorful layers of guileless entertainment.

Disney films have single-parent families, of course, and that trend is not bucked here. Marlin (voice of Albert Brooks), a small clownfish somewhere in the Pacific, is the nervous, overprotective father of young Nemo (Alexander Gould). Nemo’s mother and siblings were all lost in a struggle against a larger fish when Nemo was still in the egg, and Marlin — a bit neurotic to begin with — has reacted by worrying over his son endlessly.

The first day of school is especially traumatic for Marlin, and Nemo is eager to get away from his embarrassing dad and explore the ocean. After a tussle over Dad’s rules, Nemo wanders away from the group and is nabbed by a diver, who whisks him back to an aquarium in a dentist’s office in Sydney, Australia. Marlin is hysterical.

The rest of the film follows two stories: Nemo’s new friends in the aquarium, who want to help him get back to the ocean (luckily, the dentist’s office is adjacent to the harbor); and Marlin’s frantic search for his son. He encounters Dory (Ellen DeGeneres), a dumbly optimistic, scatterbrained little fish who, like the protagonist in “Memento,” has a very limited short-term memory. They meet all sorts of amusing characters in their search, and Nemo’s fishtank friends are an odd lot themselves. (One fish, named Deb, thinks her reflection in the glass tank is her sister, Flo. When the tank gets murky and no reflection is extant, she swims around asking, “Has anyone seen Flo?”)

The film is wonderfully inventive, having obviously been written by men with exceedingly curious minds. So much of it makes perfect sense: OF COURSE turtles that ride on the gulf streams would talk like surfers. OF COURSE startling an octopus would make it “ink” itself. OF COURSE swordfish would speak in French accents and engage in duels. The ocean is such a fascinating world, and who better to explore it with a keen imagination than the guys who decided toys could talk and monsters really do come from our closets?

Where the film is different from its predecessors is in its humor. It has an easy, gentle flow, less focused on getting laughs and more on telling a fanciful story. When it tries to be funny, it certainly is – it’s replete with sly movie references – it just isn’t as single-minded about it. It’s a gem of a movie, and exactly what we expect from our friends at Pixar.

Capturing the Friedmans (documentary)

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Andrew Jarecki’s “Capturing the Friedmans” exhibits a far better skill for storytelling than most documentaries do, masterfully weaving all the facts into the picture one by one until a complete, harrowing image has emerged. It is more intriguing than a lot of fiction, and told in a more compelling manner than most film stories.

The Friedmans — Arnold and Elaine, with sons Jesse, David and Seth — were a typical Jewish family in Great Neck, N.Y., in the 1980s. Arnie, a loosey-goosey man with a corny sense of humor, had been everyone’s favorite school teacher; now he was retired and taught computer classes in his basement to neighborhood children. Elaine was cold and distant, but a good mother. The boys were happy and well-adjusted.

Then came allegations from the computer students that Arnie and his eldest son Jesse had sexually abused them, dozens of them, dozens of times. Arnie was found to be in possession of child pornography and he confessed to some smaller crimes. Jesse confessed to nothing. The family, needless to say, was torn apart.

What is most extraordinary about the film is Jarecki’s access to family photos and home movies. The Friedmans loved documenting themselves, even — amazingly — in the midst of the legal battles and court trials. Here’s footage of Arnold Friedman the night before he went to jail, attempting joviality with his sons; here are dozens of other clips showing the family in its natural habitat, trying to maintain normalcy despite the horrific problems facing it.

Jarecki also excels at telling the story in a manner that is fascinating without being manipulative. By revealing information in a methodical manner, he takes us on a twisted path of conflicting emotions. At first, it seems obvious that Arnold is guilty of all the crimes. Some of the students who accused him are interviewed, some in shadows or with their voices altered. The evidence seems irrefutable.

But then other details emerge. One student appears on camera, fully recognizable, and insists nothing untoward ever happened. Logical facts are presented that make the stories of the children seem suspect. Jesse continues to maintain his own innocence, flatly contradicting what his lawyer tells Jarecki about the way his case was handled.

And then there are more facts about the Friedmans, about Arnold’s upbringing, about his brother, about Elaine’s disposition toward the family. Up to the final minutes, more information is being revealed, so much that you get the feeling if the film went on for another hour, it would only get more rich and textured.

Jarecki’s style is even-handed and fair, showing all sides of the issue in a non-hysterical way. I honestly don’t know Jarecki’s opinion on the innocence or guilty of the Friedmans, and that’s a good thing. The subject matter is harrowing (though the details of it are not dwelt upon unduly), but the film is so well-made and thought-provoking that its social importance should outweigh any qualms one has about seeing it. It’s not something I can say I “enjoyed,” necessarily, but I’m certainly glad to have seen such an accomplished piece of work.

Soldier’s Girl

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“It may seem bizarre, maybe even sensational,” says our narrator in “Soldier’s Girl.” Up front, she tells us her story is a tragedy. We know, then, that passion will be involved. For in real life — and this is based on a true story — it is passion, not calculation, that acts as chief motive for most people’s actions.

There is abundant passion in “Soldier’s Girl,” perceptively written by Ron Nyswaner (“Philadelphia”) and directed by TV-movie director Frank Pierson. Our narrator is Calpernia Addams (Lee Pace), a nightclub dancer born as a man but in the process of becoming a woman. At the point of the film, she is still male from the waist down. She is aware that such anatomical details make her unusual.

And so she is wary when a soldier from the local army base, the simple and sweet Barry Winchell (Troy Garity), takes an interest in her. Does he not know she’s really a he? Is it some kind of joke?

Let us talk about Barry Winchell. Thick and muscley, looking like a hairier version of Vin Diesel, Barry is new to the army and, though physically adept, he is ill-suited to the rigors of it. He butts heads immediately with Justin Fisher (Shawn Hatosy), his demanding, obsessive-compulsive roommate, whose own sexual issues are tantalizing left unresolved by the film. Barry is as straight as they come … but he is drawn to Calpernia, whom he and his buddies meet when they go to a gay bar for a lark. When you find love, as he does with Calpernia — and here is passion at work — you don’t ask questions. You go for it.

Barry and Calpernia’s relationship is explored with great sensuality and sensitivity, not by the other characters in the film, who find it loathsome, but by the filmmakers. Their first kiss is extraordinary, acted without a hint of self-consciousness by two heterosexual actors. (Pace is all-man in real life; Calpernia’s breasts are achieved through prosthetics.) Garity and Pace both elicit great sympathy, Garity for his stoicism and simplicity, Pace for the genuine emotion that seems to dance out of his eyes.

Hatosy, often a despicable presence in a film (you will recall hating him in last year’s “John Q”), is impressive here, giving depth to what could easily be a one-note character. I am also taken with the fiery performance by Phillip Eddolls as Calvin Glover, a hotheaded, eager-to-impress 17-year-old recruit.

Even if we don’t recall the headlines on which the film is based, we get an idea of what will occur early on, and yet the film still surprises us. It has the aura of real life about it, and a certain major event, the tragic one that made this a news item when it occurred in 1999, is caused not by the person we would expect if this were a fictional Hollywood story.

Passion rules the lives of all the major characters. This honest, compelling film avoids the prurient or sensational aspects of the situation and focuses on the people. This makes it, in many ways, a universal story. All of us can identify with someone in the film, whether we like it or not.

The Italian Job

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Like most movies, “The Italian Job” is about an aging criminal who plans One Last Job before retirement, a very difficult job that will make him ridiculously wealthy. And, like 75 percent of all films ever made, it features a normal, handsome man leading a strange crew of criminals who each have different areas of expertise and corresponding nicknames, e.g., the man who can only hear out of his left ear is called Left Ear. Additionally, much like 2/3 of all the movies Hollywood has ever produced, it has a woman who is brought into the group whom some members are suspicious of, until she demonstrates she can hold her own with the most cunning of male thieves.

Another thing “The Italian Job” has in common with the majority of films released in the United States is that it dots its I’s and crosses its T’s. It is perfunctorily satisfying, ensuring those who deserve punishment receive it, and those who are good and noble make off with the booty. (Of course, right and wrong are all relative here, since even the “good guys” are thieves to the tune of $35 million, but you get the idea.) It’s enjoyable to watch, but not especially compelling.

It begins with the titular heist, in which $35 million in gold bars is stolen from a safe in Venice. The team is led by grandfatherly John Bridger (Donald Sutherland), and his protege, Charlie Croker (Mark Wahlberg). Carrying out their plans are computer expert Lyle aka Napster (Seth Green), explosives whiz Left Ear (Mos Def, playing a character who is mostly deaf) and getaway driver Handsome Rob (Jason Statham).

They are also aided by Steve (Edward Norton), who is too nondescript to get a nickname, and who you can tell is going to turn on the rest of the crew soon because he serves no distinct function within the group. And sure enough, once the gold is safe, he kills John, thinks he has killed the others, and hightails it to Los Angeles, where a man with $35 million can blend in with the scenery.

Cut to a year later, when the very not-dead crew members reassemble to steal the money back, this time with the help of John’s daughter Stella (Charlize Theron), who has taken her father’s safe-cracking skills and put them to legitimate work, opening safes for the police when they have subpoenas. Still, in the interest of avenging her father’s death, she will enter the world of thievery and bust into Steve’s safe.

An elaborate plan develops, then is retooled, then is adjusted some more. I wish it had taken a bit less time to get where it was going. The eventual outcome is more or less inevitable; it’s the mechanism of the caper that we enjoy, not seeing the characters mill around waiting for the moment to arrive.

This is the sort of movie where everything is a setup for something else. For example, Stella’s fondness for modern technology as an aid in safe-cracking is mentioned; surely this means that at some point, she will have to open a safe manually, like her dad used to do.

And so it’s a generally OK kind of film, with a few funny lines, a couple cool moments of car-chase excitement, and a heapin’ helpin’ of comeuppance. It was painted by the numbers, but it used the right colors.

Wrong Turn

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The characters in “Wrong Turn” acknowledge the superficial resemblance between their plight and that of the characters in “Deliverance,” but they remain silent on the much richer similarities to films like “Texas Chainsaw Massacre,” “The Hills Have Eyes” and even the recent “House of 1000 Corpses.” Unlike post-modern horror-film characters who have seen slasher movies and know how to behave, these people have only selective awareness of their pop-cultural forebears, making this a throwback to the unironic, pre-“Scream” era.

Speaking of irony, I am pleased to have just spent a lengthy paragraph discussing the evolutionary precursors to a movie about inbred cannibals who kill teens.

True to its roots, the film’s prologue delivers two hapless characters up to the unseen monsters. Thereafter, we meet six additional teens whose cars are incapacitated on a country road in West Virginia. The randy couple (Lindy Booth and Kevin Zegers), needless to say, will be the first casualties. Then it’s a crapshoot: We’re left with the in-love-but-chaste couple of Scott (Jeremy Sisto) and Carly (Emmanuelle Chriqui), the brassy Jessie (Eliza Dushku), and the outsider Chris (Desmond Harrington). Chris is likable in a dour way, and if you have enjoyed Eliza Dushku in anything, you will enjoy her in this, for she plays the same character she always plays.

The villains are West Virginia hillbillies, deformed and retarded through decades of inbreeding, who routinely attack and cannibalize passing motorists. The people of West Virginia are opposed to the movie on the premise that not all West Virginians are like this, though if you have ever been to the state, you realize that argument is shaky at best. Why, I thought this was a documentary at first.

But I kid the West Virginians! Director Rob Schmidt (“Crime and Punishment in Suburbia”) knows enough about the genre not to show us the bad guys too much, nor to humanize them in any way. Further, the perfunctory script by Alan B. McElroy (“Ballistic: Ecks vs. Sever”), while by no means clever or original, has this going for it: The characters don’t do anything egregiously stupid or nonsensical — nor, curiously, does anyone ever say the word “cannibal.” The film gets that we get it, and doesn’t beat us over the head with it.

Some of the characters are irritating, though, and when there are only six, “some” is too many. Scott is unhumorously wry in speech, and his girlfriend Carly’s major function seems to be sobbing a lot and saying, “I can’t go on!” Fine, I say. Leave her.

Like most slasher films, “Wrong Turn” is not especially scary, though it does achieve a few moments of mild suspense. Contrary to its designs, it is often very funny in an eerie, bad-movie kind of waay. Rednecks moving nimbly through the treetops is the sort of image that will stick with you for a long time.

Pet Peeves

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As I lie awake at night trying to determine new things to worry about, one thing I keep coming back to is: Are we embarrassing our animals?

As you might imagine, PETA (People for the Ethical Treatment of Steak) is on the case when it comes to animal humiliation. The group’s recent controversial “Holocaust on Your Plate” campaign — comparing the slaughter of millions of animals to the slaughter of millions of people under the Nazis — demonstrates not only its position on the importance of animals, but also its position on being insensitive and short-sighted. (They’re for it.)

Sometimes, PETA issues formal statements on how animals are being abused, often doing so in such an over-stated, insane manner that it overshadows their good intentions and actually causes people to go out and abuse MORE animals, just to spite them. But other times, they are unaware of specific incidents, and so you must e-mail news stories to them and ask what they think so that you can quote PETA spokesperson Kathy Guillermo in your column.

ITEM 1: Cat shoots boy. A 15-year-old boy in Tuscarawas, Ohio, was out back shooting rats with his pellet gun, got tired of it (I guess), set the gun down on the picnic table and walked away — whereupon the gun went off and shot him in the back. The boy told police that his cat had been snooping around the table and must have accidentally pulled the trigger. However, a subsequent sheriff’s investigation led to the conclusion that the cat didn’t weigh enough to put sufficient pressure on the trigger, which means the shooting is still unexplained.

PETA says: “Careless people are always to blame when someone is accidentally shot…. It only makes people look even more foolish to lay the ‘blame’ on animals. But we often find that animals are easy scapegoats because they don’t have a voice…. Instead of asking if the cat is to blame, it might be more useful to examine the many ways people harm animals simply because we are more powerful and they can never speak out or rise up in their own defense. For a sampling of the many ways humans exploit animals and ideas for what we can do to help animals, please see www.PETA.org.”

Issues not addressed: Don’t we all know cats who, given the opportunity, would shoot us in the back in a heartbeat? If an animal is accused of a crime, will PETA provide legal representation — a cattorney, if you will? (Please, please, say you will.) If a cat is found guilty of murder, can it be sentenced to nine consecutive life terms? And isn’t it obvious that in this case, the real culprits are the rats the boy was shooting at?

The PETA columns:

9/7/2001: I PETA the Fool
5/24/2002: PETA’s Dragon
9/8/2002: Milking It
5/25/2003: Pet Peeves
8/25/2008: That’s So PETArded
2/16/2009: PETA, PETA, Kitten Eater
3/7/2011: Rooster’s Millions
8/1/2011: For PETA’s Sake
10/16/2012: PETA vs. Pokemon

ITEM 2: Dogs play football. In Germany, an international dog breeders’ fair is setting up dog football matches, though of course by “football” they mean “soccer.” Four canines play on each team, wearing either yellow or blue shirts. Dog trainer Stephanie Klug says, in an Agence France-Presse story, “To tell the truth, they don’t really understand that they’re playing in a team and when they score a goal it’s usually by accident.” (Of course, the same could be said of the Cincinnati Bengals.)

PETA says: “Dogs or other animals should not be forced to do any activity solely for human entertainment. It is healthy for the dogs to get exercise, but they should not be made to wear full uniforms…. Many dogs love to push a soccer ball around and would happily do it for hours. But are these soccer dogs … companions [PETA-speak for ‘pets’] who live in homes with families or are they kept in kennels when they’re not playing? Were they rescued or were they bred for this, thus adding to the severe overpopulation crisis of dogs? PETA is very concerned that breeders keep churning out more and more animals when so many of them are already euthanized in animal shelters because there are not enough good homes for them all. Instead of breeding more animals, we encourage people to adopt companions from the shelter and have animals spayed and neutered. Your readers might wish to visit our Web site at HelpingAnimals.com.”

Issues not addressed: What’s with the Germans, anyway?

ITEM 3: Donkey stands in for Saddam. With Saddam Hussein chilling with Hitler in Argentina, the Iraqis “celebrated” the former despot’s birthday on April 28 by dressing a donkey to look like him and positioning it in a town square. They also presented a birthday cake made of animal feces, which in my opinion takes the joke a bit too far.

PETA says: “While not as obviously cruel as a bullfight or calf-roping in an American rodeo, or even a donkey basketball game at a high school fundraiser, dressing up a donkey and parading him through a loud, taunting crowd doesn’t sound very pleasant for the donkey. He was probably frightened, and it seems a silly reason to scare the daylights out of an animal who doesn’t get the joke.”

Issues not addressed: Is it beneath a donkey’s dignity to be compared to Saddam Hussein? Did the crowd have difficulty believing the donkey in the role because its hygiene surpassed Saddam’s? And maybe playing Saddam wouldn’t be “pleasant” for a donkey — but come on, what would? Dude, you’re a DONKEY. How much fun can that be?

 


[ Browsing PETA’s Web site usually just makes me laugh, but this time it made me think a bit. There is, in fact, a good deal of unnecessary cruelty and abuse of animals used for food, and I was impressed with how PETA tries to work with fast food places (in particular) not to do away with meat products altogether, but to at least, if they’re going to kill animals and eat them, do it humanely. I can get behind that point of view. This is why I made sure to include in the column the mention of PETA’s good intentions, and how it is their methodology that turns people off. (And, of course, the fundamental disagreement I have with them over animals, which I say WERE put here for our use, and which I say are NOT as important as people. But we can agree to disagree on those points.)
My first inclination was just to write a column about the funny animals stories, but then it occurred to me to check with PETA on a couple points, to see if they’d say anything funny in response. The PETA folks were good enough to reply to my e-mails, and to take me seriously when they probably didn’t need to. In fact, Kathy Guillermo e-mailed me after this column ran and said she enjoyed it, and was glad to help. So that’s cool.
And for the record, since I don’t know anything about football, I had to ask a friend which team ought to be singled out as one that only scores points by accident. ]

Gigantic: A Tale of Two Johns (documentary)

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I first heard They Might Be Giants on the Dr. Demento radio show in about 1990, right around the time of the duo’s seminal “Flood” album. Delighted by their catchy pop sound and offbeat lyrics, I sought out a TMBG album at the local alternative record store (which still sold records in those days and probably still does, which should give you an idea how alternative it is). I was hooked. I have been a fan ever since.

The preceding paragraph is an accurate reflection of my TMBG experience, and you will notice it is not particularly intriguing or noteworthy. Yet “Gigantic (A Tale of Two Johns),” the documentary about the Brooklyn-based duo of John Linnell and John Flansburgh, is full of that sort of testimonial. Most of them are from people more significant than me, of course — record execs, music writers, and so forth — but a gushing commendation of a band is pretty much the same no matter who’s doing the gushing.

As a result, “Gigantic” is a tragic underserving of a band whose accomplishments and notoriety warrant better treatment. TMBG was one of the very first non-mainstream bands to get videos in rotation on MTV; their Internet-only album “Long Tall Weekend” was the best-selling download of 1999; their Dial-a-Song service — where you call and hear a song, for free, played on their answering machine — is one of the coolest, true-spirit-of-rock gimmicks ever; and on top of all that, their cryptic, poetic lyrics and ever-hummable melodies are a delight to behold.

But there I go gushing again. I’m just trying to make the point that, whether you’re a fan or not, TMBG could be the basis of an interesting documentary if the right approach were taken. The raw materials are there.

“Gigantic,” though, directed by AJ Schnack, is content to give a glossy overview of their rise to fame and ignore everything else. Both Johns, their bandmates and other intimates are interviewed extensively, but no revelations are made. Both Johns wear wedding rings, and Linnell is seen briefly with his young son, but there is no mention of marriages, wives or other family. We learn their basic personalities — Flansburgh is gregarious; Linnell is introverted — but not what truly makes them, or the band, tick.

I’m delighted to know TMBG has survived more than 20 years without in-fighting, scandal or other behind-the-scenes drama. But if that’s the case — if the band’s story really has no story — then maybe telling the story of the band isn’t the best route to take.

This should have been sent out as a video to fan club members, not exhibited in movie theaters. It doesn’t tell the faithful anything they didn’t already know, and it does nothing to convert the non-believers. I’m a TMBG fan, and I was bored.

Bruce Almighty

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One of the things the title character learns in “Bruce Almighty” is voiced by God himself: “You have a gift for bringing joy and laughter to the world,” he says, in the folksy voice of Morgan Freeman. With any luck, Jim Carrey, who plays Bruce, has learned the same lesson. His more serious efforts in films like “The Truman Show” and “The Majestic” have been fine, but comedy — finely tuned, well-crafted comedy as in “Liar Liar” and TV’s “In Living Color” — are where his greatest assets lie.

Sure, his spastic slapstick is often overused, and his penchant for forcing catchphrases on the world is irritating (this time it’s a low-voiced “Gooood” and a protracted “Be-ee-ay-utiful” that frat boys will be repeating for weeks). But give him solid material and he’s gold.

He is gold for much of “Bruce Almighty,” a smart, snappy comedy that gives him plenty of room to be both physically and verbally funny, and that also allows him some brief but effective serious time. In fact, the genuinely touching resolution is as nice as anything in those “serious” Carrey movies — an indication that the best way to be sincere is to not try so darn hard.

Carrey’s Bruce Nolan is a Buffalo, N.Y., news reporter frustrated at having to do fluffy human interest stories, and disappointed at the mediocrity of his life. He is non-committal to his long-time girlfriend Grace (Jennifer Aniston), who winces at his frequent railings against God, whom he blames for his misfortunes. When he is passed up for an anchor position in favor of stuffy Evan Baxter (the hilarious Steven Carell, from “The Daily Show”), he has an on-air meltdown — one of the film’s funniest scenes — and his anger toward God reaches its zenith.

Before he knows it, he is summoned to the Almighty’s white, sterile headquarters to account for himself. God (Morgan Freeman) — who calls Bruce “son” in a casual, earnest way — tells Bruce if thinks he can do a better job overseeing the world, then go for it. He endows him with all of his powers, giving only the stipulations that he may not tell anyone he’s God now, and he cannot interfere with people’s free will.

He does some magic tricks, of course, and embarks on acts of petty revenge the way any newly powerful man would do. Then he does something surprising: Rather than using his powers to make himself a billionaire or to create a life of luxury, he uses them merely to get his job back.

That’s one of several indications the film gives that, for all its joking AROUND the subject of faith, it does not joke ABOUT it. The screenplay, by TV writers and Carrey cohorts Steve Koren, Mark O’Keefe and Steve Oedekerk, is not blasphemous; in fact, its final destination is to be rather sweet, even faith-affirming, in its raucous, rowdy way.

This is the best blend of Jim Carrey. He is past the juvenile cavorting of “Ace Ventura” (which, like “Liar, Liar” and “Bruce Almighty,” was directed by Tom Shadyac), and seems to have finished his phase of begging for an Oscar nomination. He is not above a bit of potty humor, but he knows not to focus on it. Now he’s free to be what God intended: funny.

The In-Laws

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I hope Albert Brooks is happy knowing that when he appears in mediocre films like “The In-Laws,” he is coming off as the brightest spot in them. Of course, he shines in good movies, too, but the light is even more radiant when all that surrounds him is dross.

I don’t mean his co-stars. They are a charismatic bunch. Michael Douglas, as a rogue CIA agent whose son is about to marry Brooks’ daughter, has his characteristic easy charm; Ryan Reynolds (“National Lampoon’s Van Wilder”) and Lindsay Sloane as the young couple are feisty and talented; Candace Bergen even shows up and earns a few chuckles as the CIA agent’s bitter ex-wife. And Brooks, of course, has that soft, sarcastic whine that is both pleasing and amusing, like taking a warm bath with a clown, or something.

Their material, however, is second-rate. Based on the 1979 comedy, the rewritten screenplay by Nat Mauldin (“Dr. Dolittle”) and Ed Solomon (“Charlie’s Angels”) offers the watered-down pablum that Hollywood cranks out by the fistful. Characters are forced into unlikely situations and then react unrealistically to them, eliminating any chance of humor.

And then there is Albert Brooks, who manages to rise above it and brings a few laughs. His understated delivery, his gentle neuroses, his expert comedy timing — these are pivotal resources in any film, but especially one as weak as this. It is not reason enough to see it, really, but it’s enough that if you are somehow forced into it, you will be able to survive. Brooks is a life preserver in a sea of C-grade belabored wackiness.

Down with Love

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“Down with Love” is essentially just one long joke, but it’s such a sunny, good-natured one that only with great grumpy effort, I suspect, could one succeed in not enjoying it.

It is shot in the style of the Rock Hudson/Doris Day romantic comedies of the early 1960s, complete with deliciously retro sets and costumes and arch, kitschy dialogue. But it is a parody of that style more than an homage to it, skewing its conventions for a modern, more aware audience. For example, a split-screen phone conversation — that hallmark of “modern” filmmaking that early-’60s directors loved so much — is turned humorously filthy in a way that makes you wonder if the Austin Powers people shouldn’t be suing for copyright infringement.

