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Thinking Outside the Box

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We thought the best way to celebrate Mom’s birthday would be to terrify her, and perhaps even to kill her. We learned this, as we learn all useful things, from television, which teaches us that people enjoy being lied to, manipulated and deceived. Or maybe it is just that people enjoy WATCHING people being lied to, manipulated and deceived. Whatever it is, point of the story, lying to Mom was hysterical.

The idea for Mom’s birthday surprise was that she would believe I was unable to make it home to California to celebrate due to having a full-time job in Utah, and also — paradoxically, given the aforementioned job — being unable to afford a plane ticket. In fact, however, Dad had purchased me a plane ticket, and I was