Renee Zellweger, cuter than ever, plays Barbara Novak, a Maine writer whose book “Down with Love” — which teaches women how to behave like men, i.e., have sex all they want without getting emotionally attached — rockets to the top of the bestseller list and makes her the worship of all women and the scorn of all men. (Her advice includes making women co-equals, hence the male resentment.)

This is 1962, and liberated, independent women are still very much the minority. Doing all he can to continue subjugating them is Catcher Block (Ewan McGregor), a swinging James Bond type who writes for a men’s magazine called Know and has a stable of stewardesses he sleeps with in regular rotation. He sets out to beat Barbara at her own game by making her fall in love with him despite her love-is-bad philosophy. To that end, he plays the part of an innocent hayseed named Zip Martin and woos her, refusing to have sex with her unless and until they are married.

Directed with subversive wit by Peyton Reed (“Bring It On”) and written by TV scribes Eve Ahlert and Dennis Drake, the film manages to be both old-fashioned and dirty at the same time, taking the teasy sexuality and chaste double-entendres of the 1960s and reworking them into something modern audiences will find naughty indeed. That maneuver is clearly successful: The film has only one mild profanity and no nudity, yet still richly earns its PG-13 rating.

Zellweger and McGregor are charming indeed, and they are backed up by an amusing secondary romance between their characters’ best friends, played by David Hyde Pierce and Sarah Paulson. Pierce, in particular, does what the character in his situation is supposed to do: get the biggest laughs.

The immediate comparison with this film is “Far From Heaven,” which duplicated another genre of the mid-20th century, that of the weepy tragic melodrama. Where “Far From Heaven” succeeded, however, is where “Down with Love” falls short. That film’s genius was in telling a relatable, honest story even while utilizing a highly stylized form of acting. This film gets the style right, but the story it tells is identical to the sort we see — and are tired of — in modern romantic comedies. A lot of effort has gone into getting the look and feel right, but at times it looks and feels like nothing more than an exercise, like telling someone to duplicate “Pillow Talk” as a class assignment.

Still, I must return to my original assessment, that the high-spirited merriment is hard not to like, and the performances are smart and charismatic. It is not as funny as a satire of this nature ought to be, but satire is tricky, comedy is hard, and “Down with Love” occasionally gets them both sort of right.

The Sea (Icelandic)

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Imagine TV’s “Dallas” transplanted to an Icelandic fishing village and you have “The Sea,” a well-wrought family melodrama about greed, selfishness and seafood.

Thordur (Gunnar Eyjolfsson) is the aging, hobbled, avuncular head of a major fishing business, known and (mostly) liked by everyone in town. He’s old-fashioned in his methods; he won’t buy a trawler, for example, because it would put 100 people out of work. In his personal life, he is no less stubborn and out-moded. He refused to speak to his daughter Ragnheidur (Guorun Gisladottir) for 10 years after she was raped, and he hasn’t spoken to townsperson Mangi (Erlingur Gislason) in decades because Mangi kissed Thordur’s wife at a dance 50 years ago.

Thordur lives with his second wife Kristin (Kristbjorg Kjeld), who is his first, late wife’s sister. He’s writing his memoirs, and that means he wants to tell the truth about some things. He has called his children home to hear it; Kristin, observing silently from the sidelines, wonders if it’s a good idea.

King Lear-style, Thordur greets his children. The aforementioned Ragnheidur is a frigid harpie, married to the dim Morten (Sven Nordin) and mother of a sullen teenage boy. Agust (Hilmir Snaer Guonason) has been living in France with his girlfriend Francoise (Helene de Fougerolles), allegedly going to school on Dad’s money but really trying to be a songwriter. Haraldur (Sigurour Skulason) still lives in town with his wannabe-punk wife Aslaug (Elva Osk Olafsdottir), working for Dad’s company and hoping to take it over if he can ever convince him to retire and move to Reykjavik, which apparently is what old Icelanders do.

Thordur, however, wants to give the business to Agust, who has no interest in it. Haraldur can’t persuade him otherwise, much to the distress of his mildly insane wife. Kristin’s daughter from her first marriage, Maria (Nina Dogg Filippusdottir), flashes her boobs to the local cop to get out of a speeding ticket, and also has a bit of a crush on her cousin Agust, whom she grew up with.

Haraldur meets with a shady type who asks if there’s a good insurance policy on the fish processing plant. In fact, the very first images of the film are of someone setting the place on fire; the rest of the film takes place prior to that. But with all the seething resentment and hostility, and the general screwed-upness of the entire family — we have neglected to mention Thordur’s alcoholic, garrulous old mother (Herdis Thorvaldsdottir) — Haraldur is certainly not the only one with an arson motive.

Indeed, all of the delicious family melodrama comes to a head in one bang-up scene of yelling, revelations and violence. Directed and written by Baltasar Kormakur (and based on a play by Olafur Haukur Simonarson), “The Sea” is only a step above a TV soap opera. But it is a step, and we’re able to feel genuine compassion for some of the characters, while reveling in the greed and stupidity of the others.

The musical score by Jon Asgeirsson is rather pretty, lending proper emotional weight to some of the events, particularly the wordless fire sequence at the film’s beginning and end.

Kormakur allows for humor, too, though, as in the black ram that wanders through town, and the herd of reindeer that momentarily blocks a fire truck’s path. Kormakur’s first film, “101 Reykjavik” (2000), showed the droll, dull, everydayness of Iceland’s capital city. This, his sophomore effort, explores an underbelly that doesn’t actually exist anywhere outside of fiction, but that is extremely tasty to sample.

The Matrix Reloaded

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The plot thickens in “The Matrix Reloaded,” while the dialogue gets heavier and the special effects get more expensive. It is no better than its groundbreaking predecessor — its cyclical structure of leaden philosophical conversation followed by techno-scored butt-kicking, repeated repeatedly, is disappointingly formulaic — but it is certainly awe-inspiringly cool when it wants to be, which is most of the time.

The film gives no recap, assuming instead that all viewers have either recently seen the 4-year-old “Matrix” or have insanely good memories. When it begins, Neo (Keanu Reeves), now experiencing Jesus-like popularity and responsibility, is weighed down by the prospect of fighting the machines that have enslaved mankind — 250,000 representatives of which are now heading for Zion to put down the Neo-led rebellion.

Once again, he is mentored by Morpheus (the coolly eloquent Laurence Fishburne), and once again he seeks guidance from the Oracle (Gloria Foster). His heady conference with her is the film’s last stop in Legitimately Deepville before venturing into Pretentiousland, where it wallows for some time. Brother writer/directors Larry and Andy Wachowski have read a lot of writings by a lot of German philosophers, and this film demonstrates those great thinkers’ usefulness: They have none.

Through it all, Neo is plagued by nightmares in which his beloved Trinity (Carrie-Anne Moss) meets an untimely end at the hands of Agent Smith (Hugo Weaving). Smith, I should add, now has the ability to replicate himself, and Neo can fly. Why? ‘Cause it’s cool, I guess.

The film has two action centerpieces, both as thrilling as anything you’re likely to see without the aid of hallucinogens. One has Neo fighting an army of Smith clones, a sequence that resembles a video game right down to Keanu Reeves’ waxy, inexpressive face. The other is, of all things, a car chase. Has it come to this?

Neo says, “I wish I knew what I’m supposed to do” early in the film and repeats variants of it often, generally letting the weight-of-the-world attitude make his demeanor even more sullen than usual. This is a dour, dreary action hero, almost capable of dragging down a film that is supposed to be, I think, fun.

Another line typical of the film is uttered by a minor, random character: “You do not truly know someone until you fight them.” That explains a lot about the movie’s concept, which is to show as much high-flying martial arts combat as possible. This is done with extraordinarily advanced special effects and giddily exciting fight choreography. The film is not as smart or deep as it thinks it is, but it’s twice as exhilarating.

A Big Hit at the Box Office

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So I was reading the paper, and I learned that Brigham Young University running back Fahu Tahi had been accused of punching a man in the face outside Movies 8 because the man’s smart-aleck comments had ruined the movie for him. And I was very alarmed, not because a BYU football player had been arrested, because that happens all the time, but because since when is it against the law to punch a guy for talking during a movie? My understanding was that this is a punchable offense.

Where this becomes a thorny legal issue is that it took place at Movies 8. This is what people call a “dollar theater,” even though tickets stopped costing $1 approximately 10 years ago. In industry terms, it’s a “second-run house,” where films go after they have already played out at normal theaters. It’s the last chance to see them before DVD — or should I say video, since the people who wait for the dollar theater to see movies probably have not yet shelled out for a DVD player. If it were possible, they would probably own VCRs that only played 8-tracks.

As you may have surmised, I am a big snob about movies, and so my esteem for dollar theaters is low. The prints are always in terrible shape, having been run hundreds of times at other theaters, and since people only pay a couple bucks to get in, they haven’t invested enough to really care about the experience. People will talk, or get up a lot, or give birth, or whatever, either because they’ve already seen the film elsewhere, or because they honestly don’t care about movies very much anyway and they just like the experience of leaving the house and sitting in the dark.

And so I’m torn. Part of me says if you talk during a movie, you deserve to be punched, and if you talk REPEATEDLY during a movie, you deserve to be punched by a football player. But part of me says if you’re cheap and/or lazy enough to go to Movies 8, you can’t really expect a normal, satisfactory movie experience. You have to expect the place will be overrun by teenagers and college students on cheap dates, that the film will probably break at some point, and that there’s every chance it will feature Rob Schneider.

Tahi and the punched man were watching “The Ring,” an excellent film that ought to be seen without any interruptions or distractions so that you can be drawn into its creepy world and wet your pants. Every time someone near you talks, it pulls you out of the movie and back into reality, and reality is the last place you want to be when watching a film. The best place to watch “The Ring” would be at home, alone, with a great sound system, except that even then, someone might call or stop by. So really, the best place to watch this movie would be in a place where there are no other people, such as the moon. (Though I am guessing that even on the moon, there will be crying babies.)

My point is, I can see how “The Ring” could be ruined by a loudmouth in the audience, especially if he thought he was funny. Loud people who think they’re funny in movie theaters never are; it is physically impossible. You can be loud OR funny, but not both. Now, when I was watching “Bulletproof Monk” and someone shot and killed one of the non-bulletproof monks, and I said, “That monk had two weeks left till retirement!,” THAT was funny, because I only whispered it to my friend who was sitting right next to me. You, Punched Guy, when you yelled things during “The Ring”: not funny.

But I can also see how, you know, what did Tahi expect when he paid $2, wedged himself into a broken, uncomfortable, non-stadium-seating chair, watched previews for movies that came out three months ago, and commenced viewing a torn, splotchy print of “The Ring”? If you want to see a movie the right way, see it at a real theater, for a reasonable price. I mean, you get what you pay for. For example, this column was free.

Daddy Day Care

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As a PG-rated family comedy, “Daddy Day Care” is required by law to include jokes about flatulence, pee-pee and poo-poo. If the filmmakers did not include at least one fart joke, the Federal Communications Commission would not allow the film to be released in the United States.

In fairness, “Daddy Day Care” IS about two inept men running a daycare center, and with young kids around, you’re bound to have some bodily functions. Would you have them as much, and as frequently, as the first half of this movie does? Maybe. But that’s more of an explanation than an excuse, isn’t it? I mean, “Psycho” was about a murderer yet had only two murders in it.

At any rate, it is Eddie Murphy, as recently fired advertising executive Charlie, and his Norm Peterson-ish friend Phil (Jeff Garlin), also fired, who begin the titular day care center as a means of making some money. It is also out of necessity, however: Charlie and Phil have young sons who need day care themselves, and the alternatives are either psychotic, frightening or, in the case of Mrs. Harridan’s (Anjelica Huston) heavily regimented school, too strict. Surely two fathers could do a better job of taking care of kids themselves.

Then come the jokes involving kicks in the crotch, flatulence, and the obligatory diaper-changing scene where a little boy becomes a pee geyser. These moments are mandatory for a family comedy, as you know if you have entered a movie theater anytime within the past decade. I am tired of them.

But once “Daddy Day Care” gets the bodily function jokes out of its system (as it were), it settles into being a fairly agreeable little movie. Eddie Murphy has a rapport with the kids, and he can still be funny, on occasion, when he finds half-decent material. This stuff, written by first-timer Geoff Rodkey and directed by Steve Carr (“Dr. Dolittle 2”), would have done well to stop being so desperate and to just let comedy flow naturally from the situations (again, as it were).

The Shape of Things

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Neil LaBute’s first two films, “In the Company of Men” (1997) and “Your Friends & Neighbors” (1998), focused on selfish, cruel characters capable of committing unspeakable acts of social inhumanity. After sidetracking with “Nurse Betty” (2000) and “Possession” (2002), LaBute the misanthrope is back to form with “The Shape of Things.” Here, as in his earlier work, we have a lesson in human cruelty.

The loose cannon is Evelyn (Rachel Weisz), an art major at California’s fictional Mercy College (the name of the school is no doubt ironic). When we meet her, she is about to deface a nude statue that has been covered up due to prudishness; with a can of spray paint, she intends to re-draw what a plaster fig-leaf has obscured. The censorship offends her, though her de-censoring will offend others.

Making weak attempts to stop her is the museum’s security guard, Adam (Paul Rudd), a nerdy, slightly chubby weakling. They have a conversation, which leads to a date, which leads to Evelyn taking over Adam’s life entirely. She prompts him to lose weight (Rudd wore makeup and a fat suit in the early scenes), get contact lenses and stop biting his nails. Then the changes become more drastic, affecting his long-time friendship with a sweet girl named Jenny (Gretchen Mol) and her macho fiance Phillip (Fred Weller). In the Bible, Eve was created from Adam. Here, Eve does the creating and Adam is the finished product.

LaBute is a writer first and a director second. What he does visually is unobtrusive and functional, but what he does with words and structure is wonderful. The word “thing,” with its many imprecise definitions, shows up often, and the title of the film is spoken twice, both times by the same character, but each time with a different meaning. The dialogue brims with cultural references and personal invective, much of which is caustically funny.

Two things about the film strike me as particularly interesting. One is that it only has 11 scenes, in 11 locations, compared with the 50 or 60 that most movies its length might have. This is because LaBute has adapted the script from his own play without really changing it, resisting the temptation some writers have to “expand” their plays into something more cinematic and less theatrical.

The other interesting thing is that it only has four speaking roles. It hadn’t occurred to me that the cast was so small until the credits rolled and I only saw four names. It doesn’t seem quiet and claustrophobic, like many small-cast films do.

The performances are well-honed and precise — all four actors played the roles in the stage version, too — but LaBute’s intriguing concepts are also the source of his stumbling. The nature of what he has written is that we are less interested in the characters themselves than in what they might do to each other. The mechanism is the thing, not the people caught in it, and that lessens some of the film’s impact. Or, from another point of view, it makes us as uncaring toward the characters as they sometimes are toward each other.

A Mighty Wind

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In “A Mighty Wind,” Christopher Guest experiments with the genre he practically invented, the improvised faux-documentary comedy.

Where “Waiting for Guffman” (1996) and “Best in Show” (2000) held its characters as subjects of ruthless derision, “Mighty Wind” actually has affection for its cast of zanies. It allows for a little tenderness blended in amidst the outrageous non-sequiturs and gut-busting one-liners. It is a film with heart as well as wit.

This will please those who found “Guffman” too abrasive and dark, but should not disappoint those who saw it for what it was, i.e., the best comedy of the 1990s. For while there is a gentler touch underscoring it all, “Mighty Wind” does not neglect the comedy.

Guest, who directed the film and co-wrote the outline (actors improvise their own dialogue) with Eugene Levy, re-teams with “This Is Spinal Tap” co-stars Harry Shearer and Michael McKean as The Folksmen, a ’60s folk group called upon to perform at a concert memorializing music producer Irving Steinbloom.

The Folksmen were a jolly bass/guitar/mandolin trio with album titles like “Singin,'” “Wishin'” and “Pickin’,” and their career has been largely devoid of trouble — a contrast to the other two acts booked for the memorial concert.

The Main Street Singers disbanded in 1971 after 10 years and 30 albums, then later re-emerged as The New Main Street Singers. “There was abuse in my family, but it was mostly of a musical nature,” notes Terry Bohner (John Michael Higgins), one of the “new” members. His wife, Laurie (Jane Lynch), reports in a winking, effervescent manner that she had some experience in making adult films with the group’s originators before being brought on as a singer.

Husband-and-wife team Mitch and Mickey — now divorced — are the third group, and the film’s emotional center. Mitch (Eugene Levy) is befuddled and barely sane since the separation, having embarked on a mid-’70s solo career with songs like “If I Had a Gun” and “Anyone But You.” Mickey (Catherine O’Hara) is somewhat happily remarried to a dippy British train enthusiast and catheter salesman (Jim Piddock), but there is a wounded look in her expression. She and Mitch are a reminder that the characters played closest to reality are liable to be the funniest, most interesting ones.

Just as he did in “Best in Show,” Fred Willard barges into the second half of the film with a storm of hilarious energy behind him. This time he is Mike LaFontaine, the clueless manager of The New Main Street Singers who was a sitcom star for one year in the ’70s and who still clings to his awful catchphrases. His suggestions to the band are uproariously inappropriate, and his contribution to the film is immeasurable.

There are more goofy characters too numerous to mention; if anything, in an effort to use all the Guest favorites, the film has crammed itself with too many people. Parker Posey, Jennifer Coolidge and Larry Miller are all sadly underused. Guest is said to have shot 80 hours of footage; one suspects the deleted scenes on the DVD will be just as entertaining as the film.

“A Mighty Wind” is sort of about letting go of the past and sort of about finding closure, but it is mostly about making an audience laugh. When Catherine O’Hara sings a song about her husband’s medical supplies at a trade show, you will recognize the spirit of “Guffman,” reborn in a new, kinder frame.

The Man on the Train (French)

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“The Man on the Train” is about the lives we didn’t live, the paths we didn’t follow. It suggests that wherever we are in life, we tend to wonder if things wouldn’t be better if we were somewhere else.

And so there’s a bit of melancholy and longing about this nice little French picture. We meet Milan (Johnny Hallyday), a grizzled, taciturn fellow who comes into town and heads straight for the pharmacy to obtain some aspirin. There he meets Manesquier (Jean Rochefort), a weary, self-affacing older man desperately in need of pleasant company. Milan isn’t much of a talker, but he’s agreeable enough (as long as you don’t pry), and he needs a place to stay.

We learn about each man gradually, and see how different they are. Milan has guns with him and seems to have nefarious work in mind while he’s in town. Manesquier is a genteel retired poetry teacher who works jigsaw puzzles and possesses, he says, “all the skills of a well-groomed 20th-century young woman.” He is careful and deliberate but harbors Wild West fantasies; when he learns what Milan is up to, he sincerely wishes he were daring enough to take part. Alas, he has a heart condition.

The film’s fascinating idea is to have these men become real friends, and director Patrice Leconte (“The Widow of Saint-Pierre,” “The Girl on the Bridge”) explores the peculiarities of male friendship, with its detached emotion and unexpressed affection. They say little to each other of any real consequence, yet you get the feeling they’d die for each other.

Both men live with regret in their lives, one that he never did enough, the other that he may have done too much. The film, in a curious way, gives them a sort of second chance at things, and I enjoyed watching it happen.

Diablo-in’ in the Wind

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What’s in a name? When it comes to people, we know names can be key in determining how a person is perceived. For example, if your name is Reginald, people assume you are stuffy and formal, whereas the name Billy Bob indicates to observers that you are a hillbilly. (I mean, your name’s got “billy” right there in it.)

But what about names of other things, like streets? Do they matter? Not a lot, no. But just because something doesn’t matter doesn’t mean people won’t become very agitated about it. And so we have three separate cases in the news recently of people seeking to change a street name because the current moniker reminds them too much of Satan.

We start in the southwest part of the country, where U.S. Route 666 is about to become U.S. Route Something Else. As you know, 666 is the devil’s lucky number, the one he always guesses when he plays the lottery, and so forth. (It’s his wife’s birthday.) (Yes, June 66th.) (And yes, his wife is Carrot Top.) As a result, some people are urging highway officials to change U.S. 666 to something else. It’s been called U.S. 666 since 1926, but apparently people just barely caught on.

The Denver Post reports a variance of attitudes at a truck stop along the route. One man quoted in the story said, “It just doesn’t make any difference,” but another man, a 49-year-old trucker from Minnesota, said, “I had a credit card sent to me out of Salem, Mass., with 666 in the number, and I cut it right up. It says in the Bible that if you take the number of the beast upon your forehead or forearm, you belong to it forever. A credit card is like an extension of your forearm.”

So obviously we have some very sane, Bible-knowledgeable individuals involved here. But what are the folks like in Escondido, Calif.? Do they want to change the name of Avenida del Diablo (“Avenue of the Devil”) on the grounds that if they don’t, the terrorists have won? Why, yes. Yes, they do.

The San Diego Union-Tribune reports that back in September, Harry and Marianne Batista embarked on a campaign to change the name, writing letters to everyone from the mayor to President Bush. The Batistas have lived on Avenida del Diablo for 16 years, and moved to that street only “grudgingly,” according to Harry Batista. “But not anymore,” he says. “Not with Middle Eastern terrorists calling us devils. I think now is the time to have it changed.”

The Batistas’ letter to the city of Escondido reads, in part, “I think it is a disgrace to this beautiful city that this street name still exists today, especially with what is going on in the world, and especially with what happened on 9/11 in New York…. These Middle Eastern radical people from Iraq, Iran, Saudi Arabia, etc. and their beliefs consider us, the United States, ‘ËœTHE DEVIL.'”

So there you have it. Because some terrorists refer to Americans as devils, el Avenida del Diablo needs to go, pronto. Surely the logic is unmistakable.

But what are the folks like here in Utah? Are they also worried about el diablo? Do you even have to ask?

In West Valley City, Perry Homes wants to call a new cul-de-sac Mount Diablo Court, after a famous peak near San Francisco. It would go along with Mount Montana, Mount Adams and Mount Whitney, all in the same development.

But according to The Salt Lake Tribune, some Latino home-buyers don’t want to live on a street named after the devil. Hispanic culture, I think, is generally more interested in religious symbolism than some other cultures I could name, e.g., mine. When I was young, I had a Mexican friend named Jesus, a name I’m fairly certain my parents never considered giving me. (El Diablo, maybe.)

At any rate, the Planning Commission is supporting a proposed new name for Mount Diablo Court: Kathrine Ann Court. I urge them to reconsider. If you must change the name away from the devil, please don’t change it to a new, misspelled name like “Kathrine.” Enough Utahns are misspelling their own names already, without being encouraged by street signs. Don’t you agree, Cletus?

Blue Car

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A blue car is what Meg’s father was driving when he left the family in Karen Moncrieff’s “Blue Car,” a moody, almost somnolent film in which good performances outweigh the oppressive subject matter.

Meg (Agnes Brucker) is a high school student with abilities in poetry-writing. Her mother (Margaret Colin) is overworked and apathetic, and her younger sister Lily (Regan Arnold) is mildly psychotic, a threat to herself and others.

The closest thing to a father figure for Meg is her English teacher, Mr. Auster (David Strathairn), who strongly encourages her to enter a national poetry contest. He is a mentor and friend to her, and sure enough, what you expect to happen in this situation happens.

As the resolute and brave Meg, Agnes Brucker gives a remarkably strong performance that will especially appeal to young women. The much-overlooked David Strathairn is excellent, too, imbuing Mr. Auster with realistic flaws and sincerity.

Throughout the film, one keeps wanting desperately for something good to happen to Meg. That’s not a result of the character’s sympathetic nature so much as of the story’s relentlessly dreary trajectory. Meg’s life is not particularly filled with utter tragedy, but for heaven’s sake, could she at least take a bubble bath, or eat some Ben & Jerry’s, or something?

The Lizzie McGuire Movie

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Amanda Bynes, star of Nickelodeon’s “The Amanda Show,” got her big starring vehicle a few weeks ago with “What a Girl Wants.” Now her Disney Channel counterpart, Hilary Duff, gets her own TV-to-film adaptation, “The Lizzie McGuire Movie,” based on the 2-year-old series of that name. Add to these the various Nickelodeon and Cartoon Network programs getting big-screen treatment — “The Wild Thornberrys,” “Rugrats,” “Hey, Arnold!,” “The Powerpuff Girls” and so on — and I, as a movie critic, begin to resent being forced to watch TV when I go to the theater. It’s no wonder cinemas are showing TV commercials before the films: Why not, when the films are really just TV shows?

Anyway, “The Lizzie McGuire Movie” brings in nearly all of the major characters from the TV series, the main exception being Lizzie’s best girlfriend Miranda, who would have been in the way, plot-wise, and was therefore sent to Mexico on vacation. You have to wonder how that actress feels, being barred from the film because the screenwriters couldn’t figure out a way to include her.

Anyway, Lizzie (Duff) is a clumsy, energetic 14-year-old girl who, upon graduating from junior high, takes a school trip to Rome with 15 other students and one (1) chaperone — Miss Ungermeyer (Alex Borstein), the force-of-nature, no-nonsense principal at the high school Lizzie and friends will be attending in the fall.

With Miranda exiled to Mexico, Lizzie has only her best guy friend, Gordo (Adam Lamberg) — the Sheldon to her Megan, in terms of SNL’s “Wake up, Wakefield” sketch — to rely on. Their relationship is strictly platonic, but Gordo begins to realize on this trip that there may be deeper feelings a-stirrin’. If this were the TV show, the Rome trip would no doubt be a Very Special Episode. As it is, it feels like a rather long, drawn-out, unspecial episode, with approximately 60 minutes of material padded out with montages and other woolgathering.

Lizzie meets a cute Italian pop star her age named Paolo (Yani Gellman) and is soon the talk of the town, due to her supernatural resemblance to Paolo’s singing partner. That girl, Isabella, has recently broken up the act to prevent it being discovered that she lip-syncs all her performances. Paolo’s plan is for Lizzie to pose as Isabella for an upcoming TV appearance, lip-sync the song, and keep the fans from knowing there’s trouble behind the music. Fortunately, this concert takes place while Lizzie’s group is still in town, though it does mean evading Miss Ungermeyer.

It goes without saying, I’m sure, that Lizzie and Paolo fall in love, and that Gordo is a wee bit jealous.

For reasons I cannot fathom, Lizzie’s parents and obnoxious kid brother show up in Rome, apparently just to give them more screen time — further insult, in my estimation, to poor Miranda, who can’t even get a “goodbye, I’m going to Mexico for the summer” scene.

The film is packed with montages — the trying-on-funny-clothes montage, the touring-Rome montage, the learning-to-dance montage, the falling-in-love montage, etc., etc. The TV series’ conceit of having a cartoon version of Lizzie pop up occasionally to share her thoughts and fantasies is used, too, and is even more annoying on the big screen than on the small.

Duff herself is shrill and over-perky, traits she shares with the aforementioned Amanda Bynes. Still, “What a Girl Wants” worked for me — someone neither female nor aged 8-14, which is the target demographic — because of the charming presence of Colin Firth and the general smartness of the thing. “The Lizzie McGuire Movie,” on the other hand, is often dull and tepid. Alex Borstein provides a few honest laughs as Miss Ungermeyer, but aside from that, only the tweens the film is aimed at will probably find much to enjoy.

And they surely will enjoy it. It has a cute Italian-looking boy, cool wish-fulfillment in Lizzie’s adventures, and ends with a big dance number. What’s not to like?

My only question is, where’s the “Even Stevens” movie? That show is funny.

X2: X-Men United

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“X2: X-Men United” is such an entertaining, action-packed film that you almost forget it’s about tolerance and political activism. Maybe “Malcolm X” would have been more interesting if it had had a few mutants in it.

“X-Men” (2000) was fine, but was clearly setting itself up for a slamming sequel. “X2” makes good on that promise. It boasts seamless special effects and cool characters wrapped in a film that is exhilarating without being absurd. It treats its subject matter seriously, but not too seriously. It’s a popcorn flick that makes popcorn flicks seem respectable.

As the subtitle suggests, the mutants — normally divided into Professor X’s (Patrick Stewart) peaceful do-gooders and Magneto’s (Ian McKellen) renegade troublemakers — must unite briefly against a common enemy. He is Gen. Stryker (Brian Cox), a military scientist and mutantphobe who once sent his son to Professor X in the hopes of “curing” him of his mutant powers. Now he seeks to destroy all mutants, first politically — he has the ear of the president (Cotter Smith) — and then literally.

Meanwhile, in this very busy movie, Wolverine (Hugh Jackman) continues to search for keys to his past — something Stryker seems to have knowledge of — while pining for Jean Gray (Famke Janssen), who is married to Cyclops (James Marsden). Teenage Rogue (Anna Paquin) has taken up with Iceman (Shawn Ashmore), whose main skill at this point is chilling bottles of Dr. Pepper with one breath. Their friend and third wheel, Pyro (Aaron Stanford), experiences teen angst. And so on.

Fans of the comic book will be thrilled at the inclusion of so many of their favorite mutants (I have not even begun to mention them all). However, the impartial observers among us may note, and not unfairly, that there are perhaps TOO many characters, mutant or otherwise. Written by Michael Dougherty and Daniel P. Harris and directed again by Bryan Singer, “X2” tries to cram too many people and stories into one film, and as a result loses some of its humanity. Where, say, “Spider-Man” allowed us to feel some genuine compassion for a small group of characters, “X2” wants us to care about dozens of them. We can’t.

Brian Cox, a compelling actor, is no less so as Stryker. The teens all do well, and Alan Cumming is sweetly, amusingly awkward as newcomer Nightcrawler. Ian McKellen’s Magneto grows more casually malevolent with each scene.

Though the film works as a straight-ahead superhero flick, it will be most rewarding to those already familiar with the material. The final shot, of a large body of water, will be downright confusing unless you know the eventual fate of the character last seen in it. Details like that suggest Singer has made this movie for the fans, not for the masses — but the masses will, and should, eat it up, too. It is an appropriately dazzling opening shot in the war of the summer blockbusters.

The Dancer Upstairs

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Love is not only blind, but blinding. Those caught within its grip often cannot think objectively or function normally. This is dangerous in normal circumstances, but imagine how much more troublesome love would be if you were a cop hunting down a ruthless South American terrorist!

Such is the case in “The Dancer Upstairs,” John Malkovich’s arty but flawed directorial debut. Adapted by Nicholas Shakespeare from his own Graham Greene-ish novel, “Dancer” gives its setting as “Latin America, the recent past.” No wonder it’s vague: If any real nations were characterized this way, there’d be war.

Times are tumultuous, and a mysterious revolutionary called Ezequiel has amassed an army of citizens to commit acts of terror throughout the country. Even children are wandering into plazas loaded with explosives, shouting, “Viva el presidente Ezequiel!” before detonating.

In charge of the investigation is Agustin Rejas (Javier Bardem), loyal to his country and determined in his job, but still trying to pay attention to his wife and young daughter. He occasionally manages, in the midst of searching for who or what “Ezequiel” is, to pick up the girl after dance class.

It is there he meets her teacher, Yolanda (Laura Morante), a gorgeous young creature who, for some reason bewitches him. And there he is blinded, and made reckless in his work.

Malkovich presents the necessary violence in a matter-of-fact way, without show or theatrics — which makes it more startling when it occurs. But his focus is on Rejas’ thought process, and that’s where the film gets into trouble. We are not given sufficient information on Rejas’ life. Why is his wife so obsessed with her own physical self-improvement? Why is he so smitten with Yolanda? Is he dissatisfied in his marriage?

It is easy to guess the twists in the film; that is not the point. The novel, in fact, tells us almost everything up front, then proceeds in flashback. That being the case, however, one must conclude that the less tangible elements — Rejas’ psychology, his reasons for loving Yolanda — need to have been better developed.

Owning Mahowny

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Philip Seymour Hoffman is a fine actor, no question, but his greatest strength is in choosing roles. He plays losers best, he knows it, and he embraces it. Even his characters who manage to succeed in their worlds, like the screenwriter in “State and Main” (2000) or the rock magazine editor in “Almost Famous” (2000), have an air of world-weariness about them, like they’re going to become cynical even if they don’t fail.

So I like his performance in “Owning Mahowny,” in which he plays a Canadian man with a gambling addiction who quickly fritters away his own money and the millions of dollars he embezzles from the bank he works for. Despite the similarity in story lines — both are based on true stories, too — Dan Mahowny isn’t like the dashing con man Leonardo DiCaprio played in “Catch Me If You Can.” Hoffman plays Mahowny as exhausted, ill and constantly terrified of being caught. He’s a man trapped, spiraling downward, his loser-ness increasing with every passing moment. And Hoffman plays him perfectly, right down to the subtle hint of a Canadian accent.

Mahowny is a loan officer at a bank who uses his position first to steal enough money to pay off his bookie, but eventually to steal more than $10 million. (Those are 1980 Canadian dollars, too.) He is not a bad person, nor malicious; he is simply addicted to the thrill of gambling, of both winning and losing. He cannot possibly stop, can’t imagine his life if he did stop. It’s who he is. Stealing money to keep himself going is a justifiable means to an end. I mean, what’s the alternative? To stop gambling? Absurd.

Such is the reasoning of an addict, and the film, directed by Richard Kwietniowski, excels at making compulsions relatable even to those of us who have never been seriously addicted to anything. We think, “I would never become so hopelessly lost in an addiction like that!” And simultaneously, we think, “I can see where he’s coming from.”

Minnie Driver plays Dan’s long-suffering girlfriend, the meek and mousy Belinda, the way that sort of character is generally played in these movies. She puts up with a lot, alternating between anger and sadness, but continues to stay with the bum anyway.

The film languishes in its final third, putting off the inevitable conclusion longer than it ought to. There is a certain sadness about the whole thing, of course, along with the perverse thrill of seeing a character self-destruct the way Mahowny does. Prolonging this beyond what is necessary is unwise, and the film ought to have been more tightly edited.

That said, the movie’s effect on the viewer is impressive. It thoroughly wraps the audience into its tragic tale and lets us live a couple hours in a frenzied mind created by Philip Seymour Hoffman.

Manic

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One of the best films to come from the 2001 Sundance Film Festival was “Manic,” a digital-video drama that was relegated to the second-class “American Spectrum” category and elicited no buzz before its premiere. At Sundance, just like in the regular movie world, sometimes the good stuff gets overlooked while the garbage gets overhyped ad nauseum.

“Manic” is set in a juvenile psychiatric ward, a sort of “One Flew Over the Cuckoo’s Nest” for troubled teens (but without an evil nurse) where kids with violent, suicidal or other antisocial tendencies come to be rehabilitated. Their leader is Dr. David Monroe (Don Cheadle), a genuinely caring, down-to-earth man who not only doesn’t give hokey speeches; he actually SAYS he’s not going to give any hokey speeches.

David connects with the kids, truly doing his job even while struggling with his own personal issues (which, thankfully, are kept at the background of the film, maintaining an unwavering focus on the kids themselves).

The protagonist is Lyle (Joseph Gordon-Levitt), in the ward after beating a kid with a baseball bat. He won’t talk about what happened, and his anger management issues are not helped any by fellow resident Mike (Elden Henson), an argumentative white-rapper wannabe who pushes everyone’s buttons and loves to fistfight.

Lyle’s roommate is Kenny (Cody Lightning), a young Indian boy who is rumored to have molested some boys younger than himself. A wisecracking youth named Chad (Michael Bacall, also co-writer) strikes up a friendship with Lyle, and soon the two are planning a trip to Amsterdam as soon as they can escape the hospital. Goth-chick Sara (Sara Rivas) and self-esteem-deprived Tracey (Zooey Deschanel) are among the other patients; Dave’s friend JC (Lydell M. Cheshier) and the uncompassionate Charlie (Blayne Weaver, the other co-writer) round out the cast as two hospital attendants.

The plot is secondary to the characters’ journeys, particularly with Lyle’s struggle to accept the idea that he actually does need help. He was taught violence by his father, just as it seems almost everyone here learned dangerous behavior from their parents. (Subtly, “Manic” is a sobering indictment of bad parenting.) He and Tracey become affectionate, though Tracey’s self-esteem issues and recurring nightmares are hindrances. And he has to keep from punching Mike in the face every time he sees him.

Don Cheadle, who has proven a sympathetic actor in several films, most notably in Steven Soderbergh’s “Traffic,” is a stabilizing presence in “Manic.” A scene in which he either flips out or pretends to flip out (we can’t tell which) is amazingly unsettling because it’s not what Dave is supposed to do. We expect erratic behavior from the kids, but if their leader goes over the edge, then what hope is there?

Joseph Gordon-Levitt, from “Third Rock from the Sun,” was probably no one’s guess to be the next sitcom-hack-turned-legitimate-actor, but a few minutes with him in “Manic” will convince you otherwise. Lyle is incredibly real, looking at the world through narrow, somber eyes and hiding his natural compassionate tendencies with a mask of frightened bravado. Gordon-Levitt’s performance is absolutely riveting.

While cinema-verite digital-video projects became cliche at Sundance in 2001, the medium works well for “Manic.” Bacall and Weaver’s dialogue is natural and realistic, but still interesting. First-time director Jordan Melamed uses only natural lighting, which produces a marvelous effect when Sara is released from the hospital. The sunlight streams in through the windows and door, making it look like she’s walking into some incredibly bright hereafter. Factually, it just means the sun was in that position when the scene was shot (a cinematographer for an ordinary film probably would have blocked the light from coming in); symbolically, it means Sara is leaving this purgatory for a better place. A traditional movie, shot on film, could never have pulled off such a nice moment realistically. But with digital video, it makes perfect sense and adds a subtle touch of artfulness — a trait not normally associated with video.

I couldn’t detect a single false moment in the entire movie. Everyone’s dialogue, reactions and attitudes seemed completely believable. The ending is satisfying but not simplistically happy or nihilistically gloomy. “Manic” may not attain a wide audience simply because of the way it was filmed. If that happens, it’s a shame. It’s one of the best films we’ll see this year.

Better Luck Tomorrow

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It is perversely fascinating to see a film about what those super-smart Asian kids in high school were REALLY like. “Better Luck Tomorrow” is satisfying in that way, but even without that curiosity factor, it is a wonderful, darkly funny look at wealthy, unsupervised youth.

Our hero and narrator is Ben (Parry Shen), a very smart but otherwise relatively normal upper-class high school student in a supernaturally sunny version of Southern California. He and his oversexed, uninhibited friend Virgil (Jason Tobin), along with Virgil’s coolly dangerous cousin Han (Sung Kang) are involved in some petty white-collar theft, but that’s kept to a minimum. Everything Ben does publicly, meanwhile, is carefully orchestrated to look good on the college applications. He organizes beach clean-ups, plays basketball, offers extra assistance during his job at a fast food place — all to impress the admissions boards.

To that end, he also gets involved with the academic decathlon. The head of that club — indeed, the head of all the clubs, and the B.M.O.C. — is Daric (Roger Fan), another Asian boy with plenty of finances behind him. (“Don’t let the letterman’s jacket fool you,” Ben tells us. “It’s for tennis.”) Daric runs a cheat-sheet scam and wants to bring Ben’s expertise to the table. With Ben come Virgil and Han, of course, and soon the four are filthy rich, extremely popular, and snorting cocaine like it’s oxygen. Grades — originally the whole point of school for these guys — begin to slip, and things spiral wildly out of control.

This is all shown in flashback, by the way, leading up to the first scene, in which Ben and Virgil hear a cellphone ringing from a corpse buried in the backyard. You may rest assured the boys knew of this body and its identity before they heard the phone ring.

Parry Shen is a revelation as Ben, full of charisma, good looks and acting talent to spare. The character remains somewhat aloof as his own life becomes a madhouse, but Shen never fails to engage as an actor. Given the right roles, he could be a big name.

I also like the Virgil character, who is as irrational as Ben is level-headed. One moment Virgil is ecstatic over the foursome having pulled a gun on someone; literally five seconds later, he is in tears about the same thing. He is all the conflicting emotions of teen-hood, packed into one volatile character.

Director Justin Lin (who also co-wrote the script and edited the film) is proficient and exciting, employing jolly camera work and overseeing some highly interesting visuals. He clearly has seen the works of Martin Scorsese and Jean-Luc Godard, and has internalized their finest qualities. Kudos also to cinematographer Patrice Lucien Cochet, who makes sure only the basic Sunday-comics colors exist in this Southern California utopia.

Like his main character, though, Lin maintains a sort of distance from the proceedings. Though the movie is never dull even for a moment, it does feel longer than it is, due in large part to there not being a clear path of plot development. There is little sense of building toward something.

This actually works to Lin’s advantage, though, because when something shocking happens near the end, it truly is shocking. There is no warning — even though in retrospect, we’re amazed we didn’t see something like that coming. The characters’ lives turn to immorality and evil almost imperceptibly, and the movie’s trajectory is just as subtle. It is amusing and entertaining, and more than a little thought-provoking.

Identity

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The identity of “Identity” remains a secret for most of the film’s running time. Mystery? Psychological thriller? Slasher film? None of the above? The film cleverly keeps its audience off-balance without violating its own rules or using cheap tactics. When it’s over, it makes perfect sense, and further reflection on the film’s details only enhances that perception. This is an excellent whatever-it-is.

Eleven people, most of them strangers to each other, are stranded by a vicious rainstorm at a motel in the Nevada desert. One of them is a convicted murderer (Jake Busey) being transported to a sanity hearing; inevitably, he escapes and people begin to die.

With the dark-and-stormy-night setting and systematic bumping off of the characters — each one is even identified with a numbered room key — it seems like a gorier version of Agatha Christie’s “Ten Little Indians.” But the film also examines the nature of coincidence and the connections strangers have with each other, a la “Magnolia” or “Run Lola Run.”

Information is often revealed in a non-linear fashion, too, taking us back in time to see events from different points of view. Fans of TV’s “Boomtown” will recognize this device.

And so the film, directed by James Mangold (“Girl, Interrupted”) is tantalizingly difficult to categorize. It’s not that it has randomly slapped together elements of several genres. Instead, it’s a zealous effort on the part of the screenwriter, Michael Cooney, to avoid predictability. There is no clear plot destination, and that is not due to a lack of focus, but an intentional effort to keep us from knowing what’s going to happen.

Slowly, we recognize the straightforward serial killing is anything but straightforward, as the film begins playing subtle mind tricks on us. Why does the cop (Ray Liotta) have blood on his back? Why does the desk clerk (John Hawkes) hate prostitutes so much? Hints are dropped all over the place; the genius of the film is that you don’t realize they were hints until after the fact.

Other possibilities for the deaths — including supernatural forces and even, heaven help us, an ancient Indian burial ground — are introduced. It would be unfair to indicate which elements in the film prove to be red herrings and which prove to be important. From a certain standpoint, everything in the film means something, because it comes from — well, I have said too much already.

John Cusack, who I’m now convinced can play anything, plays Ed, a limo driver whose collision with a woman (Leila Kenzle) sets the early events in motion. His performance is strong and marked by grim humor. John C. McGinley is strangely effective as the accident victim’s distraught husband; the rest of the cast (which includes Amanda Peet and Clea DuVall) is serviceable. This smart, original thriller deserves an audience.

It Runs in the Family

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It was brave of Kirk Douglas, his speech impaired by a 1995 stroke, to continue acting. I just wish he would choose better projects than “It Runs in the Family,” a well-meaning but mediocre movie that in no way bolsters his considerable filmography.

Director Fred Schepisi (“Roxanne,” “Six Degrees of Separation”) no doubt was thrilled at the stunt casting: Kirk, Michael and Cameron Douglas play grandfather, father and son in a dysfunctional Manhattan family. Michael’s real-life mother (and Kirk’s ex-wife), Diana Douglas, plays his mother. Michael’s real-life wife, Catherine Zeta-Jones … well, she was busy, or something. Bernadette Peters stands in for her.

Kirk is Mitchell Gromberg, a once-powerful lawyer who has been hindered by a stroke. His son, Alex, declined becoming a partner in dad’s firm and now seeks out pro bono cases and does soup-kitchen duty, perhaps out of a guilty conscience. His son, Asher, is a 21-year-old pothead and slacker who forgets to pick Grandma up at the doctor’s office because he’s busy selling marijuana. He has a 12-year-old brother, Eli (Rory Culkin, of another acting family), whose quiet demeanor and slight oddness worries his parents.

There is no plot to speak of; just strands of events and family drama, treated with only as much sobriety as necessary, generally favoring light comedy over heavy-handedness. And yet, the film is neither especially funny nor especially moving. It’s only real asset seems to be that it can use five decades of actual family photos as set decorations. The limp screenplay by Jesse Wigutow assumes that characters trying to understand themselves and each other automatically make for fascinating viewing, when in fact they do not.

The performances from all the Douglases, as well as the Peters and the Culkin, are charismatic. The film has good intentions and is sweet and earnest, but it’s hopelessly mediocre.

People I Know

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Aside from a characteristically fine performance by Al Pacino, the misshapen “People I Know” is not especially worth knowing. In fact, it barely seems to know itself.

Pacino plays Eli Wurman, an aging New York publicist with a dwindling client list. Eli, a Georgia transplant, is of the old school (he refuses to get a cell phone), from the days when a press agent’s main job was to get his clients mentioned on the Page Six gossip column of the New York Post. Today, he’s down to one major client, big-shot movie star Cary Launer (Ryan O’Neal), whose opium den activities with a TV starlet (Tea Leoni) lead to trouble.

They lead to trouble with the film, too, as the tone begins shifting haphazardly back and forth between character dramedy and whodunit skulduggery. It is the latter that gets the short shrift; as a result, every scene devoted to those matters seems out of place.

Written by Jon Robin Baitz and directed by Daniel Algrant, the film ought to have stayed with Eli Wurman, a man who is good at heart but who is exhausted from his decades of cleaning up people’s messes. Pacino plays him close to his character in “Insomnia”: bedraggled, weary and in dire need of a break. More on his slow realization of his own obsolescence would have been welcome, for there is potential for fine drama (and comedy) in that.

The film is not without its charms, though. Kim Basinger gets a few nice moments as Eli’s sister-in-law, and Mark Webber is a breath of levity as Eli’s perpetually harried assistant. And frankly, it is always a treat to watch Pacino be fantastic, even when the movie isn’t.

Confidence

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To pull off a good con, you gotta have a patsy, a chump, a sucker. Fortunately, movie audiences are full of ’em, and movies about con artists nearly always do well.

In the style (perhaps too much so) of con movies like “The Grifters,” “The Sting,” and many a David Mamet film, “Confidence” brings absolutely nothing new to the genre. But considering the whole point of the genre is merely to show characters lying to each other, maybe nothing new is required. Lies are always fun, especially if we’re kept guessing as long as the chumps onscreen are.

Jake Vig (Edward Burns) tells us in the opening voice-over, “So I’m dead, and I think it’s because of this redhead.” An intriguing start, and it’s flashbacks from there, back to the introduction of the redhead, Lily (Rachel Weisz), into Jake’s crew of con artists and reprobates.

Jake and the gang rip off a guy who, unfortunately, turns out to be a representative of The King, the most important underworld figure in the land, enacted with playful malevolence by Dustin Hoffman. King gives Jake and friends a chance to redeem themselves by doing a job for him: They have to grift an even bigger fish, Morgan Price (Robert Forster), a banker with even better Mob ties than King has.

This will not be easy, so Jake – against the wishes of his superstitious crew — brings in Lily, a talented pickpocket. In the film for good measure are a couple corrupt cops (Donal Logue and Luis Guzman), an FBI agent (Andy Garcia) and a henchman (Morris Chestnut).

And so it goes. You never know who’s conning whom, or how it will turn out; the ending, I must say, is gleefully unexpected and fun. There’s a little too much dallying in the set-up – just GET to it already – but that doesn’t hinder the overall sense of trash-talking entertainment that marks the film.

The Real Cancun

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“The Real Cancun” successfully pulls out the entertaining aspects of MTV’s “Real World” program and leaves behind the less-appealing elements, like the face-the-camera confessionals and the casting of opposites who are bound to hate each other so we can watch them fight.

There is fighting in “The Real Cancun,” but it seems to arise naturally from the situations, and not because producers intentionally found, say, a black man and a white supremacist and made them share a bedroom. Instead, “Cancun” allows people to be more or less themselves — at times moronic, despicable and laughable, but always, if nothing else, human.

Sixteen college-aged lovelies were sent to Cancun for spring break 2003 — a record-setting mere five weeks before the film was released — put up in cool digs, given plenty of booze money, and let loose. (When cameras are filming everything, you want to make sure there’s plenty of everything to film.) It is, essentially, “The Real World,” except the nudity goes unblurred and the profanity unbleeped.

Kudos to the filmmakers — I stop just short of calling them documentarians — for knowing how to assemble a reality-based film. Thanks to smart editing, the best characters come to the foreground while the people who ought to remain as supporting, comic-relief types stay in the back. We take this for granted, but with seven days’ worth of footage, the film could have been edited to make any one of the 16 emerge as protagonist.

The central figure turns out to be Alan, an 18-year-old who has never drunk and never had sex, and whose bold assertions that he wants to do both sound sweetly insincere. He has no religious or personal reasons for avoiding booze and booty up to this point; he has simply not had enough confidence to acquire them, despite being handsome, athletic and pleasant enough.

When he tells the others that he plans not to drink during the week, they are stunned. I mean, absolutely STUNNED. They cannot IMAGINE such a thing. I find it both funny and sad that the idea of an 18-year-old NOT spending spring break in a haze can produce such flabbergastment.

In another time, and from another source, this movie might have had Alan succeed in his abstinence. But it is 2003, and MTV, and of course he succumbs. He drinks, and he drinks a lot. Yet he remains, for a while, no more confident than he was. He barges around shouting, “I want boobies!,” but during his close encounters with women, he remains naively terrified.

For a while, anyway. Gradually, he gains his footing and achieves some social success, though whether or not he ever has sex I will leave as a surprise. It’s not what I would call heartwarming, but it’s certainly interesting to note his ascent — or is it a descent? — into being a full-fledged frat-boy party animal. He begins as a genuine, nice guy. By the end, he’s like everyone else. We’re witnessing the making of a tool.

The other characters pale in comparison, though their stories are frequently very, very funny. Casey says he’s a model and spends a lot of time asking women to get naked with him. Jeremy claims, “Girls go on spring break to find guys like me,” and before long he has bedded housemate Laura (despite having a girlfriend back home), dumped her, and moved on to others. Dave and Heidi have been platonic friends for years, but clearly there is sexual tension between them. Matt and Sarah first connect after she is stung by a jellyfish and he urinates on the wound to heal it. (Thanks to editing and music, this scene is made to seem mockingly romantic.)

We’re loath to admit it, but reality TV shows, when they are well-done, offer fascinating glimpses into the way people are. It’s not true documentary work — true documentaries study the monkeys the way they already are, while reality shows put the monkeys in wacky situations first — but there is an art to it. “The Real Cancun” demonstrates what entertainment (and even a tiny bit of insight) can be derived from watching our fellow monkeys at their most unguarded.

Mister Wind

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The last place I ever thought I would find something useful or significant was a shopping mall. Malls are generally good only for maintaining our nation’s teenager-based economy, and for giving high school girls a chance to wear hootchie clothing in a parent-free environment, and for retail clerks to practice making you feel stupid by looking for the CD in the same place YOU just looked for it and it wasn’t there and that’s why you asked them about it in the first place and what do they think you are, an idiot? So you can imagine my surprise when I discovered Provo Towne Centre selling, of all things, my childhood.

Allow me to set the scene: My insane boss had made a demand for Mrs. Field’s cookies, slathered in frosting. (I don’t mean my boss was slathered in frosting when she made the demand, though it’s possible she was. I only mean that she wanted cookies which were slathered.) In fact, what she really wanted was the frosting. If I could obtain a vat of it sans cookies, all the better.

Since I wanted to negotiate some additional vacation time, I agreed to perform this bit of monkey work. And so I found myself at the mall, despite my aversion to malls. And it was while walking through the concourse that I heard a song playing:

“Mister Wind is a mischief,
Mister Wind is a pest.
He blows my papers everywhere.
He never lets me rest.
Oo-OO-oo-OO-oo-OO-ooo.”

Immediately and metaphorically, I was transported back to the early 1980s. My siblings and I are traveling with my parents to my grandparents’ house, about 75 minutes away. In our van we are listening to a tape called “I Have a Song for You,” featuring songs by Janeen Brady. These tunes are about people, families and nature. Themes include being special, snowflakes, brothers, and wiggling. We listen to this tape every time we go anywhere, which means we know the songs better than anything, including our own names. All it takes now, at the mall, is one bar, and I instantly know the entire song, as well as which songs come before and after it.

I determined the source of the music: a cart near the Mrs. Field’s booth. Now, in the hierarchy of mall stories, the cart is at the bottom. First you have your flagship stores, like Nordstrom or Sears. Then you have your basic mall stores, your Gaps and Banana Republics and whatnot. Some of these basic mall stores are based on very simple and/or stupid ideas, like the stores that only sell socks or aprons or paper clips or whatever. And then you have the kiosks, which sit in the middle of the mall and which are apparently based on ideas so lame, they don’t even merit their own stores, which is saying something, considering the aforementioned tie and flyswatter stores.

Below the kiosks, which are semi-permanent, you have the carts, which can be moved around at will. My childhood, in musical form, was emanating from such an ignominious location. A man was selling all manner of Janeen Brady products, including CDs, tapes and songbooks. All my life, I remembered the “I Have a Song for You” tape, but I didn’t know Brady had written other things, too. Heck, I didn’t even think anyone besides me and my siblings would remember the songs. I thought they were obscure. Little did I realize there was a Janeen Brady cottage industry.

Out of nostalgia, I bought the tape from my childhood, except I bought it on CD, because you have to draw the line on nostalgia somewhere. I also purchased the accompanying songbook so that I could play the tunes on the piano, though at what sort of occasion or gathering this would be appropriate, I could not imagine.

The songbook includes tips on helping children enjoy the songs more. For example, the previously quoted “Mister Wind Is a Mischief” suggests you use dancing to “let children express their own interpretations of the mischievous wind.” It then adds: “Brightly colored scarves might enhance their creativity.” I believe this is true in almost all situations.

Hearing these songs again inspired a strange and sudden burst of wistfulness. (I have not even mentioned my other favorite, “Sharing,” which goes, “If I had a penny/And you hadn’t any/I’d buy a candy stick/And let you have a lick.” It always seemed exceptionally cruel to me to offer one lick of a piece of candy and call that “sharing.”) When I visited home and played the CD for my family, I was glad to find they remembered the songs, too, and that since last hearing them 15 years earlier, we’d been imbued with the ability to create vulgar parody lyrics for them.

But back to the mall. As I completed my purchase, I saw three too-cool-for-school teenage boys walk past the cart, hear “Mister Wind Is a Mischief,” and dance around in a spirit of mockery. I was going to be angry with them, but then I realized they were right. In their position, I would have done the same thing. The mall is not a place for introspection.

Holes

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“Holes” was made by adults who know the best kids’ movies are the ones that don’t talk down to kids. They assume children are smart, which they are, and that they can follow fairly complicated plots, which they can. Kids’ movies, on the whole, should make fewer flatulence jokes and focus more on treating children like real people, the way “Holes” does.

The film was adapted from the Newbery Medal-winning book by its author, Louis Sachar, and directed by grown-up-film maker Andrew Davis (“The Fugitive,” “Under Siege”), whose philosophy is not to let serious themes get in the way of having a good time, and vice versa. “Holes” has a little death, some perilous situations, and some mature themes like racism, but it trusts that kids can handle it.

It is a curious little story about a juvenile detention facility in the Texas desert, 150 miles from the nearest water or civilization. Here is where perpetually unlucky Stanley Yelnats IV (Shia LaBeouf) is sent after being falsely accused of stealing a famous baseball player’s shoes, the latest in a string of unfortunate circumstances he has found himself in.

The duty of Stanley and every other boy at the ironically named Camp Green Lake is to dig holes on the dried-up lakebed, one hole every day, each hole six feet deep and six feet in diameter. This is to build character, according to Mr. Sir (Jon Voight), the redneckish tough-talker who acts as second-in-command to the mostly unseen warden. But we come to suspect an ulterior motive.

The film has a congenial way of putting Stanley in frightening situations but then reassuring us everything is OK. Mr. Sir may talk mean, but he has no interest in hurting the boys. Ditto the boys themselves, all street kids with cool-sounding nicknames who accept Stanley as one of their own after only a little bit of hazing. Even the warden (Sigourney Weaver), the great and powerful Oz behind this work-camp facade, is more misguided than malicious in her evil-doing. The greatest real threat is from the deadly yellow-spotted lizards that inhabit the desert.

The book’s multi-layered narrative translates on film into an amusing jumble of stories all intercut with each other: Stanley at the camp, Stanley in court, the Yelnats ancestor irritating the gypsy, a charming love story involving a one-room-schoolhouse teacher and an onion farmer, and a ruthless outlaw named Kissin’ Kate. All of these threads relate to each other eventually, and part of what I admire about the film is that it gives kids credit for being to keep track of it all.

Also impressive is the adult cast, who act with dignity and charisma rather than hamming it up, as might be the temptation in a kids’ movie. Jon Voight has rarely been more enjoyable to watch, deftly walking the line between character and parody and coming down firmly on the side of character with a hilariously overwrought performance. Sigourney Weaver, Patricia Arquette, Eartha Kitt, Henry Winkler and Tim Blake Nelson also shine in their diverse roles.

The children have an everyday-kid look about them, resembling not so much movie stars (which most of them aren’t) but, well, kids who might be in a juvenile detention facility. They lack the precociousness of many film children and are as dedicated to “keeping it real,” as the kids say, as their adult co-stars are.

The film’s pacing could be improved in the middle section, a fault not found in the fast-paced book, which you could read in less time than it takes to watch the movie. But slogging through a few slow moments is a small price to pay for a film as imaginative and all-out entertaining as this one.

Malibu’s Most Wanted

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Little else about “Malibu’s Most Wanted” is interesting, so let’s talk about its role as a social indicator. It will help us pass the time before we have to get down to actually reviewing the film, which we’re not really looking forward to.

Every movie is a product of its time, but “Malibu’s Most Wanted” has its date of birth stamped on it more prominently than most. Much of the slang used in the hip-hop-heavy dialogue didn’t even exist three years ago; in 50 years, the film will read the way Middle English does now. It will be viewed as a curious artifact of how urban youth spoke in the early 21st century.

But beyond the specific language used, even the movie’s premise could not exist outside a 5-year radius of 2003. The protagonist is Brad Gluckman (Jamie Kennedy), a rich 21-year-old California boy who, all known facts notwithstanding, believes himself to be a part of black culture. He talks, walks and acts “black,” and fancies himself a rapper, too, calling himself B-Rad (“Bradley is my slave name,” he tells a therapist). Either lying or honestly misapprehending the situation, he speaks of Malibu when he says, “It’s hardcore up in the ‘bu.” Some of the hardcore gangstas in Malibu, he says, “even did time in public school.”

You get the joke. Here’s a kid whose only knowledge of ghetto life comes from hearing rap music, but who is so desperate to adopt SOME kind of culture other than his dull white-bread heritage that he forces hip-hopness into his personality, even though it doesn’t really fit. In terms of persona, to quote Chris Farley, he’s a fat guy in a little coat.

Except that Brad isn’t faking. Subconsciously, yes, surely he was bored with his privileged existence — he’s the son of a gubernatorial candidate — and reached out for something more flavorful. But consciously, he’s not posing or acting. He’s immersed himself so thoroughly in this culture that it has actually become his own.

White people pillaging black culture is nothing new, of course, but doing it with such impunity — insisting Brad isn’t acting at all but simply being himself — is a fairly recent development. And the idea of the natural segregation of the cultures has certainly gained more prominence recently, in particular as Eminem (a major inspiration to the filmmakers) has become a Grammy- and Oscar-winning rap artist and some people from both camps have wished he would stop trying to mix the races.

Brad is a white boy who, at least subconsciously, wishes he were black. We also meet two black men (Anthony Anderson and Taye Diggs) who are so “white,” they know less about black culture than Brad does. Are they sellouts? Have they betrayed their brothers and sisters by acting white? Or are they, like Brad, simply being themselves, making them blameless?

Despite having such heady racial issues at its core, “Malibu’s Most Wanted” does not seem particularly interested in examining them. Brad’s dad (Ryan O’Neal) isn’t embarrassed by his behavior because he feels there’s anything wrong with black people; it’s because Brad looks buffoonish when he puts on the ill-fitting hip-hop coat. (Brad’s way of helping Dad gain women voters is to make a banner that reads, “Gluckman is down with the b****** and ho’s.”) No one ever accuses Sean and P.J., the two white-acting black fellows, of being Uncle Toms; if they seem funny, it’s only because they’re not behaving the way we expect black people to — another commentary, perhaps, on the way we pigeonhole our various American cultures.

The only true moment of racial tension occurs when Brad uses the N-word while improvising rap lyrics at a black hip-hop club. The music stops, the audience gasps, the DJ shakes his head in disbelief. Brad realizes his mistake — as much as he’d like to be, he is NOT black and therefore may NOT use that word — and the crowd, rather than murdering him, lets him off with an “if-looks-could-kill” warning. It’s one brief moment when Brad has to accept that he’s white and that he cannot change that.

It’s just as well the movie doesn’t want to scrutinize true racial issues; this is a comedy, and a trifling one at that. Directed by John Whitesell (who works with Kennedy on TV’s “Jamie Kennedy Experiment”) and written by Kennedy and three cohorts, it ensures the premise never becomes more than utilitarian. It’s an excuse to tell jokes, not to comment in depth on society. As such, it garners a few laughs and is generally a harmless, pleasant way to kill 85 minutes, though I can’t imagine anyone remembering the film five years from now.

Anderson and Diggs may be the best thing about it. Their characters are actors hired by Brad’s father to carjack Brad and take him to the real ghetto, basically to scare the white back into him. Consequently, P.J. and Sean scramble to find anyone they know who lives in the ghetto, and must call upon all their thespianic training to act black enough to convince Brad. Diggs and Anderson are a hoot. They seem like they are playing legitimate (albeit broad) characters, while Kennedy seems like he’s acting in a comedy sketch. There’s an important distinction there, and it serves as a reminder that few films ever succeed with shoddy acting at the forefront, no matter how intriguing their subject matter may be. And even if Kennedy had been brilliant, “Malibu’s Most Wanted” still would have needed more than one joke to sustain it.

Winged Migration (documentary)

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The actors in “Winged Migration” strut across the frame like natural-born stars, aware of but ignoring the presence of cameramen and directors. They have personality and vitality. Oh, and they can fly.

Not since Hitchcock’s “The Birds” have our friends of the air given such lavish performances and earned the top billing they get here. “Winged Migration” is an Oscar-nominated documentary, and by most accounts a pretty honest one, without much trick editing or too many staged situations. Yet its beauty is stunning, and many of the shots are amazing: How in the world did photographers ever get so close?

Reports indicate some of the birds were raised from birth to be in the film — that is, they were exposed to the sounds of the film crew while still in the egg so they wouldn’t be spooked later, when the humans followed them on their migration paths. Seventeen pilots and 14 cinematographers followed hundreds of birds into 40 countries. A lot of luck was probably involved, too, and certainly a lot of time.

There is sparse narration from French filmmaker Jacques Perrin, who co-directed with Jacques Cluzaud and Michel Debats. His words are mostly informational, telling us what birds we’re looking at, and mostly unobtrusive. The point here is to look in silent wonder at the majesty of the avian world, and on that note, the film succeeds spectacularly.

These are lovely creatures anyway, and filming them as they fly over grandly picturesque locales across the globe adds to the effect. Many shots were taken from ultralight aircraft, hot air balloons and other flying apparatus; consequently, the viewer feels as airborne as the birds themselves. Watching the film is the next best thing to flying.

Some ecological messages are passed along, but they are hardly necessary. Seeing the beauty of nature unfold on the big screen and having it wash over you the way this does is enough to make anyone become a birdlover.

Bulletproof Monk

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Like most films about people who know martial arts, “Bulletproof Monk” has a prologue set in Tibet, 1943, where someone is killed and a priceless treasure is stolen. In this case, it is an elderly monk who takes one for the team — a fact which caused me to remark, “That monk had two weeks left till retirement!,” and then laugh at myself — and the artifact is an ancient scroll that, if read aloud, will give the reader magic powers.

Another monk manages to rescue the scroll from the Nazi who wants it, and then we’re in the present, where that monk — magically un-aged, due to his possessing the scroll — is roaming the earth, looking for the Chosen One to fulfill his destiny and protect that damn scroll some more. This scroll needs a good deal of protecting, apparently.

This film, by first-time director Paul Hunter, is based on a comic book. Five years ago, this might have been used as an explanation for its dumbness, but now that we’re in the age of respectable comic book adaptations like “Spider-Man” and “X-Men,” that excuse no longer works.

“Bulletproof Monk” is not offensively stupid or anything; it’s just silly. None of it makes any sense, and its major mistake is in not more fully embracing its nonsensical nature.

The monk, who goes by the name Monk (Chow Yun-Fat), finds a pickpocket named Kar (Seann William Scott), who inadvertently fulfills some prophecies and thus makes Monk suspect he’s the Chosen One. And so the Matrix-style training begins, while simultaneously fleeing the Nazi (Karel Roden), who is now very old and thus even more motivated to obtain the scroll. The Nazi is also keeping Asian men trapped in his basement, where he has a machine that can sort of read their minds to see if they know where the scroll is. It seems like if he already has mind-reading technology, then pursuing the scroll too is just plain greedy.

Much of the wire work in the fight scenes is very cool. The film is snappily edited, probably to make it look more exciting than it really is; the trick works. Chow Yun-Fat is a graceful presence in any film, and even Seann William Scott does not annoy in his role as a slacker, which is a rarity for him.

I am heartened to learn that no matter what, there is always a hot chick on the good guys’ side and a hot chick on the bad guys’ side, and that they always eventually fight each other.

This is the cheesy sort of flick you used to see on a Saturday afternoon on one of the local television stations, complete with an ’80s synth-pop musical score. It is as earnestly dumb as any martial-arts film of decades past. If it had been filmed in Japanese and dubbed into English, I think that might have actually improved it.

UVSC Jokes: Do Not Ingest

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I’m experiencing an ethical dilemma. It’s a sensation altogether new to me. It sort of tingles.

What happened is, I saw a really funny sign that would be perfect to discuss in this column. It’s at the entrance to a parking lot, where you take your ticket so they know how much to charge you when you leave. On the machine that coughs up the tickets, there’s a handwritten sign that says:

“Tickets are dirty! Do not put in your mouth!!! We don’t want to handle your SPIT!!”

So here’s my dilemma: The parking lot in question is at UVSC. Consequently, it would be easy to make jokes about the sort of people who go to UVSC, who apparently have to be told not to put foreign objects in their mouths. It would be even easier to take the next logical step, which is to assume UVSC also has a class called What Not to Put in Your Mouth 101, and perhaps also one called Don’t Touch That 401 (it’s an upper-division course).

But Utah Valley Special College is an easy target, and one I’ve taken aim at frequently. I would like to think I’m above going for the easy jokes, and that I would use this forum instead to foster intelligent discussion of important issues.

I would LIKE to think that. Unfortunately, the empirical data makes it difficult to convince myself of it.

But how can I resist when, while visiting UVSC recently on official business, I encountered so much entertainment in an edition of the school paper, The College Times? Here is an opinion piece entitled, “What is it to be American?” It begins this way:

“‘I’m proud to be an American…’ Whenever that song comes on the radio, I’ll admit I sing along but a part of my body starts to convulse and dry heave.”

I wonder which part of the body that would be. The stomach, maybe? Later, the author describes his peers’ reaction to his participation in an on-campus peace rally. “They thought it was funny and a little exocentric,” he writes.

Now, I know how sometimes when I’m talking I accidentally combine words. Here, apparently, the author was trying to say both “eccentric” and “exoskeleton” at the same time. I don’t know why he was trying to do that, but apparently he was.

Elsewhere, he observes that there is more to being patriotic than carrying flags and posting bumper stickers. “Is this American? For some yes, but in a non-delusional world, there is more to being American. This is a parodic.”

To say something is “a parodic” is a ridiculous.

And then there’s the reason I was at UVSC in the first place, which was to attend a poetry reading at which a friend was a featured participant. I attended to support him, despite my earnest belief that most poetry is pretentious crap. I also attended despite knowing that after his bit was through, there would be an open mic, meaning anyone who fancied himself a bard could stand up and force his musings upon us, in defiance of the Geneva Convention, which allows for impromptu, unsupervised poetry-reading only against the enemy and during times of war.

Sure enough, the open-mic stuff was awful, just dreadful stuff. Thousands were killed. One of the poets, I’m fairly sure, was just reading a list of random words he had jotted down on a scrap of paper. He definitely had a couplet in which the rhyme was “you” and “poo,” which I’m sure I don’t have to point out is a complete rip-off of Robert Frost. (“Two roads diverged in a yellow wood/I was on my way to you/Undecided, a while I stood/And then I saw some badger poo.”)

Again, if I were taking the easy way out, I would lay the blame for the bad poetry at UVSC’s feet. I would say I’m surprised none of the readers plagiarized things they read on Hallmark cards. I would say UVSC offers a course in poetry, but that the textbook is a volume of dirty limericks. I would say the most amazing thing about the poetry reading at UVSC was that it involved reading.

But these are easy jokes. I want to be better than that. You see my dilemma, I’m sure. Now please, if you don’t mind, take this column out of your mouth.

XX/XY

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“XX/XY” features some of the least interesting characters in the world, complaining about their problems in a way that makes you stop wondering why people think Gen Xers do nothing but whine. It’s a go-nowhere, do-nothing movie.

It begins in 1993 at Sarah Lawrence College, where free spirit artist Coles (Mark Ruffalo) meets and falls into bed with lady friends Sam (Maya Stange) and Thea (Kathleen Robertson). Coles and Sam eventually pair off, but their relationship is superficial and often centered on drinking, as is Thea’s relationship with hapless nice guy Sid (Kel O’Neill). Hey, it’s college, and people act crazy.

Skip ahead to the present. Sam and Thea have kept in touch, but neither has seen Coles in years. Turns out he’s a successful animator for an ad agency and lives with his girlfriend Claire (Petra Wright). Thea is married to a restaurateur, and Sam has just broken off an engagement with a Brit. The three old college chums meet up, and the sparks between Sam and Coles start to rekindle.

Coles, however, does not seem to have grown up much since college. In fact, he might be more of a selfish, immature pig now than he was then.

A movie whose point is that you have to grow up eventually runs the risk of featuring a character whose immaturity is annoying. Writer/director Austin Chick falls prey to this trap, though I suspect Mark Ruffalo’s infuriating childish smugness contributes, too.

The scenes taking place in the present are far more enjoyable than the college ones, but it’s still cheap, unengaging stuff. The humor is hit-or-miss, the drama is spotty, and the characters — did I mention this? — don’t inspire much concern. It is not boring, exactly, but it offers little reason to continue watching it beyond the frequent sex scenes.

Anger Management

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Adam Sandler’s onscreen persona has frequently been that of the angry moron, the simple-minded doof prone to fits of violence. “Anger Management” slyly twists that character, casting Sandler as an indecisive businessman whose problem is that he doesn’t lash out often enough.

Fans of the belligerent, stupid Sandler — the Sandler who dons a silly voice in lieu of an actual character — need not worry their baseball-capped heads that the acting skills Sandler exhibited in “Punch-Drunk Love” (2002) have carried over into his daily life. Rest assured, my dude-saying friends, “Anger Management” will make you laugh.

But for those who like their comedies to contain actual comedic content, “Anger Management” will make you laugh, too. For rather than prancing about, so obviously TRYING to be funny, Sandler is this time playing straightman to the zany personalities around him. He did this in “Mr. Deeds” (2002) too — but in that film, there was no one outrageous to contrast with his calmness. Here, he has the truly demented Jack Nicholson.

Sandler is Dave Buznik, a meek New Yorker who works for an animal-clothing design company. (That’s clothes FOR animals, not made out of them — sweaters for fat housecats, for example.) His long-time girlfriend but not-yet fiancee Linda (Marisa Tomei) wishes he would be more assertive; Dave, for his part, is threatened by Linda’s friendship with Andrew (Allen Covert), a smug co-worker.

After a mild confrontation on an airplane, the decidedly non-angry Dave is sentenced to anger-management counseling. The class is led by Dr. Buddy Rydell (Nicholson), a half-sane author and psychologist who exhibits signs of being the angriest, craziest person Dave knows. In order to observe him more closely — but really because it will make the movie funnier — Buddy insists on moving in with Dave. Soon, either because of Buddy or in spite of him, Dave and Linda’s relationship is on the rocks. None of this is making Dave any less angry.

Nicholson, as always, seems to be having a grand time behaving oddly, his malevolent grin making him the perfect devil figure to sit on Sandler’s shoulder. He is joined in the ranks of weirdos by Jon Turturro and Luis Guzman as anger-management group members.

First-time writer David Dorfman’s script is efficient as well as amusing, with each sequence contributing to the whole and almost no wasted scenes. He lacks confidence in his work, though, evidenced by the five or six random gross-out lines that seem to have been thrown in just in case the rest of the movie wasn’t funny.

The director, Peter Segal (who gave us the beloved “Tommy Boy”), wisely keeps Sandler on a tight leash while letting Nicholson cut loose. He also allows for several loopy cameos from Woody Harrelson, John C. Reilly, Bobby Knight and John McEnroe, among others.

The climactic scene, typical of Sandler movies, has Dave making a public spectacle of himself, though it’s done with such exuberance and mania — watch for several more goofy cameos — that it’s easy to overlook how absurd it is.

Throughout, Sandler remains steadfastly deadpan, hilariously bewildered by Dave’s plight. Nicholson, meanwhile, doesn’t seem to consider it slumming to work with Sandler, even though maybe he should. Together — shockingly — they make a humorous pair.

House of 1000 Corpses

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“House of 1000 Corpses” is a massively unpleasant film, full of ceaseless vulgarity and horrific images. I have seen movies with more gore and carnage — sorry, Rob Zombie, you have failed to break any records there — but I don’t know that I’ve seen it done with more distastefulness than this. It is so crass that even fans of crassness may find it unenjoyable.

I admire the ambition apparent in Rob Zombie, frontman for heavy-metal band White Zombie, for making a film at all. It’s a lot of work, and this particular one — shot three years ago and just now released — had an arduous journey to the multiplex. If Zombie had just given up somewhere along the way, no one would have blamed him. Some of us would have been grateful, it turns out.

Inspired by such films as “Texas Chainsaw Massacre” and Wes Craven’s “Last House on the Left,” “House of 1000 Corpses” has a plot that is strictly formulaic: teens’ car breaks down in the backwoods; they are tormented and killed by the people at whose house they seek refuge. The teens are bitter and stupid and unworthy of sympathy; their captors are ugly, vile persons unworthy of being feared.

What’s notable about Zombie’s script is that it is full of tangents and sidetracks, including the opening sequence, in which a store robbery goes awry. None of the events in this scene are relevant to what occurs later; you could remove it altogether and do the film no damage whatsoever. The teens’ visit to Captain Spalding’s Museum of Monsters and Madmen is pretty useless, too. Perhaps all the dawdling is because Zombie knew his story only added up to about 60 minutes otherwise, and that it was an overly familiar story besides.

I gave it another chance:

7/20/2011: Re-Views: ‘House of 1000 Corpses’ (2003)

As with many first-timers, Zombie’s directorial style is over-done and amateurish. He randomly cuts to violent and/or sexual images every now and then, evidently just for shock value, and he permits some of the worst acting I’ve seen in a good long while — even by horror-film standards — to occur while cameras are rolling.

Simplistic writing? Of course. In this movie, which takes place Oct. 30 and 31, 1977, Halloween is apparently a legal holiday, as businesses close and streets become desolate. Also, when Halloween falls on a school night, the kids in town go trick-or-treating the night before. Dumb, dumb, dumb.

When movies like these are fun, they are fun because they introduce clever or amusing ways of killing people, or because some level of wit is exhibited by the filmmaker. “House of 1000 Corpses” has none of this. The deaths are unoriginal, and the dialogue is puerile. The lone exception is a scene in which people are killed in slow-motion while a Slim Whitman’s “I Remember You” plays on the soundtrack. “The X-Files” did this better in the episode called “Home,” when the inbred brothers murdered a sheriff while Johnny Mathis played on their car stereo, but at least Zombie had the right idea of showing some flair. Too bad it didn’t extend to any of the rest of the movie.

In short, just because a man has resources to make a film doesn’t mean he ought to. This is a hateful, vicious piece of work that is best left ignored.

Ghosts of the Abyss

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In “Ghosts of the Abyss,” director James Cameron continues his obsession with the sea that began with “The Abyss” (1989) and reached its zenith with “Titanic” (1997). (Technically, you could count “Piranha II: The Spawning,” his 1981 feature-film debut, as a water film, though I doubt Cameron himself lists it on his resume.)

The historical research necessary to produce “Titanic” sparked in Cameron an intense interest in the wreckage of the real Titanic, which still sits on the ocean floor 12,500 feet down in the north Atlantic. He assembled a crew of scientists, oceanographers and Bill Paxton and, in August 2001, set out to film it.

The result is “Ghosts of the Abyss,” a film that is a) large-format and b) in 3-D. The former attribute is beneficial, as it allows us a greater view of the awe-inspiring images from within the actual wreckage of the actual Titanic. As for being in 3-D … you’d think that after all this time, 3-D technology would have gotten better. The 3-D goggles you have to wear still bug me — they sit too far down on my nose, giving the constant sensation of a fly having landed on me — and they give me a headache.

Furthermore, the images themselves are not great. Some scenes look fantastic in 3-D, but at other times, certain parts appear in double-vision. The eyes must constantly readjust to the movement. I don’t know how being in 3-D has helped the film any.

As a film, it’s a reasonably interesting journey to the bottom of the sea, aided by state-of-the-art cameras that can literally go from room to room within the ship, something humans could not safely do. Computer-generated graphics re-create the original scene, helping us put the often-unrecognizable wreckage in context.

“Titanic” star Bill Paxton’s reactions to traveling in a submarine to the ocean floor are an amusing bit of levity amidst the blend of reverence and “isn’t-this-cool?” enthusiasm that pervades the rest of the film. “Ghosts of the Abyss” is not educational in any real sense, but if you get past the annoyance of the 3-D glasses, it’s a fascinating glimpse at an awesome part of world history.

Little Shop of Horrors

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Provo Theatre Company began its 17th season in fine form, with “The Prisoner of Second Avenue” reminding the valley what it had missed during the theater’s yearlong hiatus. Now, despite ups and downs in the middle, the season draws to a smashing close with a vigorous production of “Little Shop of Horrors” that is as near to perfection as PTC has been in awhile.

Directed by David Tinney, who directed the 2000 production at the same venue, “Little Shop” is a fast-moving, highly entertaining show that can switch from dark comedy to tender drama at the drop of a hat. Tinney has, for the most part, followed writer/lyricist Howard Ashman’s admonition that the show should not be campy or ironic, but should instead allow its characters to be human and its situations, though unusual, to seem universal.

This is no small feat. Based on a schlocky 1960 horror film, “Little Shop” is about a man-eating plant and the schlub it convinces to do its evil bidding. The schlub is Seymour (Aaron DeJesus), a wimpy flower shop employee who works on Skid Row under the stern eye of Mr. Mushnik (Chris Brower), whose ill temper is the result of business being bad, and of his being stuck on Skid Row.

Mushnik’s desire to get out of Skid Row is shared by the other protagonists. Seymour longs for a better life, as does fellow employee Audrey (Korianne Johnson), a beautiful platinum blonde who would like to live someplace where the guys will treat her with more respect than she gets from her sadomasochistic dentist biker boyfriend Orin (Matt Cloward).

One day, Seymour stumbles upon a strange new flytrap whose genus he cannot find in any of his botany books. The plant, which he nicknames Audrey II, demonstrates a taste for blood, and then flesh, leading to the show’s horror/dark comedy aspects and its finale that is a combination of a ’50s B-movie and a Greek tragedy. (Befitting the dual influences, the show is narrated by a Greek chorus of doo-wop girls, played by Tanya Barkdull, Cassy Child and Tamera Stambaugh.)

Having seen him in several other shows, I would not have picked the handsome and self-assured Aaron DeJesus to play nerdy Seymour, a character generally portrayed as tall and gawky, two things DeJesus is the opposite of. His performance, then, is a bit of a surprise, as he very nicely fills out the nooks and crannies of the role. He has a particularly strong moment during the song “Feed Me,” when he becomes enraged enough at Orin’s treatment of Audrey to do something about it. This critical moment — the turning point for Seymour’s character and the show’s plot — is often neglected, but Tinney’s direction and DeJesus’ intense performance give it the weight it deserves.

Chris Brower’s dance-prone performance as the pear-shaped Mr. Mushnik is delightfully physical, and the doo-wop girls all have strong, clear voices. Matt Cloward, on the other hand, is a bit much as Orin the evil dentist, doing camp while the rest of the characters are playing it straight. He is funniest when he’s being quirky, less so when he’s being outrageous.

Tinney made the unusual choice of having Audrey II’s voice provided by a woman. The script doesn’t indicate a gender, but it’s traditionally been played by a man, including in the 1986 film version. Marcie Jacobsen, singing from backstage while Seth Child manipulates the massive puppet on stage, has a voice that is soulful enough for Audrey II’s funky blues solos. Making the plant female adds another dynamic to Seymour’s relationship with it, and it’s a little exciting when the two women in Seymour’s life — Audrey and Audrey II — face each other in the penultimate scene, fighting, on some level, to be the sole object of Seymour’s affection.

But to quote Seymour: And then there’s Audrey, lovely Audrey. Korianne Johnson is the best Audrey I’ve ever seen, better even than Ellen Greene, who originated the role off-Broadway and played her in the film version. Where Greene often used the affected “I’m in a musical” style of acting, Johnson is purely natural. Her Audrey speaks in a high-pitched Brooklyn accent, but comes off innocent and sweet rather than whiny or squawking. The tendency is to play her as a ditzy blonde, but Johnson imbues the character with warmth and humanity, providing the very soul of the show. Her signature number, “Somewhere That’s Green,” is gently funny, mildly parodic and heart-meltingly sincere.

And so “Little Shop of Horrors” is funny, dark, touching and genuine, enabled by Ashman’s clever words and Alan Menken’s catchy music. My hat is off to a cast that can utter a line like “You ate everything I ever loved!” and say it without a trace of irony.

The Need for Speed

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There are two philosophies regarding speed limits. One holds that they are speed LIMITS — that is, the absolute maximum you should drive, and you’re probably better off going a little slower. The other holds that the first group needs to get out of the way.

Utah newspapers often print letters to the editor from people who are from the first camp. These letters usually go like this:

“I have lived everywhere in the world, and have also done some interplanetary travel, and I know that Utah drivers are the worst ANYWHERE! Everyone drives so fast! Why, just the other day, I was out driving, and someone passed me going well over 1,000 mph! People, let’s take time to stop and smell the roses! What’s your hurry? Is getting to your destination two minutes faster worth the risk of killing every person in the world with your deadly vehicle? Let’s slow down, enjoy a leisurely pace, and sit on the porch and sip lemonade until our time runs out.”

Here is what’s clear from reading letters like these:

1. This person is fantastically old.

2. This person drives too slow.

In case you haven’t guessed, I subscribe to the second school of thought, the one that says hurry up, and if you’re not going to hurry up, then at least get out of my way, and if you’re not going to get out of my way, then at least die. And so I am glad to read the recent news that Orem is considering raising the speed limits on some heavily traveled streets throughout the city.

One of the thoroughfares is 1200 West, where the speed limit is currently 25 mph. This road goes past my house, so I drive it every day, except for the days when crippling agoraphobia prevents me from getting out of bed. Since I have frequently seen cops sitting around, waiting for people to speed — because 25 feels way too slow on this street — I have learned not to go more than 30. But closer to 40 would feel a lot more natural, and 50, while not natural, would certainly feel very exciting. I get goose bumps just thinking about 60.

According to the committee appointed by the City Council to study this issue, most people already drive about 35 on the roads in question, hence the recommendation to increase the speed limit. It delights me to no end that the city is actually using the logic I would use: Everyone’s breaking the law, so let’s change the law. If everyone would band together and stop paying income tax — and we’d really have to be united here — maybe the government would do away with that, too. In Los Angeles, common practice has already made it so that shooting a stranger is only a Class C misdemeanor, and not a crime at all if the stranger is Carrot Top.

The Orem Police Department is in favor of the increased speed limits, too. Lt. Doug Edwards, public information office for OPD, said last week that if the speed limit is closer to what people are already actually driving, then that means fewer tickets that have to be written. I’m not sure how writing fewer tickets is a GOOD thing for the police department — what else are they going to do all day in Orem? — but I’m certainly in favor of fewer of them being written to me.

Discussion question: If the speed limit is changed to 35, will people keep driving 35, or will they go even faster?

Answer: I will go faster. I hope they do raise it to 35, because then I can drive 45. I always drive 10 mph above the speed limit. If the speed limit were infinity, I would find a way to drive 10 more than infinity — and yes, I’m aware that would destroy all current mathematical theories. That’s how important speeding is to me.

But according to Orem transportation engineer Chris Tschirki, I am in the minority, not just in my disregard for physics, but in my philosophy toward speeding. He told the Daily Herald that most people drive at speeds they’re comfortable with, regardless of the speed limit. So if they’re currently comfortable with 35, they’ll continue to be once the limit changes. All that will change is that they won’t be speeding anymore.

The city has scheduled an open house for April 24 to discuss the possible speed limit increases. Here residents can voice their opinions in a logical manner and then yell angrily at one another for disagreeing. Religion will probably get dragged into it, too. (“Why is everyone speeding when they purport to believe in obeying the law of the land?” “What about the scripture that says to go about your business ‘quickly and efficiently’?” “Why are you making up scriptures?”) The meeting, unfortunately, is being held at the Orem Senior Friendship Center — you’ll notice the words “senior center” there, which means the deck is stacked against the speed limit being increased, unless lead-foots like me show up and outnumber them. Allow ample travel time, because you never know who you’ll get stuck behind on the way.

Phone Booth

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Maintaining his reputation as one of Hollywood’s most inconsistent directors, Joel Schumacher bounces back from last year’s “Bad Company” debacle with the excellent “Phone Booth,” a tight, suspenseful little drama whose moralistic streak is downplayed while its sweaty tension is played up.

Colin Farrell, who had his breakout role in Schumacher’s “Tigerland” (2000), plays Stu Shepard, a manipulative Manhattan publicist who, as one observer says, “puts the ‘ho’ in ‘show business.'” Bustling around mid-town at a break-neck pace, he is dogged by his eager young assistant Adam (Keith Nobbs), who has another cell phone call lined up for him as soon as he’s finished the one he’s on. Adam is learning the tricks of the trade, which, coincidentally, involve a lot of trickery and a lot of trading.

Lying is part of Stu’s job, but you get the feeling he became a publicist because he’s a good liar, not the other way around. He certainly enjoys fibbing enough to practice it at home, where his beautiful wife Kelly (Radha Mitchell) has no idea he’s been flirting with Pamela (Katie Holmes), a naive young actress who doesn’t know Stu is married.

Stu never uses his cell phone to call Pamela, instead visiting a phone booth — one of the last of its kind, and scheduled for replacement — at 53rd and 8th. He tells her it’s because it’s quieter, but the real reason is that Kelly sees his cell phone bill and might get suspicious. (That’s silly, of course. If it’s his business cell phone, why would his wife examine the bill? And even if she did, wouldn’t there be a lot of numbers being called regularly — clients and such — and not just Pamela’s? And couldn’t Pamela BE a client?)

After completing one such phone booth visit, the pay phone rings and, instinctively — no one can resist a ringing phone — Stu picks it up. The voice of Kiefer Sutherland tells him if he hangs up, he will shoot him. The caller is perched somewhere above the site with a high-powered rifle. To demonstrate, he obliterates a street vendor’s toy robot mere inches from Stu’s foot.

Thus begins the stand-off, shot in real time (just like Sutherland’s TV show, “24”) and soon involving the police and news cameras, thanks to an uncooperative pimp being picked off by the sniper, a crime blamed on the altogether gun-less Stu. But if Stu tells the police what really happened, or if he hangs up the phone, he’s a dead man.

Schumacher, working from Larry Cohen’s fat-free script, keeps the pace moving rapidly in what is essentially a one-act story. He doesn’t have much to say about the joys and pitfalls of 21st-century convenience, but he at least identifies them. At one point, Stu is on the phone with both Kelly and the caller while a band of hookers harasses him from outside the booth, everyone talking at once in a fever pitch of modern-life insanity. And we realize it’s not too different from having someone on the phone and a salesman at the door while the kids holler for snacks and your husband wants to know where his shirt is.

Note also the intrusiveness and prevalence of video cameras. Kelly and Pamela both learn of Stu’s standoff by seeing it on TV, and the police (led by Forest Whitaker) acknowledge that the presence of tourists with camcorders is what’s keeping them from just shooting Stu and getting it over with.

Farrell’s performance is key, as he is on the screen almost every second. He is charismatic enough to be likable, and slimy enough as a publicist to be compelling, and he’s almost convincing in morphing his Irish brogue into a New York accent. Schumacher favorite Sutherland — this is his fourth film with the director — uses only his voice, but it’s a distinctive, unsettlingly calm one.

Though it heads down the road previously trod by “Seven” and other films in which psychos find sinners and punish them, “Phone Booth” abandons that idea without fully developing it. As such, there is not as much satisfaction over the resolution as there ought to be, and I’m not certain the final outcome is actually possible, as I think it requires the caller to have been in two places at once.

But no matter. It fully exploits the tense possibilities of the situation, very nicely providing popcorn thrills in the process. I, for one, will never answer a pay phone again.

What a Girl Wants

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“What a Girl Wants” has a man and a woman from two different worlds at odds with each other, even though there is great love between them. Eventually, their differences get the best of them and they split up, at which point we see scenes of them missing each other, set to a trendy pop tune. Then there is an apology and reconciliation in a public setting, and they all live happily ever after.

What separates this film from the romantic comedies that use this plot is that “What a Girl Wants” is not a romantic comedy. The woman is a 17-year-old girl, and the man is her long-lost father.

I mention this not to creep you out — it’s really only the final moments where the similarities between this and the rom-coms become obvious, and I’m sure no subtextual weirdness was intended — but to observe how useful the rom-com template is. Here it is being used in a film about a girl looking for her dad, with no romance to be found. Whoever invented that plot formula, kudos! You should be earning royalties on about half the films Hollywood produces.

Most surprising about “What a Girl Wants” is how much I enjoyed watching it. I’m not a 14-year-old girl, nor am I a fan of movies made for 14-year-old girls, nor am I even a fan of 14-year-old girls themselves — but here’s this film, a pretty breezy excursion into the world of What Girls Want (they want cute boys to like them, and they want Colin Firth to be their dad), and I was charmed by it more than I was annoyed. That’s not high praise, I realize, but please understand that for me to enjoy anything associated with 14-year-old girls — one of my least favorite groups on Earth — means something noteworthy must have occurred.

Amanda Bynes, star of Nickelodeon’s “All That” and “The Amanda Show,” plays Daphne Reynolds, a 17-year-old New Yorker who has spent her entire life wondering about her father. Her free-spirited mother (Kelly Preston) has given her the basic facts: She and Dad were married briefly, but then she took off, before he even knew she was pregnant. The movie is not clear at first on what prompted the separation, nor on why Mom and Dad, despite knowing one another’s whereabouts, have made no attempt in 17 years to clear up whatever misunderstanding there was. At the very least, Mom ought to have told Dad he was a dad, you know?

At any rate, Daphne somehow obtains a passport and a lot of money and flies to London, where Dad — Sir Henry Dashwood (Colin Firth) — has recently given up his seat in the House of Lords to run for public office as a commoner. This is the movie’s way of telling us up front that though he is an upper-class Brit, he’s not a snob. His fiancee (Anna Chancellor) and future stepdaughter (Christina Cole), on the other hand, are exactly the sort of twits we expect our Limeys to be, and it is they who are most in need of Daphne’s lessons on how to loosen up and be more cool, like Americans. (It’s a variation on another theme we see in movies a lot lately, the one where fun-loving black people teach stuffy white people how to relax.)

But anyway. Everyone’s surprised to learn Henry has a daughter, and a little shocked that he’s actually going to let her stay for the summer and treat her like a daughter. This means introducing her into high society, which means she has to embarrass herself at dinners and fall down a lot.

OK, I’m making the movie sound awful. I really did enjoy it, overall, and here’s why: the considerable charm of Colin Firth. The man is such a trouper that even when he’s performing fluff like this, he commits to it completely. There is no hint in his performance that he knows the film is beneath his dignity. I’m sure he does know, of course, but rather than becoming self-conscious about it, or hammy, like many actors would do, he gives as much of a performance as he would in something more legitimate. In so doing, he elevates the material a little, gives it a little spark. Veteran actress Eileen Atkins, as his open-minded mother, does the same thing, and bless her for it.

Amanda Bynes gets bug-eyed and slapsticky too often for my tastes, and I’m glad not to know when “The Amanda Show” is on, thus providing me a handy excuse for not having seen it. But we’ve already established this film wasn’t meant for me anyway. Despite her, there are a number of amusing scenes and situations, and several lines I would call genuinely funny. What’s good about “What a Girl Wants” is that it does everything its target audience wants it to do, but won’t be a chore for their parents to watch, too.

Levity

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There is probably a good film in “Levity,” but it’s hidden beneath layers of heavy-handed dramatizing and a large roster of tortured-soul characters.

Written and directed by Ed Solomon (who scripted “Men in Black” and “Bill & Ted’s Excellent Adventures,” among others), “Levity” moodily gives us Manual Jordan (Billy Bob Thornton), just released from prison after serving 23 years for a murder he committed in his youth. He keeps a photo of his victim on his wall and doesn’t think he deserves to be released. But out on the streets again, he returns to the town in which the crime — a robbery gone awry — occurred.

In solemn voice-over, Manual tells us he has no hope of redemption because the only way for that to occur would be for him to find himself in the exact same situation again and to act differently — and that, we know, is impossible. But he makes attempts, contacting the sister of his victim, a sassy single mom named Adele (Holly Hunter) and fumbling for some kind of friendship with her.

Thornton’s role is curiously similar to the one he played in “Monster’s Ball,” where he began a relationship with the wife of a man he had executed. His performance, however, is closer to “The Man Who Wasn’t There”: taciturn, somber and humorless. (The other characters in “Levity” remark on his inability to get a joke, in fact.)

Holly Hunter is in familiar territory, too, giving us another woman who don’t take no crap from no one. The rest of the cast is retreading ground, too, for that matter. Morgan Freeman plays a wisely mischievous inner-city preacher who helps Manual, and Kirsten Dunst plays a spoiled, charismatic teen-age girl who spends her nights getting drunk at a dance club.

The performances are all excellent, especially considering Solomon’s script gives them little to work with beyond some monologues and moments. What Freeman’s pastor is doing, exactly, is not clear — he seems to be somehow forcing teens into his shelter to hear him preach — and I’m convinced Dunst’s character didn’t even need to be in the film.

In additon, some of the details of the plot are a little too tidy. Adele has a teen-age son whom she has named after her deceased brother; guess which character in the film is in danger of being shot?

In the end, there has been abundant set-up and much angst, but little payoff or resolution. In his attempts at subtlety, Solomon has shot his film full of obscurity.

DysFunKtional Family

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I had long hoped that someone would make a film pointing out the humorous difference between white people and black people, and now Eddie Griffin’s “DysFunKtional Family” has done it!!!!!!!!!!

Comedy in film is subjective — what make me laugh might not make you laugh, and vice versa — and stand-up comedy is even more so. We can talk a little about less emotional issues like how the film was produced, whether the camera angles work, things like that, but what a concert film boils down to is: Do you think this person is funny?

I had few preconceived opinions on Eddie Griffin, having never watched his TV series “Malcolm and Eddie” and having found his film work a mixed bag. (“Undercover Brother” was very funny, but “Double Take” was mediocre.)

“DysFunktional Family” has Griffin back in his home town of Kansas City, Mo., and the bulk of the film is his stand-up act. He directs his comments primarily at a black audience, and your appreciation of them may depend on your falling into that category, though I — an extremely white man — laughed quite a few times, too.

I have a certain admiration for a comedian, like Griffin, who will blithely make jokes about anything, no matter how taboo. In this show, Griffin unapologetically expresses post-9/11 racism toward Arabs, makes jokes about (and does an impression of) retarded people, gives sample conversations between God and Jesus, and displays some rather un-p.c. attitudes toward gays, too.

He also gets in some good lines about Michael Jackson — his father, Joe Jackson, “beat those kids into superstardom” — and why inventors such as Alexander Graham Bell must have been on drugs (“I wish I could talk to someone who ain’t even here….”). Some of his funniest stuff comes from the humdrum topic of cats and dogs, largely because his impressions of these animals are filtered through his from-the-‘hood persona.

And, of course, he addresses sex, in very graphic terms.

Most of what he says throughout the show can’t be printed in reputable outlets such as this one; his use of the F word and N word is non-stop, and the latter word is used as punctuation, often both beginning and ending a sentence. Again, your tolerance of this will in large part determine whether you enjoy the film.

Director George Gallo (who directed Griffin in “Double Take, too) does more with the film than he ought to. Some of Griffin’s stories are “enhanced” with sound effects that distract more than help, and the inter-cutting between Griffin onstage and Griffin offstage, talking with his family, frequently disrupts the rhythm of the joketelling. I could swear a lot of the audience reaction has been sweetened with canned laughter, too. It just sounds unnatural a lot of times.

So there you have it. I laughed often. One of the critics sitting near me seldom laughed, another one laughed more than I did. The mostly black audience we watched with laughed more than any of us. Griffin is a talent, and he knows his audience. The film captures that more than anything.

A Man Apart

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I like Vin Diesel. Heaven help me, I like Vin Diesel. There’s something in his film persona that I find very entertaining. I can’t explain it, really. It’s like asking why chocolate tastes good: It tastes good because, well, it tastes good.

“A Man Apart,” however, does not taste good. Whatever appeal Diesel normally has is watered down in this flavorless cop film that refuses to stop until it has checked off every cliché on the list.

It starts out like “Traffic,” with Drug Enforcement Agency officers making busts, and a lot of locations — San Pedro, Calif.; Tijuana, Mexico; South Central L.A. — being identified by onscreen subtitles. Among the DEA officers is Sean Vetter (Diesel), who takes care to point out in narration that he and his teammates don’t look or act like cops because they themselves used to be street thugs who have gone straight. They know how criminals used to think because they used to be criminals.

They occasionally act like criminals, too. After a lengthy exposition, Sean’s doting young wife Stacy (Jacqueline Obradors) is murdered by a rising new drug lord called Diablo. This sends Sean on a path of rage and retribution, causing him to behave even less like a cop than he used to. This is a man who seems to think nothing of beating up suspects, and whose hotheadedness frequently causes arrests and busts to go awry. Granted, he’s a bit worked up over the murdered-wife thing. But a man this unprofessional — who lets his emotions get the best of him on the job this often — should probably give serious thought to career counseling.

This movie has a scene where Sean must turn in his badge because he’s a loose cannon, a guy with nothing left to lose, a one-man wrecking crew, a ticking time bomb. The presence of this scene in any film is usually a clear indication the film is going to be bad.

F. Gary Gray (“The Negotiator”) directs “A Man Apart” without distinction, letting Christian Gudegast and Paul Scheuring’s dull script spill onto the screen unencumbered by flair or imagination. The plot is slow-moving, to say the least, and when it does move, it’s moving the way every rogue-cop movie since “Dirty Harry” has moved.

And then there’s Vin Diesel. Give him credit for trying to cross over from silly action flicks like “The Fast and the Furious” and “XXX” to something with a little emotion to it. Maybe he’s even capable of exhibiting some. He’ll need a better story than this, though. Not even Laurence Olivier could bring depth to this derivative mess.

The Man Without a Past (Finnish)

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From watching European films, one would get the impression it is an easy thing to wander off a train in a strange town, find someplace to live, get a job and a girlfriend, all while experiencing amnesia. If these exact things haven’t happened in films besides “The Man Without a Past,” events similar to them certainly have. It’s that European sense of whimsy and surreality that we Americans find so quaint. That, and the funny accents.

I have already told you the plot of “The Man Without a Past,” a pleasant, trifling little movie written and directed by Finnish filmmaker Aki Kaurismaki. The man in question, whom the film calls M (Markku Peltota), comes by the amnesia via a severe beating he receives at the hands of Finnish ruffians immediately upon disembarking the train. Have the Finns allowed their train depots to become targets for hooligans? Helsinki always struck me as such a sedate, friendly place. But I guess Kaurismaki knows the city better than I do, considering he lives there and I’ve never even visited. If he says people get jumped for no reason other than that they just got off a train, so be it.

Anyway, M can’t remember anything, which makes it hard to get a job, which leads to him taking up residence in a shack on the outskirts of town with a very nice family of poor people. “Let’s go out to eat,” they say, and they all go to the Salvation Army’s soup kitchen.

It is there that M meets Irma (Kati Outinen), a lovely Salvation Army volunteer whom he becomes attracted to. They flirt; they date. Along the way M finds an abandoned jukebox, encounters the world’s friendliest attack dog, and just generally has the sort of misadventures people always have in these mildly wacky European films. You don’t laugh a lot at the movie, but you do maintain an agreeably bemused stance.

Marku Peltota is a middle-aged, craggy-faced protagonist with a likable demeanor. The film hints playfully at themes of rebirth, even referencing rebirth movies like “Frankenstein” and “The Mummy” in the way M rises from his near-dead state after the beating, and Peltota is up for any shenanigans Kaurismaki sees fit to throw his way. It’s a film you’ll enjoy, even if, M-style, you forget all about it afterward.

Spellbound (documentary)

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The Oscar-nominated “Spellbound” owes its title to its subject, which is the 1999 national spelling bee. It is also an apt description of an audience watching the film, however: rapt, enthralled, enjoying every minute. I almost hate to tell you it’s a documentary, because I’m afraid you won’t believe me that it’s the most entertaining, suspenseful film I’ve seen all year.

The national spelling bee finals began with 249 kids, of which first-time filmmaker Jeffrey Blitz shows us eight. (One presumes he filmed more and chose the best ones for the final cut.) The major types are presented: Angela is an assuming Texas girl, the daughter of Mexican immigrants who work on a ranch for two half-deaf old racists; Nupur is a native of India, now living in Tampa, where the local Hooters restaurant wishes her “congradulations” on making the finals on its marquee; Ted, a taciturn middle-class Missouri kid, had never heard of the bee before his teachers introduced him to it, and he and his parents treat it as a fun event but not the end of the world if he loses; Emily is a precocious, wealthy Connecticut girl who wants to COMPETE and who plans to ring her au pair on the trip to Washington D.C.; Ashley lives in D.C., the determined daughter of a single African-American mother who works two jobs; Neil is another Indian kid, this time with seriously intense parents whose drive to help him win is astonishing; April’s a quiet thing with wacky Pennsylvania parents who put up stickers that say “bee yourself” on the fridge; and Harry is an Uber-nerdy Jewish kid in New Jersey who, like many too-smart boys his age, thinks he’s 1,000 percent funnier than he is.

There, ladies and gentlemen, are your finalists.

Four of them make it to the final 10, and I wouldn’t even dream of hinting at whether one of them wins, because “Spellbound’s” second half is all about the suspense. Reversals come from out of nowhere, and a dark-horse favorite emerges from beyond the ranks of the eight featured contestants. When hard words come up, we flash to pre-bee material to build the tension. The audience I saw the film with held its breath and was palpably relieved when the word was spelled correctly — or saddened when it wasn’t. It’s unpredictable precisely because it’s real life, and real life doesn’t always follow the conventions of storytelling. The person you think is going to win doesn’t always win.

Blitz captures it all with an eye for the drama and — especially — the humor of real life. He doesn’t pass judgment on anyone, but there’s a sly wit at work. Pretty much every scene in April’s house, for example, includes a lazy dog sprawled on the floor, and it becomes funnier each time you see it. You can’t write comedy like that.

Many of the contestants remind me of Lisa Simpson: too smart for their surroundings, and automatically isolated because of it. I mentioned the girl whose local Hooters wished her well. In addition, Ashley’s mother says, “I’m not thinking pestimistically (which is not a word), I’m thinking optimistically.” Angela’s situation in Texas, with her the hilarious old ranch owners, makes me laugh and cry. Most of these kids are smarter than their parents, I’d wager, and certainly smarter than their friends. The bee is a place for them to, well, “bee themselves,” though one past winner notes in an interview, “I don’t think it really helped me in my love life. That sort of thing could be regarded as a liability.”

The Good Thief

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One of the highest compliments you can pay a film is to say that you truly want to know what’s going to happen to the characters.

This was the case with me and “The Good Thief,” Neil Jordan’s noirish heist movie starring Nick Nolte as an aging, drug-addicted gambler. I was watching the film in an uncomfortable theater and had an appointment I realized I was going to be late for if I stayed for the entire film. But I couldn’t bear to leave early: I genuinely cared about Nolte’s character and hoped he’d find the redemption he was seeking, and I was also worried about his friend Paulo (Said Taghmaoui), a gentle, sweet fellow who had gotten into some serious trouble and was in great jeopardy.

So I stayed, and though the movie is not spectacular, it is effective enough to warrant watching it, and pays off well enough to justify the attention it requires.

Nolte plays Bob Montagnet (this is a remake of the 1955 French film “Bob le Flambeur”), an oft-arrested Monte Carlo gambler/junkie who is, in the time-honored tradition of these movies, dogged by a relentless cop, Roger (Tcheky Karyo). He insists he’s keeping his nose clean; Roger doesn’t believe him; they maintain a wary friendliness around each other, like a cat and mouse who have somehow grown up as pets in the same house.

In another time-honored tradition, Bob is persuaded to do One Last Job, a major heist of some priceless art housed in a casino. Following some more traditions, he assembles a motley crew of assistants, including a set of twins (a brilliant idea, for reasons I won’t spoil) and a transgendered ex-con. The aforementioned Paulo is involved, too, and has troubles of his own.

The screenplay (written by Jordan) has a lot of dialogue that has been forced into archness, as if he had people speaking normally at first and then went through with a computer program and replaced the regular words with jazzy slang. It fits the smokey, bluesy cinematography and settings, but seldom sounds natural.

But through it all, Bob and company manage to convey real characters. It is, in the end, little more than a double-crossing caper film — except that Bob’s goal is not to find riches, but to find redemption. A superficial addition in some films, but it seems to mean something here in Nolte’s captivating, vulnerable performance.

Protest Too Much

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Everyone thinks they know everything. Regular people think it matters what celebrities say, celebrities think they know more than President Bush, and President Bush thinks Qatar is a musical instrument.

But I kid the leader of the free world. The truth is, though I don’t believe this is necessarily true in all cases, when it comes to foreign policy, Bush almost certainly knows more than I do. He has access to sensitive information and top-secret debriefings; I can barely even read. It’s his job to know what’s best for this country, and I have no choice but to assume he’s doing his job. If he proves to be incompetent, I can fire him by not voting for him in 2004, the same way I didn’t vote for him in 2000. I can also dock his pay by refusing to pay my taxes. But for the time being, he’s the man who was elected by a substantial chunk of voters — almost 50 percent! — to lead the United States. What makes us think we know better than he does how to lead?

Which is why I don’t get the protesting. Do we think Bush is going to hear about the protests and say, “What? Some people are against the war? Well, heck, we’d better pull out, then.” Is that the reasoning? Do people walk around during their daily lives and think, “I know Bush has advisers, experts and diplomats to help him make informed decisions … but what about MY opinion? Does he know what I think?”?

I understand the principle behind it: In America, we have the right to express our opinions. And I fully support that, but you know what? The expression of your opinion should not block traffic, nor should it end in your arrest. Opinions whose expression requires being fingerprinted afterward are opinions that maybe ought to be reconsidered. Perhaps it would not betray your integrity too much if you came up with a set of opinions that could be expressed from the comfort of your own home, or at least from the sidewalk. I’m just sayin’.

Besides, now that the war has started, the time for protest is past. What is the point now? Do you honestly think the best thing would be for Bush to say, “Whoops, I messed up,” and pull the troops out? Now that we’re in it, right or wrong, we have to finish it. The thing to do now is support the troops and hope for a quick resolution. I have no qualms about saying unequivocally that protesting is a complete waste of time.

As with many issues, there is madness on both sides. First, let’s discuss Michael Moore’s shenanigans at the Oscars last week. Upon winning the prize for best documentary, Moore — who had somehow been crammed into a tuxedo but had still refused to shave, on the grounds that any attempt to render himself presentable is a wasted effort — gave the following speech, transcribed verbatim:

“On behalf of our producers Kathleen Glynn and Michael Donovan from Canada, I’d like to thank the Academy for this. I have invited my fellow documentary nominees on the stage with us, and we would like to — they’re here in solidarity with me because we like nonfiction. We like nonfiction and we live in fictitious times. We live in the time where we have fictitious election results that elects a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons. Whether it’s the fictition of duct tape or fictition of orange alerts we are against this war, Mr. Bush. Shame on you, Mr. Bush, shame on you.”

We will ignore his use of the made-up word “fictition” for approximately one second, and then we will talk about it.

“Fictition”? Come on, Michael. If you have an audience of 1 billion people, and you have something to say that you think is important — something you’ve obviously planned in advance — go ahead and take the time to learn some actual English words with which to express yourself. In fact, I will add that to my previous list: If your opinion is so bizarre that it requires the manufacture of new words just to convey it, then maybe you need to take it down a notch.

What is galling is not that Moore opposes the war, but that he presumes to speak for everyone. His speech was met with many loud boos in the audience, which Moore later insisted were from only five or six people — which is clearly wrong to anyone who witnessed the event — and that they were his friends and family, urged by him to boo in order to create diversity. In other words, even when half an audience vocally expresses its disagreement with him, he refuses to acknowledge that anyone disagrees with him. This is insane behavior.

Our other example of extreme conduct comes from Portland, Ore., which is the most beautiful city in the world, as you know if you have ever spoken to a Portlandian for more than five seconds, which is the maximum length of time a Portlandian can go without telling you how beautiful Portland is. Personally, I think Portland smells too much like hippies.

Anyway, according to The Oregonian, a newspaper whose name always makes me giggle, Portland Fire Bureau officials last week ordered U.S. flags removed from fire engines, “concerned that their presence might provoke dangerous confrontations with antiwar demonstrators.”

In other words, officials decided that since antiwar protesters are upset with America’s current administration, they probably hate America in general, and therefore also the flag. One assumes firefighters were instructed not to carry apple pies, baseballs or their mothers around with them, either.

Now, apparently Portland demonstrators have been burning flags up there, the idiocy of which I’m sure is apparent. But what difference does that make here? Was the fire department really afraid someone was going to try setting a fire truck on fire? And if they did try it, wouldn’t the comedy of the situation make it worthwhile? Fortunately, the fire department changed its mind the next day, and flags are back on the trucks now.

Times like these inspire people to overreact (though, in fairness, people overreact a lot during regular times, too). Let us all take a step back, calm ourselves, and remember that regardless of whether President Bush has done the right thing, regardless of whether he was even legally elected in the first place, one thing is indisputable: “Qatar” is a funny name for a country. I hope we never have to attack them.

Head of State

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The trouble with the films prior to “Head of State” that have had Chris Rock in major roles is that they have not used the comedian’s considerable talents properly.

In his stage shows, his young face serves as a stark contrast to his intelligent, caustic humor; he is somehow both innocent and devious simultaneously. But in his films, he has generally been rendered one or the other, usually silly and comedically impotent.

In “Head of State,” Chris Rock has finally found a leading role that suits him. He plays a low-level city alderman called upon to run for president by schemers who intend for him to lose. Unaware of the ploy, he is innocent. But as co-writer and director of the film, Rock also gets to be devious — and as his character catches on, his knack for biting social satire is put to good use.

Rock is Mays Gilliam, the busiest alderman (what does an alderman do, anyway?) in Washington, D.C., in a neighborhood so bad, “you can get shot while you’re getting shot.” He’s a true man of the people with mild political aspirations, but generally happy to help his neighbors.

In the midst of the 2004 presidential election, one party’s candidate — no political parties are ever named — and his running mate die in a plane crash. The party’s heir apparent, Sen. Arnot (James Rebhorn), knows he doesn’t stand a chance of winning if he runs, because the opponent is the current two-term vice president. But in 2008, he’ll have a chance. So all he has to do now is put in a filler candidate for this election — someone who definitely won’t win.

With Mays having recently been a local hero for saving a woman and her cat from a demolished building, ____ sees his picture on TV and decides this is the low-level politician they need to be their losing candidate.

It will not surprise you to learn that, once the campaign begins, Mays starts to gain popularity, due to his no-nonsense, down-to-earth style. The story is old, and it makes little sense — why shouldn’t Arnot run for president himself, even though he knows he won’t win? — but it gives Rock and co-writer Ali LeRoi opportunity to skewer the election process and politics in general. The humor does not succeed in every instance, but it connects more often than it misses.

Rock is likable, as always, and while his directorial vision may be scattershot at times, at least it’s something different. He also had the good sense to cast Bernie Mac as his brother and running mate. Any time Bernie Mac is on the screen, the film becomes twice as funny as it was before. I would pay money to re-view the scene where he slaps a series of lobbyists, and his altercations with TV journalists are priceless.

There are several running jokes, including Mays’ opponent’s motto of “God bless America and no one else” and Mays’ immediate access, at all times, to security personnel. They bespeak a certain jollity that is infectious: For all its cutting commentary on American politics, this is a very sunny, idealistic film. It is in the spirit of all the other films that have suggested one man can buck the system and make a difference, and I suspect that’s a notion that will never go out of style.

The Core

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In the spirit of “Armageddon” and all the loud, dumb disaster flicks before it comes “The Core,” in which scientists bore through rock and magma to reach the center of the planet, start the core spinning again, and save the world. You would think such endeavors would occupy every part of a person’s mind, but these terranauts are so good that, even when facing imminent doom, they can still find time to fall in love.

Yes, it’s THAT kind of movie, full of questionable science, macho men and manly women, and a big, brassy musical score underlining the importance of it all. It has men in crisis yelling things like, “Surely you compensated for the MRI bias!,” with the men being yelled at completely understanding what they’re talking about.

It begins with a few twists of originality, suggesting we are in for something more witty than the standard fare. First, 32 people in Boston keel over dead simultaneously when their pacemakers suddenly stop working. (They account for about half the humans visible in the scene, which seems to me like a high percentage of pacemaker recipients. But hey, I don’t even know what an MRI bias is.) Then, in London, thousands of birds lose their balance and begin flying pell-mell into windows, walls and people.

The reason for all the disturbance is that the electromagnetic field around the earth is falling apart. This is bad because it makes pacemakers stop and birds go crazy, obviously, but it will also allow the sun to roast the planet within a year. This is graphically demonstrated in a meeting with stern-faced government officials in which one scientist holds up a peach and a cigarette lighter, and another scientist sprays air freshener through the flame, setting the peach/Earth on fire.

Before that happens, though, there are massive disturbances like lightning storms and heat waves, which destroy some of the world’s landmarks. This is because natural disasters are always attracted to landmarks, rather than to ordinary buildings like bakeries and video stores.

The electromagnetic field is failing because the earth’s core has stopped spinning. It will therefore be necessary to journey to the center of the earth, jump-start the core with — what else? — nuclear devices, and high-tail it out of there.

Aaron Eckhart, whose meaty face and bulky physique suggest he was born to play an action hero, is Josh Keyes, the professor-turned-adventurer who leads the expedition core-ward. Joining him are astronaut extraordinaire Rebecca Childs (Hilary Swank), her no-nonsense commander Iverson (Bruce Greenwood), pretentious scientist Dr. Zimsky (Stanley Tucci), French weapons expert Sergei Leveque (Tchéky Karyo), and maverick scientist Braz (Delroy Lindo), who has built a subterranean craft out of an indestructible new element he calls “unobtainium.”

Once the actual mission begins, the film becomes considerably less interesting; the inside-the-earth scenes are hard to conceptualize, much less show with CGI and models. There are the expected heroics and martyrdoms, quarrels and resolutions, one-liners and kisses. It is not, as Iverson says at one point, going to be subtle, and it’s certainly too long, but it is a decent bit of silly fun.

Basic

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There’s a game you see sometimes at improv comedy shows called, depending on the troupe doing it, “Faster Faster” or “Half Life.” In it, the actors improvise a scene one minute in length, then re-do the scene in 30 seconds, then again in 15, then in seven, then 3 1/2. The comedy comes from seeing them scramble not just to remember what they did, but to do it in half the time.

“Basic,” which is not a comedy but should have been, is structured the same way. The first pull-the-rug-out-from-under-you plot twist comes, say, 50 minutes in. The next one comes 25 minutes later, then 12 minutes, then six, then three, and so on. By the time the film ends, the twists are coming at a dizzying pace, and none of them make a damn bit of sense.

John Travolta, in a continuing effort to re-destroy his career, plays Tom Hardy, a DEA agent hanging out in Panama doing I forget what. He’s been disciplined for allegedly taking bribes and is what movies call a “loose cannon.” His old Army buddy, Bill Styles (Timothy Daly), calls him in to investigate the death of Sgt. West (Samuel L. Jackson), a sadistic trainer of rangers who, coincidentally, once tortured Hardy himself.

West died during a training exercise in the jungle, as did a few of his trainees. The survivors are Kendall (Giovanni Ribisi), now dying of bullet wounds, and Dunbar (Brian Van Holt), in fine health. The two have contradictory accounts of what happened, and there are more accounts yet to come, much to the frustration of Hardy and Lt. Julia Osborne (Connie Nielsen), who is upset that an outsider has been brought in to interrogate the witnesses when she could do it just fine herself, thank you very much.

Also, Harry Connick Jr. plays an Army doctor who is a former lover of Osborne’s and a pal of Hardy’s and a few other things that would be considered spoilers if I told you what they were.

The screenplay, by James Vanderbilt (“Darkness Falls”), is a silly exercise in movie tricks. Let’s put a twist here! Let’s have an unreliable narrator there! The director, John McTiernan, who will never be forgiven for “Rollerball” (2002), cannot yield much that is worthwhile from the script, nor from his cast, which has a few talented people among it.

And yet, the film is not without redeeming qualities. Despite its many impossible twists — or perhaps because of them — it is an enjoyably dumb film, the sort of thing that is entertaining for all the wrong reasons. It’s never dull, that’s for sure, the same way interesting dreams are never dull: It may not adhere to any recognizable logic, but it’s a lark while it lasts.

Raising Victor Vargas

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“Raising Victor Vargas” is one of the most deliciously authentic films I’ve ever seen. It’s set in the Lower East Side of Manhattan during a hot summer, and you can practical smell, taste and feel it: The kids are out of school, the families live in small apartments in huge buildings, the streets are crowded. The film was shot in real locations, and real people fill the scenes.

Peter Sollett, the writer and director, based this on his 1999 short film “Five Feet High and Rising,” which in turn was loosely based on his own upbringing — except that Sollett was raised in a Jewish/Italian neighborhood of Brooklyn, not an Hispanic section of Manhattan. The Sundance Screenwriters Lab helped him assemble the script, and he allowed his actors — most of whom hail from the very neighborhoods he’s writing about — to improvise and grow into their roles.

The result is an utterly charming slice-of-life picture that is as joyful and real as anything you’ll see any time soon. It is full of natural humor, the stuff of everyday life, without a single set-up or punch line.

The subject is young love. Teenager Victor Vargas (Victor Rasuk) claims to be an expert in it, though like many hot-blooded young Latin men, he is more talk than action. He embarrassed at the film’s beginning to have been discovered fooling around with a girl called Fat Donna (Donna Maldonado), for surely a stud such as he could do better.

Soon enough he has done better, semi-successfully wooing neighborhood hottie Judy Ramirez (Judy Marte), whose chubby little brother Carlos (Wilfree Vasquez) has a crush on Victor’s self-assured younger sister Vicky (Krystal Rodriguez). Victor agrees to set Carlos up with Vicky in exchange for Carlos arranging a meeting with Judy. As you can see, love is a complicated thing in the barrio.

Victor, Vicky and the brother between them, Nino (Silvestre Rasuk), live with their ancient Dominican grandmother (Altagracia Guzman), a fiery, no-nonsense woman who believes Victor’s romantic shenanigans make him a bad kid. In truth, as hormonal as Victor is, he’s at least sincere. What he goes through — indeed, what all the characters go through — is instantly identifiable.

I love the details of this film. They are perfect. The dress Judy wears when she comes to Victor’s apartment for dinner is exactly what a girl of her background in that neighborhood at that time would wear, and Victor’s behavior around her could have been taken from surveillance footage of any teenage boy.

The performances, too, hardly seem like performances, and I suspect some of them are not. Most of the cast has not appeared in movies before; Altagracia Guzman, as far as I can tell, is just playing herself, not some fictional grandmother someone made up for her. She’s wonderfully feisty and believable, and so is the movie.

Archipelago

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“Archipelago,” LeeAnne Hill Adams’ intriguing new play premiering at Brigham Young University, is theater of obligation. “We have a duty to the dead,” the actors intone stoically. “We must tell their story. ”

Well, a play written out of perceived responsibility is liable to seem over-earnest and crusade-y, and “Archipelago” suffers a bit from that, often, despite occasional bursts of humor, coming off as morbidly self-serious. But Adams — whose outstanding first work “Yellow China Bell” was produced at BYU last year — is a good enough playwright not to be ensnared by such pitfalls. If it’s sometimes too much like the thesis paper of an impassionated liberal-arts student, it’s even more frequently the insightful, poetic creation of a bright and sensitive mind.

Based on survivor accounts, the play is set in the 1930s in Kolyma, one of Stalin’s gulags in remote Russia. Millions died in the chain of labor camps — what Alexander Solzhenitsyn called “The Gulag Archipelago” — and Kolyma was among the worst. Stalin sent “counter-revolutionaries” to the camps, where men and women alike did back-breaking work all day in arctic weather, most of them eventually succumbing to cold, hunger or sickness, though many were simply executed, too.

In order to preserve a sense of humanity, some prisoners produce a play — Nikolai Gogol’s “The Inspector General” — encouraged by knowing that, due to Stalin’s fear of educated, well-read people, their captive audience will be one of the most intelligent congregations in the entire Soviet Union.

But that is merely the through line. Plot is not important; telling the story of the dead — our duty, after all — is. The play is rife with doleful monologues recounting the horrors of the camps, interspersed with surreal boardroom scenes of Stalin and his buffoonish cronies plotting against counter-revolutionaries and each other. (Stalin himself is present but never speaks, standing to one side in a neutral mask that makes him look a good deal like Michael Myers in the “Halloween” films. It’s creepy.)

The play’s structure allows for much theatricality and experimentation, and director Rodger Sorensen is more than happy to explore. He is particularly fond of the text’s Brechtian elements, constantly reminding the audience they’re watching a play, sometimes through conventional means like having no backstage space and letting characters talk to the audience, and sometimes through more unusual methods like introducing multi-media into the mix. We see a pro-Stalin propaganda commercial, and some scenes are broadcast on monitors by surveillance cameras set above the stage. At one point, through Terry Gilliam-style animation, Marx and Lenin engage in a heated ideological debate. The Clinton/Dole debates on “60 Minutes” should be so entertaining.

Whether Sorensen’s innovations add to Adams’ text is open for debate. I will begin the debate by suggesting they do not. “Archipelago” is a play about stories, and the multi-media elements point out that stories can be told in different ways — but so what? This isn’t “Rashomon,” where there are conflicting accounts and different points of view. Why show the stories from different angles literally when that’s not being done figuratively? The gimmicks are cool, and maybe that’s enough, but maybe they also distract from the play’s basic, more soulful intentions.

The 13 cast members play a few dozen characters; as is frequently the case, they accomplish this with varying degrees of success, depending on their experience and talent level. Diane Rane has the lead as Nina Hagen-Torn, a poet who was sent to the gulags twice. Rane is perfect in the role, giving it the right spin of dignity and hope — the central image of what the play is about.

She is joined by Joni H. Clausen as a fellow prisoner badly treated by the guards, and by Logan Miller, who plays an imprisoned actor. Both give compelling, stand-out performances.

Kreg Peeler’s sound design, Jenni Nelson’s sets and Michael G. Handley’s lighting are all used to great effect, suggesting that, no matter how good a cast may be, an uncommon theatrical experience like this one makes use of every resource available.

A Little Good News

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People complain that the media never reports “good news,” but you have to admit, when we do cover it, we cover the heck out of it. We cover it until it is in danger of being suffocated and begs us to please stop covering it. And then we cover it some more, because we’re twisted like that.

Hence the non-stop, wall-to-wall coverage of Elizabeth Smart’s sudden reappearance 11 days ago after being missing for nine months. You don’t often see joy within the media as unrestrained as it was those first couple days, as we, with the rest of the state, were astonished and grateful that such a miracle had occurred. We’re human, too, you know, some of us.

As always, TV was people’s first, most immediate news source, doing what TV does best: conveying the least amount of information the greatest number of times. In the absence of actual new facts, TV reporters are forced to repeat themselves frequently during ongoing live coverage. And when the event has them as flabbergasted as this one did — seriously, you could see their flabbers being gasted right there on television — it only adds to the merriment. To me, it makes the reporters seem more like regular people, and less like blow-dried mannequins that have somehow been taught to read.

Newspapers were eager to share the news, too, often in a rush to do so. One newspaper that we’ll call the Shmaily Shmerald ran this headline on a follow-up story: “Investigators Plan to Get Full Story.” Well, it’s good to know they’re going to get the FULL story, and not just stop once they’ve caught the gist of it. (“Hold it right there,” they tell Elizabeth, putting their hands up in protest and chuckling. “That will be quite enough, thank you.”)

And so everyone in the state, and many people throughout the world, rejoiced together. Elizabeth was home, alive and in good physical health. We were, at first, unaware of some of the darker, more despicable things that occurred during the ordeal. There will be problems for her and her family to deal with for a long time. But the important thing was that she was home.

I don’t think anyone imagined this scenario. Most people assumed, sadly, that she was dead. Others wondered if she had run away. No one ever thought she’d been abducted by a delusional hobo suffering from religious hallucinations. In retrospect, it should have been obvious, considering that the most recent census indicates insane zealots make up 12 percent of Utah’s population. And sure enough, it turns out to have been just such a crazy person, Brian David Mitchell, who is accused of taking Elizabeth from her Salt Lake City home last June. Police are still determining the details, but apparently Mitchell is a prophet, known as Emmanuel, whom God told to take seven wives in addition to the one he already had, and Elizabeth was to be the first.

Naturally, since this is Utah, you knew polygamy had to be involved somehow.

I realize Mitchell has yet to stand trial, and far be it from me to criticize someone else’s religious beliefs, but Mitchell is an evil lunatic who deserves slow, lingering death. If he’s a prophet, I’ll eat my hat (or, if it turns out I do not own a hat, the hat of your choosing). I can’t quote chapter and verse, but I’m sure the Bible indicates true prophets don’t kidnap people. God’s ways are mysterious, but he doesn’t generally encourage his followers to terrorize children. And while it’s hard to know what sort of behavior is appropriate for a prophet, I can guarantee shoplifting is not on the list.

It is interesting how the Smart family’s generosity wound up creating problems for them. Mitchell had been hired as a handyman to do a bit of labor on the Smarts’ palatial Salt Lake home a year before the kidnapping; that’s how he had seen Elizabeth. Another itinerant laborer, Richard Ricci, had done similar work and was the chief suspect in the case until he rather inconsiderately died in prison last year. The Salt Lake Tribune reported that prior to Elizabeth turning up, police still had 50 “homeless, transient types” to interview who had worked at the Smart home over the past year.

First of all, what is WRONG with this house that it requires some kind of repair EVERY SINGLE WEEK? Man alive, cut your losses and move to a condo.

But more to the point, while it’s admirable that the Smarts liked to help people by giving them work, 50 bums in a year is a lot of bums to be doing favors for, especially if the favors include inviting them over to your house.

The world is a curious place. The Smarts behave charitably and suffer for it. An evil man without conscience or morals torments a family because he thinks God wants him to. God, for reasons of his own, waits nine months before answering the family’s prayers. None of it makes much sense. But she’s home now. That this is a happy occasion is the one thing, maybe in all of history, that every Utahn can agree on.

View from the Top

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“View from the Top” stinks like it was made by rank amateurs, and particularly incompetent ones, at that. And yet it stars Gwyneth Paltrow, Mark Ruffalo, Mike Myers, Candice Bergen, Rob Lowe and Christina Applegate, all of whom can get better work if they want to. The director, Bruno Barreto, has made more than a dozen films in his native Brazil, and a couple in America, too. Only the screenwriter, Eric Wald, is brand-new — and indeed, it’s the screenplay that’s the most worthless.

What Wald did to convince someone his script was worth producing is beyond me. I assume witchcraft was involved. I am honestly baffled in my attempts to determine what this movie was supposed to be. It reads like a romantic comedy: A girl from a small town follows her dreams of becoming a stewardess and seeing the world, finding love along the way. But it has far more scenes dealing with the woman’s career than with her boyfriend. Those scenes would naturally be the “comedy” part of the romantic comedy, except they aren’t funny even in a rudimentary sense, and often don’t even seem to be trying. They’re barely scenes, let alone humorous scenes.

So what IS this movie?

Paltrow plays Donna, the aforementioned small-town daughter of Nevada trailer trash who is inspired by stewardess-turned-motivational-speaker Sally Winston (Bergen) to become a stewardess herself. She undergoes her training with Christine (Applegate), who is either a friend or a rival, depending on the scene. She does poorly on her test and gets a crap job in Cleveland, where she hooks up with Ted (Ruffalo), who is studying to become a lawyer. Then, when her ship comes in, she has to choose between Ted and her career.

Of the many complications in the film’s plot, not one is ever the least bit tense or interesting, mainly because they are all solved quickly and without passion. Here’s a problem, there’s a solution. Next!

Paltrow and company sleepwalk through their performances, except for Mike Myers, who shows up as a cross-eyed instructor just long enough to get his name in the credits and earn 1 1/2 laughs.

Rob Lowe’s in it for a couple minutes, then he disappears. The film’s only 87 minutes long; I have to believe quite a few scenes were cut out. Not that I wanted this movie to be any longer than it was, but perhaps it would have been more intelligible a few more things had been left in.

It is true that you should follow your dreams. But be careful what you wish for. All of these people dreamed of being movie stars, and look what happened to them.

Boat Trip

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In an early scene in “Boat Trip,” a man gives his boyfriend a peck on the cheek. Behind me, a young man in the theater said, “Sick!” I thought: Why would you go to a movie about two straight men who get stuck on a gay cruise if even a simple peck on the cheek between guys grosses you out? Shouldn’t you expect that sort of thing in this sort of movie? (I should note that earlier in the movie, when Cuba Gooding Jr. vomited on Vivica A. Fox, the young man behind me had no discernible reaction whatsoever.)

But “Boat Trip” was designed for that audience, the adolescent males who titter at the suggestion of homosexuality and who want a chance to point and laugh at the homos. It’s also an opportunity to make childish, obvious double-entendres, and to enjoy a film in which virtually every female character is dumb, slutty or horrible. If I didn’t know better, I’d think the film was produced entirely by 13-year-old boys.

In fact, though, it was written by Mort Nathan and William Bigelow, and directed by Nathan (his debut in that capacity). Nathan was a long-time writer on “The Golden Girls,” and the film’s choppy set-up/punch line format shows his sitcom roots. (Not that I’m dissing “The Golden Girls.”) Bigelow is a USA Network veteran, having written for “Silk Stalkings,” “Renegade” and “Pacific Blue.” The less said about those programs, the better, I think.

Resumes aside, what Nathan and Bigelow have concocted is an embarrassing and unfunny comedy whose premise is unbelievable and whose characters are asinine. Not only would these events never occur in real life; even if they did, there’s no way anyone would react to them the way these people do. It is all so far afield of logic and reason that it would be virtually impossible to make it funny.

Oscar-winner Cuba Gooding Jr., fresh off the towering achievement that was “Snow Dogs,” plays Jerry, a poor sap still recovering, six months later, from his cold girlfriend Felicia (Vivica A. Fox) dumping him. Seeking to cheer him up, his best pal Nick (Horatio Sanz) takes him on a singles cruise. However, due to a conflagration occurring outside the travel agency, a willful travel agent (Will Ferrell, amusing as always in a cameo) intentionally puts them on a gay cruise.

Already there is trouble with this film. Never mind that such scheming is implausible. We will accept that Nathan and Bigelow needed to get their protagonists onto a gay cruise SOMEHOW and, having failed to come up with a believable reason, instead had a travel agent do it on purpose out of spite. I suspend my disbelief for science-fiction films all the time, so why not for a comedy?

No, the trouble is in the methodology. Just before the travel agent pulls the switcheroo, Jerry and Nick bicker like a married couple. Here I thought, “Oh, the travel agent is going to misunderstand, think they’re a gay couple, and put them on a gay cruise — an innocent mistake.” That seems somewhat reasonable, at least within the realm of farce.

Instead, though, Jerry’s occasional flamboyance and femininity is just that — occasional. It comes and goes, as if the film can’t decide whether it make it part of the premise or not.

Anyway, Nick and Jerry apparently never look at their tickets again until they actually arrive on the boat. And then, since they are the two stupidest people alive, they don’t realize IMMEDIATELY, as anyone else would, that 1) there are no women on this boat, 2) all the men are walking around in pairs, and 3) all the men look gay. Discovering that their stateroom has only one bed — with a heart-shaped pillow and a mirror on the ceiling — also does not tip them off. Neither does the brochure’s promise that all passengers “will be treated like queens.” No, it takes someone — Roger Moore as an aging flamer named Lloyd — actually SAYING THE WORDS “gay cruise” for them to realize they are, in fact, on a gay cruise. By this time, of course, the ship has left port and they’re stuck.

After some slapstick where Nick and Jerry keep getting into altercations that, to observers, look like lovers’ tiffs, Jerry meets the only woman on board, a dance instructor named Gabriela (Roselyn Sanchez). She assumes he’s gay, and since the film wants to employ as many clichés as possible, he aggressively perpetuates that misconception. So now it’s a romantic comedy where one party has lied to the other, and when he or she discovers the lie, there will be a break-up, followed by a tearful reunion.

Meanwhile, Nick is rather bull-headedly anti-gay, which means he’s due for a Valuable Lesson about tolerance and stuff.

I don’t know whether the gay community ought to find the movie offensive or not. Many of the gay characters are stereotypes, but the gay world’s embracing of camp and irony — especially with regard to themselves — suggests that such portrayals don’t generally bother them. And all of the gay characters are shown to be nice, friendly folks. The movie’s humor, such as it is, isn’t really at the expense of homosexuals but at the expense of the characters who are stuck on a boat with them. It’s a fine line, but there is a difference.

But the film’s offensive or inoffensive nature is beside the point. The real issue is that it is not funny. The jokes are like this: Gabriela tells Jerry, while dancing, that he’s light on his feet; Nick chimes in, “This whole place is light on its feet!” Because everyone’s gay, you see.

On “Saturday Night Live,” Horatio Sanz makes me (and Jimmy Fallon) laugh. I was amused several times by him in this movie, too. He has such a gleeful, infectious energy about him, and a keen sense of comedic delivery. I would like to see him in something better.

Gooding, on the other hand, mugs and sputters his way through the dreadful script, seemingly oblivious to how bad it is. Rather than elevating some of the material, he is content to wallow in it. Won’t someone give this man something good to do?

Dreamcatcher

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Even if Stephen King hadn’t written an episode of “The X-Files,” we’d know he was a fan by reading “Dreamcatcher,” his 2001 novel that demonstrates the truth is out there, and it is yucky.

The story has mind-reading, fast-moving viruses, government conspiracies, alien invasions and a mystical kid with strange abilities. As told in the frigid new film version, it bears even more similarities to the exploits of Mulder and Scully, blending humor and horror — often in the same scene — and using a deftly portrayed camaraderie among friends to bring the action home.

We are quickly introduced to a foursome of childhood friends now grown up and living in Maine. Henry (Thomas Jane) is a suicidal psychiatrist; Jonesy (Damian Lewis) is a kind-hearted history professor; Pete (Timothy Olyphant) is a car salesman having bad luck with women; Beaver (Jason Lee) drinks, I guess. (The introductory scenes show the other guys at their jobs; Beaver’s shows him at a bar.)

All four have psychic abilities, connecting them to each other and to the rest of the world. In flashback, we learn of “Duddits,” a semi-retarded boy they encountered in their youth who gave them these powers — powers they have yet to fully understand or master the use of.

These talents come into play, sort of, when the psychic friends take their annual retreat to Hole in the Wall, a hunting shack in a remote corner of the woods. A hunter enters their midst, stricken with a strange virus that manifests itself in explosive gas emissions, and later in even more disgusting ways. Soon they are in the middle of a full-blown military operation led by Col. Curtis (Morgan Freeman), who has been pursuing — and encountering — extra-terrestrials far too long to still be considered sane.

There is, at one point, a monster trapped in a toilet. How did it get in the toilet? Well, it hatched inside a person and then, um, came out. This is not a film for the squeamish, nor for those whose knack for suspension of disbelief is poorly developed. The climax, in particular, is surreal and strange. Either you go with it or you don’t; I did.

Damian Lewis’ performance as Jonesy is noteworthy for his creepy, Gollum-like arguments with himself after being possessed by an alien being.

Director Lawrence Kasdan (“The Big Chill”) employs a quiet, matter-of-fact tone for most of the film, allowing the silent, frozen landscape to convey all the foreboding we need. If there is lacking, it’s in William Goldman’s screenplay adaptation, which mentions Henry’s thoughts of suicide exactly once, and lets a few other things slide away, too.

But in all, it’s an appealing collage of sci-fi and horror elements. It has moments of high suspense, but mostly, it has moments of curiousity, telling a strange story primarily just for the fun of it.

Under the Influence

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There is a television set near my desk at work, and it is often tuned to MTV. This is because, in the features department, we need to keep abreast of the latest trends in music, youth culture and skankiness. Some might say extended viewing of this channel would affect one’s behavior, but I think that’s wack, yo.

Actually, I do think watching MTV all day has skewed my perception of reality, which was fuzzy to begin with. I go home thinking, “Hey, how come I’m always wearing a shirt, like a chump? No one else wears shirts!” It also gives me unhealthy, unnatural shame about the condition of my own body, which I believe was one of the stated goals of the network in the first place.

One of MTV’s original shows is “True Life,” a documentary series in which people who have dramatic problems are paraded around while sensitive songs by Blink-182 and Missy Elliott play in the background. We meet teens with eating disorders, pregnant teens, teens with too many piercings and teens who binge drink. But what made these teens do these things in the first place? Isn’t MTV expressing sympathy for them sort of like Marlboro expressing sympathy for people with lung cancer?

Does MTV, or any media, actually influence people’s behavior? Of course it does. Advertisers wouldn’t produce commercials if they didn’t think sounds and pictures had some power to make people do things. The question is how strong the influence is.

Pretty strong, according to a new study published in the March issue of the American Journal of Public Health. (This issue has a GREAT centerfold of Surgeon General Richard H. Carmona, by the way.) Researchers from Emory University in Atlanta and the University of Alabama at Birmingham studied the behavior of 522 black females ages 14-18 and found that those who watched 14 hours or more of rap videos a week were far more likely than their peers to engage in violent behavior, be arrested, have multiple sex partners and acquire STDs (though they did not necessarily do all these things at once) (though I would not put it past them, teens being excessive as they are).

“Maybe they see what’s on the rap music videos and think that’s how teenagers act, and that’s how I should act,” said Gina Wingood, co-author of the study and associate professor of behavioral sciences and health education at Emory University. (You can read the study in PDF format here.)

We’re ultimately responsible for our own actions, of course, but should we remove all blame from the things that influence us?

When MTV’s “The Real World” shows gorgeous people cohabitating, fornicating, imbibing and carousing, does that make those activities seem a little more appealing to the youth who watch the channel? Or are those things appealing anyway, without MTV doing P.R. for them?

When someone watches MTV’s “Jackass” and subsequently maims himself re-enacting one of the stunts, perhaps by setting his groin aflame with a bottle rocket, is that MTV’s fault? Or is it the fault of his parents, who bred him, or of the government, who allowed people with such inferior genes to reproduce in the first place?

It would seem that if MTV doesn’t actively promote unhealthy behavior, it certainly doesn’t do much to discourage it. Witness the series “Becoming,” whose premise is to encourage imitative behavior of pop stars. On this show, ordinary teens who are fanatics of a particular singer get to become that person for a day, culminating in re-shooting one of the performer’s videos with the teen in the lead role. As far as I can tell, the teen never actually gets to meet his or her idol, which makes the whole thing pretty cruel, really. But they do get to imitate the person and feel what it’s like to be that person for a day.

Now, there are the obvious problems with this. For example, why is MTV encouraging our youth to be losers? Seriously, kids, get a life.

Furthermore, while there are singers I like, and even love — Juice Newton, I’m looking in your direction — there aren’t any whom I’ve ever wanted to BE. I mean, I like potatoes, too, but I don’t wish to become one.

And what if your particular idol is Mariah Carey? Does that mean you have to spend 24 hours dazedly wandering the streets, asking passersby if they have change for a Grammy?

But the real point is, here is a show whose whole purpose is to encourage teens not to be themselves — the smart, wonderful, passionate people teens can be — but instead to be someone else, some fabricated, made-over person they’ve never met. There is so much potential in our youth — well, your youth; I don’t have any of my own — that it seems a shame to have it mishandled by poor influences. And I know you would take me more seriously if I did, but I am NOT putting my shirt back on.

Agent Cody Banks

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What kid hasn’t dreamed of being a super-cool secret agent? The excitment, the adventure, the gadgets — someone should make a movie about spy kids!

Unfortunately for “Agent Cody Banks,” someone already made a movie about spy kids, and it was called “Spy Kids.” They even made a second one, called “Spy Kids 2.” “Agent Cody Banks” is joining the game at a point when its derivative nature will be obvious to even the stupidest of children.

As rip-offs go, it is a fairly innocuous one, though I do think there are more references to Angie Harmon’s cleavage than a kid-friendly PG movie ought to have. Frankie Muniz (TV’s “Malcolm in the Middle”) plays Cody Banks, a typical teen who gets tongue-tied around girls and is having trouble with math, but who has secretly been trained by the CIA in matters of espionage. Even his parents don’t know about it; we catch a glimpse of it when he rescues a baby from a runaway car, subsequently disappearing into the crowd like an adolescent superhero.

Cody is called into action with a special assignment: Get close to Natalie Connors (Hilary Duff), whose scientist father (Martin Donovan) is making breakthroughs in nano-technology — “microscopic robots,” we are told, helpfully. In the wrong hands, this technology could endanger the world.

Under the tutelage of Bond girl-ish Ronica Miles (Harmon), who insists she is his handler and NOT his partner, Cody embarks on the dangerous mission of talking to Natalie and, even scarier, becoming her boyfriend. There is some comedy in this that will surely appeal to the film’s target audience, who are no doubt intimately and recently familiar with such trauma.

On “Malcolm in the Middle,” Muniz is the straight man amidst other, more colorful characters. Here, he is asked to carry a film — an action film, no less — and he simply doesn’t have the personality for it.

Speaking of things without personality, let’s talk about the screenplay, which is credited to four writers. It is like “Spy Kids,” but without the wit or imagination — or, obviously, the originality — of that film. It has a darkness that is never fully explored: Cody was recruited by the CIA because they tracked him reading spy magazines and surfing for gadgets on the Internet. He didn’t want the job; he sort of had it thrust upon him. But the reluctant hero theme is underused. Cody Banks, like the film he stars in, does nothing more than glide through the motions.

The Hunted

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There is a lot of stabbing in “The Hunted.” I think it may be the stabbingest movie I’ve ever seen. If the film were called “Stabby McStabberton, the Guy Who Stabs People,” I doubt it would have any more stabbing than it already does.

But I am being petty. Let’s not forget that, issues of stabbing aside, “The Hunted” is also noteworthy for being a very mediocre film!

Tragically, it was directed by William Friedkin, who gave us “The French Connection” (1971) and “The Exorcist” (1973). The 30 years between then and now have apparently deadened his senses to what makes a film visually exciting, and to what makes a story compelling. “The Hunted” is grossly insignificant, and unworthy of the man who once had genius in him.

Eh, but it was written by David and Peter Griffiths, the brothers who wrote last year’s stupid Schwarzenegger vehicle “Collateral Damage.” So what can you do?

Anyway, Tommy Lee Jones and his eyebrow play L.T. Bonham, a tracker and wildlife preservationist who once contracted for the government to teach soldiers how to kill people in hand-to-hand combat. He’s so good at tracking, he knows which friend has come to visit just by looking at his footprints in the snow, and he spends his days in remote British Columbia, helping animals who have been caught in traps, rescuing kittens from trees, that sort of thing. He is officially retired from tracking people.

In time-honored movie fashion, though, he is brought out of retirement when a former colleague arrives bearing gruesome photos of a madman’s handiwork. The madman, Aaron Hallam (Benicio Del Toro), was trained to kill by Bonham himself. Having been traumatized in Kosovo, where he was an assassin for our side, he has now begun killing hunters in the woods outside Portland, Ore. (If you’ve ever been to Portland, you know the locals love their greenery and do not take kindly to shellshocked veterans stalking through it, murdering at will.) Bonham, naturally, is the ONLY MAN! who can track him and find him.

Predictably, it becomes a deadly game of cat and mouse, with Hallam regularly escaping capture as Bonham chases him through the woods and through downtown Portland itself. I am somewhat intrigued by the clever use of the city as a venue for pursuit, as Hallam uses public transportation, traffic and bridges to evade Bonham, but that only lasts for so long before it’s the standard one-guy-running-after-another routine again.

Below the surface, there are only hints and innuendoes of complexity. The film observes that the military creates killing machines like Hallam, but says nothing about it. Even “First Blood” (1982), which was far from deep but had the exact same plot, gave Sylvester Stallone a monologue in which to express his frustration at having been made into a monster by his government.

Jones is his typical dogged self, relentlessly pursuing his quarry and not caring if he himself lives or dies. For reasons I cannot comprehend, Friedkin allows Jones to be shot frequently in close-up, I guess so we can see all the crags, wrinkles and misplaced hairs 20 feet high. Del Toro, for his part, is expressionless and feeble, hardly the cold, calculating killer the film wants him to be.

There is a good story somewhere in all this, with the men who are part human, part animal chasing each other through a city that is part civilized, part forest. But even symbolism as simple as that escapes this gratuitously gory, uninteresting film.

Willard

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The first line of dialogue in “Willard” is spoken by the title character’s gnarled old mother, shouting from her bedroom: “Willard, there are rats in the basement!”

And indeed there are. The Stiles family’s old Brooklyn manor is home to a few rats, but under the care of Willard, their numbers grow to plague proportions. And Willard, through means not explained in the film — which is fine, considering no explanation would have made sense anyway — can command them.

But I am getting ahead of myself. Willard Stiles (Crispin Glover) is a nerdy, unsettlingly soft-spoken man in his 30s, an only child who lives with and cares for his aged, bedridden mother (Jackie Burroughs), a withered harpie who arbitrarily decides, one day, to start calling Willard by the more “manly” name of Clark.

Willard works, lackadaisically, in the office of Martin Stiles Manufacturing, a business begun by his late father and now run by the storming, angry Frank Martin (R. Lee Ermey). Martin won’t fire Willard out of loyalty to his old business partner, but he makes his life miserable. He will pay….

But I have gotten ahead of myself again. Crispin Glover, who himself is as creepy as a bag of rats, is the perfect choice to play the lead in this film (a remake of the 1971 Bruce Davison thriller). He has beady eyes and a long, rodentine nose. His voice is a whispery whine. He is eerily adept at being more offputting than likable, but still slightly likable.

The writer and director is Glen Morgan, who wrote many of the greatest “X-Files” episodes and is making his directorial debut here. Just like many of the best adventures of Mulder and Scully, “Willard” mixes horror elements with humor, self-awareness and irony. It does not strike me that he intends “Willard” to scare anyone — give us the willies, maybe, with many scenes of way too many rats swarming around, but never to terrify, shock or disturb us.

Surely Morgan finds humor in Willard himself, a bad person, bad son and bad employee who does bad things and eventually reaps the whirlwind. The manner in which Willard attaches himself to Socrates, the rat he adopts as his pet, is perversely amusing, and his love-hate relationship with Ben, the largest rat in the pack, is flat-out hilarious.

Morgan, who named a character “Hitchcock” in his screenplay for “Final Destination” (2000), demonstrates his devotion to the master of suspense even further here. Willard is clearly a Norman Bates figure, with his domineering mother and forbidding house furnished with stuffed birds. And speaking of our friends in the skies, “The Birds” is referenced a bit in the final act of the film, as doors are nailed shut to prevent rats from invading the house.

Inside jokes abound — watch for Bruce Davison in a cameo of sorts — and the film successfully achieves its twin goals of being entertaining and creepy. It expands on our pop-cultural knowledge of the original film, tweaks the formula a bit, and comes off as a goofy excursion into darkness and mania.

Spun

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If “Spun” has a point — and I am not entirely certain it does — it is that doing meth totally screws you up. I don’t dispute this, and it’s a point worth making. The trouble is, “Spun” seems more intent on giving us a day-in-the-life presentation of some speed freaks and their wacky hijinks than actually telling us anything about them. The characters are ciphers, and their actions are meaningless. This planet has atmosphere, but no life.

Jason Schwartzman, miles from “Rushmore,” plays Ross, a junkie whose dealer, Spider Mike (John Leguizamo), loses his goods, possibly when they fell out of his pocket on the way to the liquor store. (Such are the occupational hazards of speed dealers.) One of Mike’s other customers, Nikki (Brittany Murphy), suggests she and Ross go right to the source: the Cook (Mickey Rourke), who makes the meth in a motel room.

Soon Ross is Cook’s chauffeur, delivery boy and gofer, working in exchange for free fixes. His life didn’t have much to it before — mostly ducking calls from someone named Amy, who wants the money she lent him, and hanging out at strip clubs — but now it’s fully occupied by his duties for Cook. He even neglects the stripper he has tied to his bed, for a rather long period of time.

Why does he tie her to the bed? And why doesn’t he untie her and let her leave before he goes to work? Because he’s on speed, man! I guess that’s why, anyway; the movie presents it with a rather whimsical attitude, despite the horror of it, and gives no explanations or excuses.

The film also is mum on why we have to see Mena Suvari, who plays Mike’s hygienically challenged girlfriend, sit on the toilet, and why there is even an inside-the-pot view of her doings. And why must Mike call a phone sex line, and why must we watch what ensues on his end of the phone call?

Is it all because drugs degrade you and make you awful? Fair enough. But a movie this tongue-in-cheek can’t turn around and expect us to take its wallowing in filth to mean it’s a cautionary tale. At least “Requiem for a Dream,” which this film was obviously inspired by, had the good sense to take drugs seriously.

There is also a subplot with yet another of Mike’s customers, Frisbee (Patrick Fugit), who gets busted by two cops (Peter Stormare and Alexis Arquette) and has to help them put a sting on Mike. These cops are part of a “Cops”-style TV show, and the performances by Stormare and Arquette are embarrassingly over-the-top. They comprise the only part of the film that I think was made while the filmmakers were actually on drugs, though it seems more like marijuana than speed.

If you see “Spun,” you will not be surprised to learn that its director and editor, Jonas Akerlund, is a music-video veteran. He employs that choppy style that often complements a film’s content by making the viewer feel the way the characters do. Here, though, it only serves to remind us that we have no idea how the characters are feeling, because they don’t even seem like real people.

The writers, Will De Los Santos and Creighton Vero, claim to have based the film on their own experiences with meth cooks and addicts in Oregon. They have probably captured the EVENTS with accuracy. But they have failed to capture the PEOPLE involved. We don’t care about any of them, and by the time their lives are being resolved, or screwed up for good, we’re just bored.

Bend It Like Beckham

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“Bend It Like Beckham” is the latest film to explore the comedic potential of people from India, not as Kwik-E-Mart employees or cab drivers, but as actual people with an actual culture. Of course, even these more respectful films wouldn’t exist if there weren’t something inherently fascinating to us Westerners about Indian culture, but still, it’s a start. Better to be fascinating as a people than as a stereotype.

The film, a feel-good sort of thing, is directed and co-written by Gurinder Chadha, whose “What’s Cooking?” (2000) explored similar themes of different cultures interacting. Here, it is a Sikh family living in London, where Western influences are hard to avoid. Jess Bharma (Parminder K. Nagra), a vivacious teenager, has a knack for soccer (called football over there, of course), to the chagrin of her ultra-traditional parents (Anupam Kher and Shaheen Khan), who don’t think a girl ought to be engaged in such pursuits.

It is particularly bad timing now, because Jess’ sister Pinky (Archie Panjabi) is about to be married, and Jess is needed to assist in the massive wedding preparations. The second busiest time in a Sikh girl’s life, after getting married, is being the sister of someone getting married.

Matters are made worse by Jess’ affection for her coach, a decidedly non-Indian boy named Joe (Jonathan Rhys-Meyers), and there’s some forced pseudo-farce when the parents of Jess’ friend Juliette (Keria Knightley) think Jules is in love with Jess. There is not much to guess from there, plot-wise. The film is a pleasing blend of sports-underdog movie (a few great soccer sequences), family comedy and coming-of-age story, enhanced a good deal by Nagra’s appealing performance as Jess. She has a funny, expressive personality that carries the film.

The bit with the suspected lesbianism, as well as an out-of-nowhere revelation about another character, serve to reinforce the major theme, which is about accepting people’s differences — your own and others’. It is not a perfect film, nor a hilarious one, but it is likable.

Don’t You Hate Crimes?

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I try not to get involved in state legislative issues. I agree with the old axiom that watching laws being made is like watching sausages being made: There’s a foul smell, a lot of squealing, and the floor is covered in blood when it’s over.

But recently I’ve been observing the controversy over the hate crimes bill, which very nearly became a law this year. At first I thought it was a hat crimes bill, and I was grateful that at long last, the guys in their 20s who wear hats all the time would be prosecuted for being the dorks they are.

Then I put my eyedrops in, realized it was about hate crimes, and I became even MORE interested. The hate crimes bill would have upgraded a crime’s classification one notch if the crime was motivated by prejudice toward a group. For example, a second-degree felony would become a first-degree felony if you committed it because you don’t like octogenarians and the victim was 85.

The bill defined “groups” as being distinguished by race, religion, gender, sexual orientation, disability or age. Therefore, beating someone up because he’s Canadian is still just a regular ol’ crime. If it’s because he’s a GAY Canadian, then it’s a hate crime.

I don’t agree with the hate crimes bill. I don’t believe a distinction should be made between shooting a guy because he made unflattering remarks about your girlfriend and shooting a guy because he’s a Quaker. In either case, you’ve shot someone without just cause. In either case, you should go to jail — unless shooting a Quaker is not against the law, in which case I shall have to revise this paragraph altogether.

There are further complications. What if someone belonging to a group I have a pre-existing dislike for — we’ll say Quakers, for argument’s sake — does something that gives me legitimate cause to act out against him? Like he kills my dog, or answers his cellphone during a movie, or something. I will have a devil of a time proving in court that my dislike of Quakers — which, I should stress, is only hypothetical — was irrelevant in this instance.

Now, here’s where it gets sticky. The Utah Eagle Forum, a right-wing coalition of busybodies and fanatics, was also opposed to the hate crimes bill. That I should ever agree with this insane cadre of harridans about ANYTHING makes me want to hide under a pile of blankets.

Fortunately, I still have something to disagree with them about, and that’s the way their leader, Gayle Ruzicka, behaved in her opposition to the bill. Gayle and her coven opposed the bill because they felt it gave protected legal status to gays and lesbians, when of course the proper thing to do with gays and lesbians, according to the Eagle Forum, is to set fire to them and laugh while they burn.

When the bill first came up four years ago, Ruzicka said Utah law should not protect “illegal and immoral” behavior such as homosexuality. And clearly, by saying you are not supposed to beat people up because of their lifestyle, you are encouraging that lifestyle. If we promise we’re not going to pummel druids wantonly in the streets, then there’s going to be an increase in people converting to druidism.

Furthermore, Gayle is one of those people who believe that anything they don’t like is also disliked officially by the The Church of Jesus Christ of Latter-day Saints. So since Gayle opposed the bill, she assumed the LDS Church did, too, even though a church spokesman had specifically stated the church did NOT oppose the bill, nor was it in favor of the bill, but instead was neutral on the bill. Gayle said the church was merely downplaying its support of the bill so as not to unduly influence the voting, because for sure the LDS Church HATES when it influences the voting.

Immediately, the church responded and said, even more clearly than before, using small words and flow charts, that Gayle was wrong when she said this, and that the LDS Church was not, in fact against the bill, and that Gayle should stop trying to tell people what the LDS Church “really” thinks or else the LDS Church would kick her in the throat. (The last part was implied.)

Unlike the Eagle Forum, my opposition to the bill was because I didn’t feel it was necessary, not because I had paranoid ideas about it actually doing harm. If it had passed, I would have been OK. I didn’t actively protest against it. Not like movie-watching cellphone-answerers, whom I will campaign against until my dying breath, regardless of their race, creed or color.

Bringing Down the House

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There’s a cluelessness about “Bringing Down the House” that is very unappealing. The premise that drives most of the action in the film is that if the uptight white lawyer’s neighbors and business associates find out he’s friends with a black woman, they will, I don’t know, stop talking to him or something. But this premise is never explained. He never says, “My friends are very racist,” or anything like that; it’s just a given that OF COURSE a white lawyer cannot have a black friend, and that disapproval of such a situation is the only conceivable reaction for normal society. The lawyer himself seems to have no problem with this.

Well, there certainly is racism in America, but I have trouble believing it’s THAT pervasive, to where ordinary people in Los Angeles — practically every person this man knows — dismiss out-of-hand the notion that white people can have black friends. I could see it in New England in the 1950s, of even some parts of the South today. But not L.A. in 2003, and not as widespread as it’s made to appear. (The woman is an ex-con, too, which seems like a far more logical reason to hide her from your friends, but that aspect is mostly disregarded.)

And so it goes in this tactless, desperate comedy directed by Adam Shankman, director of such tepid films as “The Wedding Planner” and “A Walk to Remember.” (The sitcom-level screenplay is by Jason Filardi, a first-timer.) Steve Martin plays the white guy, Peter Sanderson, a buttoned-down tax attorney recently split from his wife (Jean Smart) and too busy with work to pay attention to his kids.

He has recently been chatting online with “lawyergirl,” whom he believes to be a gorgeous blond attorney but who turns out to be — he discovers when he invites her over for a candlelit dinner — Charlene Morton (Queen Latifah), the aforementioned black woman. Seems she got framed for a robbery she didn’t commit, went to jail, got out, and now wants her lawyer friend Peter to re-open the case and clear her. For some reason, she thinks deceiving him and then taking over his house like a pest will put him in the mind of doing her favors.

Peter, however, is in the process of wooing a filthy rich new client, Mrs. Arness (Joan Plowright), a ridiculously proper and snooty dowager who does not stand for shenanigans, tomfoolery OR ballyhoo, and who certainly will not look favorably upon Peter having a sassy black woman for a friend. And so Charlene gets passed off as his maid.

The maid charade leads to the most uncomfortable scene in the film, and one of the most uncomfortable scenes in any film I’ve ever viewed. Charlene is serving the family at dinner, while the kids are on their best behavior and Peter is acting especially responsible and grown-up. Mrs. Arness, who spent her early years in the South before moving to England and becoming Joan Plowright, reminisces fondly about a black maid her family had, and a quaint Negro spiritual she used to sing. And then she sings it, at length. The words: “Mama, is Massa gonna sell us today? (repeat)”

Now, in a film going for outrageous, over-the-top, abrasive humor — think “South Park,” or the works of the Farrelly Brothers — such a scene would not be out of place. In context, it would not even be offensive, because you’d have already become accustomed to such extremity.

“Bringing Down the House,” though, has a far more temperate sense of humor. It does not strive for audacity; it is senseless enough to think it is just a regular ol’ comedy about a guy who needs to learn what’s important in life. The film never realizes how absurd and impertinent it is, and it seems to have no idea why this scene might be offensive. I have little patience for a film that doesn’t know itself.

Steve Martin and Queen Latifah are both extremely talented comedians, and they occasionally wring laughs out of what would otherwise have been a laugh-free affair. Ditto Eugene Levy, deadpan as Peter’s co-worker with a thing for black women.

I mentioned that this is a film about a guy who needs to learn what’s important. What Peter basically learns is that he needs to loosen up and be, well, more black. Black people are fun-loving and carefree; white people are racist (though the film doesn’t call them that), nerdy and fussy. Here is a film that manages to be racist against blacks AND whites. That’s an impressive achievement. Unfortunately, what the film was TRYING to be was funny, and it didn’t quite accomplish that.

Tears of the Sun

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“Tears of the Sun” is only disappointing if you have the unreasonable expectation of movies being original. If you have accepted that there are few new stories in Hollywood, or even old stories being told in new ways, then you have accepted the mediocrity that awaits you in this grim, inconsequential action drama.

Bruce Willis, shiny-headed and somber-looking — he smiles exactly once in this film, sort of, in the final two minutes — plays Lt. Waters, the leader of a military squad sent into Nigeria to save an American doctor, two nuns and a priest from the bloodthirsty rebels who, having effected a coup, will surely descend upon their hospital/mission any day now.

The doctor, Lena Hendricks (Monica Bellucci), stoically refuses to leave without taking all 70 patients and refugees, too. No dice, Waters says. His orders are to take her and the clergy. There isn’t room on the helicopter for 70 refugees. So let’s walk to the Cameroon border, Lena insists. Fine, Waters tells her, his mouth a thin line, his brows furrowed, his glare intense.

Willis glares intensely a lot in this movie, always serious, never smirking. Once or twice he utters a line that sounds like the ultra-cool world-saver he was in the “Die Hard” films, but mostly he and his compatriots take the proceedings extremely seriously. I kept picturing little boys playing army, barking out lines they’ve heard in war movies about “establishing a perimeter” and “rendezvousing at the L.Z.” without actually knowing what any of it means, other than that war is awesome and scary.

As Waters, Hendricks, a handful of soldiers and a procession of Nigerian refugees trek through the jungle, there is a frustrating feeling of familiarity. Save for one mild twist in the action half-way through, there is precious little in the story or its outcome that is not easily foreseen from the get-go. Some characters will die, the important ones will live — this is not the sort of film that will challenge or surprise its audience. You can tell by the dialogue that no one was trying to accomplish anything new here:

“Thank you for saving my life,” Lena tells Waters.

“It wasn’t about saving your life. It was about getting the job done, that’s all,” he growls back at her.

The director is Antoine Fuqua, whose last film, “Training Day,” showed the dangers of a different jungle, Los Angeles. This project is ambitious, and he is up to the task, but he is limited by Alex Lasker and Patrick Cirillo’s unimaginative script. It’s a rote piece of work that thinks having Waters break a couple of rules makes him a dark anti-hero, when in fact it just makes him like all the heroes of all the other movies.

Irreversible (French)

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Gaspar Noé, France’s Argentine-born auteur provocateur, shoots himself in the foot with “Irreversible,” a film whose pluses will be outweighed in many viewers’ minds by the distasteful minuses.

There is much to admire, especially from a structural standpoint. It is told with the scenes in reverse order, beginning with a man being beaten to death for having raped a woman, then going back to the rape, and then to the events preceding it. Ironies emerge this way that would not be apparent if the story were straightforward. Like “Memento” (2001), the other recent film told backwards, “Irreversible” features characters behaving tragically because they are unable to know, as we are, what is going to happen next.

Additionally, each scene is shot in one continuous take, with no cutting away, giving us a fly-on-the-wall perspective of the proceedings. The events seem more real and certainly more dramatic this way; it is also worth noting how difficult it is to film a story in this manner, if only for the fact that if an actor screws up, you have to start all over again.

The camera is in constant motion during the first several minutes of the film, bobbing up and down in a way that is liable to cause motion sickness in all but the most iron-gutted viewers. It is extremely disorienting, which is perfect for a film like this, though you have to wonder whether achieving a dubious goal such as making an audience sick is an admirable achievement.

And then the action begins. Already, “Irreversible” has two infamous parts, scenes that have caused scores of jaded, artsy patrons at Cannes and Sundance to walk out of the theater.

First (chronologically last) is in an S&M club, where a man’s arm is broken, followed by another man being smashed in the face repeatedly with a fire extinguisher. (Despite the setting, you may be assured neither victim finds pleasure in the violence.) Both of the attacks are accompanied by sickeningly realistic sound and visual effects; Noé was able to make it look right without cutting away by digitally inserting the appropriate blood and carnage in post-production.

Later in the film, we see a brutal rape, followed by a savage kick-in-the-face beating. The entire scene lasts about nine minutes, during which, I should remind you, there is no cutting away, no diverting of the camera’s eye. In fact, at one point, the camera swoops down and around as if to get a better look (though I’m told this was actually to prevent it being obvious that the “cement” floor is soft and padded for the sake of the actress).

The film offers much to ponder about the nature of fate, the futility of revenge and the fragility of life, and the acting throughout is spectacular. Monica Bellucci is completely fearless as Alex, the rape victim. Her boyfriend, Marcus, is Vincent Cassel, her real-life husband, his character fiercely devoted to avenging hers. His friend (and her former lover) is played with understated passion and humor by Albert Dupontel. The rapist, La Tenia (Jo Prestia), a gay pimp, is as vile as you might expect a man in his position to be.

But then there is the violence, and the sexual violence. Is it justified in being as realistic and horrific as it is? In my opinion, no. The objectives of the film could have been achieved through less graphic means — unless the objectives were to be shocking and offputting, in which case obviously it had to be done this way. I’m being facetious, but what hangs in the back of my mind is that maybe Noé’s goal really was to be controversial, and I have never been a fan of controversy just for controversy’s sake. Note his odd finale, where the screen becomes a vivid, bright strobe light for what feels like a very long period of time. OK, Noé, we get it: You’re weird. Tell your story — you’ve got a lot to say — and leave the shock tactics to the pornographers.

Fear and Loathing in Utah Valley

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A few weeks ago, the Daily Herald asked as one of its poll questions what Utah should do about conserving water. One of the responses from a woman named Barb was that we should close our door to immigrants. It seemed like an odd solution to the problem, but I got the impression that’s her solution to every problem.

What should we do about confusing state liquor laws? No more immigrants. How can we maintain peaceful relations between the various religions of Utah? No more immigrants. How can we make “American Idol” less boring? No more immigrants.

A lot of Utahns don’t like foreigners. Well, not dark ones, anyway. The European ones seem to get along fine, especially the ones who settled Utah 150 years ago. Many of those pioneers still live here, reading this newspaper and making angry phone calls on a daily basis.

Foreigners from Mexico, though, have a harder time. They face prejudice, a language barrier and an overwhelming dearth of good Mexican restaurants. They must deal with attitudes like the ones expressed by the anonymous illiterates who populate the HarkTheHerald.com message boards. When the Immigration and Naturalization Service raided a Provo company last week and hauled off 120 suspected illegal aliens — using Gestapo-like tactics in the process, including confiscating witnesses’ photographs of the event — the news story at HarkTheHerald.com was flooded with comments from people applauding the “inforcement” of the laws against those who are here “illegially,” to cite just two examples of the special version of the English language used by these people. (Ironically, many of these people object to Mexican immigrants because they don’t speak English.) One person even questioned whether the “hispanic-speaking” attorney representing the company was legal or not, since he had a Hispanic name.

Then there’s the tragic matter of the Mexican girl who was given a bad heart and lung transplant in North Carolina, resulting in her death. Some people commenting at HarkTheHerald.com — as always, under the cowardly cloak of anonymity — have indicated that since she was an illegal alien, she didn’t deserve the transplants anyway, much less the second round of transplants that wound up not saving her. After all, if you had sneaked into Mexico illegally, you wouldn’t be entitled to medical care! (Nor would you want it. Have you SEEN Mexico?)

It is when I read things like this — not to mention the other standard complaints about immigrants taking hand-outs from the government, stealing our jobs, committing crimes, and so on — that I’m glad there’s a language barrier. If I moved to a foreign country whose citizens were going to do nothing but ridicule me — e.g., France — I would intentionally NOT learn the language, just so I wouldn’t have to know what they were saying.

It’s interesting the way we divide up our foreigners. There has recently been a good deal of French-bashing, due to France’s refusal to join America in the war against Iraq. It’s all very silly, of course. No one should be surprised or offended that snivelly France doesn’t want to fight; furthermore, most Americans AGREE with France on the Iraq thing. So why do we mock the French? Because we enjoy it, and now we have an excuse for it.

What’s interesting is that it’s OK. It’s socially acceptable to make fun of the French for being snobby, foul-smelling and strange, or for anything else you care to attribute to them. But say anything like that about someone from Mexico, and you’re a bigot. Why the difference? I don’t know. Maybe we feel bad for Mexico because it’s a poorer country than France. Maybe it’s because the French are always ripping on us, so they deserve some of it back. Maybe it’s because the Mexican people tend to be warm, loving and hard-working, while the French are insecure, cheese-sniffing alcoholics. Whatever the reason, while I’m entirely in favor of making jokes about people who are different from us, I have to draw the line at actually hating them. I realize I’m taking a strong position here, being anti-hate, but you’ll notice I’m willing to sign my name to it anyway.

Cradle 2 the Grave

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I don’t know why directors even bother including Jet Li’s reaction shots in movies. Regardless of what other people in the scene have said or done, Li’s face will have the same expression: stony indifference, followed by reluctant butt-kicking. He is a handsomer, calmer version of Jackie Chan.

“Cradle 2 the Grave” plays to Li’s strengths — ultra-cool demeanor and extraordinary fighting skills — and wisely avoids his weakness in the area of emotive dialogue. It pairs him with his “Romeo Must Die” co-star, rapper DMX, and reunites both with “Romeo” director Andrzej Bartkowiak, whose penchant for testosterone-rich filmmaking (he gave us Steven Seagal in “Exit Wounds,” too) comes to full fruition here.

Li plays Su, a Taiwanese Intelligence agent who has come to Los Angeles in search of a batch of mysterious black diamonds — deadly in the wrong hands — that have gone missing. Begrudgingly, he joins forces with Tony Fait (DMX), the leader of a well-organized gang of high-tech jewel thieves whose daughter has been kidnapped by yet another group of bad guys who want the diamonds for their own nefarious purposes.

Evil is a question of degrees here. Fait is a thief, yes, but he gives his daughter pretty necklaces and says prayers with her at bedtime. The REAL bad guys, on the other hand, slap little girls around and occasionally kill people.

Fait’s crew includes the amusing Anthony Anderson as the requisite guy-who-will-put- on-disguises-to-provide-distraction, and Gabrielle Union (“Bring It On”) as the requisite hot-woman-who-uses- sex-to-distract-people. Tom Arnold is on board, too, as a pawnshop owner with ties to the underworld.

The film gets sillier as it goes, leaving reality behind and venturing into full-fledged outrageousness. Witness the cross-cutting between two scenes: In one, Fait is leading police and others on a high-speed ATV chase through L.A., captured by news cameras and viewed live by his kidnapped daughter, whose abductors are not so inhuman as to have denied her TV privileges; in the other, Su is taking on all comers, including a midget referee, at an underground fight club so brutal that spectators hold plastic sheets over their heads to avoid being spattered with blood. (If Britney Spears were the star of this movie, the bad guys would own an underground karaoke bar; since it’s Jet Li, it’s a fight club.)

My other favorite scene has the bad guys demonstrating the powers of the black diamonds for the world’s top black-market arms dealers, in what amounts to a trade show attended by the Legion of Doom.

Soon enough, people are delivering lines like, “It’s time to end things MY way,” and, “You were lucky last time; you won’t be lucky again.” It’s all an exercise in high-energy absurdity; the question is how seriously the film wants us to take it. Well, in Jet Li’s impenetrable expression I see a man who is aloof to his surroundings. And if the star doesn’t think any of this matters, why should we?

Poolhall Junkies

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“Poolhall Junkies” is populated by professional hustlers who are consistently too dumb to know when they’re being hustled. I would think accomplished con men would know a con when they see one, but evidently not.

The film was directed by its star, Mars Callahan, who gives himself fifth billing behind Chazz Palminteri, Rod Steiger, Michael Rosenbaum and Rick Schroder, for crying out loud. Callahan co-wrote the film with fellow pool shark Chris Corso. The two obviously know their game — but their game is pool, not filmmaking.

Callahan plays Johnny Doyle, aka the Sidepocket Kid, who showed promise as a youngster but who was held back by his mentor, Joe (Chazz Palminteri), for reasons Joe does not deign to share with us.

Now, as an adult, Johnny has tried to go straight but misses the con. He has a girlfriend, Tara (Alison Eastwood), whose voice sounds exactly the same when she is angry as when she is happy. She is angry when she catches him hustling again, but happy when he’s going to his dead-end construction job.

Under the tutelage of Mike (Christopher Walken), a rich lawyer with a knack for pool, Johnny begins playing again. He’s forsaken the evil Joe, who has a new pupil now, played by a forlorn-looking Rick Schroder.

Johnny has a younger brother, played by Michael Rosenbaum, and a bunch of friends who worship him and engage in hijinks to pad out the film’s running time. The late Rod Steiger is also in this movie, but he doesn’t really do anything except look owlish and make you feel sorry that this, of all things, had to be his last film.

My favorite dumb hustle in the film is when Johnny cons a guy into giving him a job selling motor homes. He tells the man he’s so psychic, he can tell “where you got your shoes.” If he guesses right, he has to give him a job. The man takes the bet, then smugly informs Johnny that he bought them on a cruise in international waters, so no matter what he guesses, he’ll be wrong. Then Johnny says, “I don’t care where you bought them. What I said was that I could guess where you GOT them. And where you GOT them is on your feet.” Duly defeated through guile and semantics, the guy GIVES HIM THE JOB.

The acting is an extension of the dialogue, which is over-the-top and laughable. It’s the sort of movie where someone can describe a character as being from “the good side of the tracks” and mean it. Elsewhere, someone says of the Sidepocket Kid that “the cue was part of his arm, and the balls had eyes.” This is high-quality bad dialogue we’re talking about here.

And pool playing? Why, there’s plenty of it. Very few images in the film are NOT of people playing pool. It was shot entirely in Salt Lake City — you’ll catch a glimpse of the LDS temple in one scene — but it could have been anywhere. Nearly every scene takes place in a room with a pool table in it, with cocky men standing around placing bets, clearly more interested in the outcome than we could ever be.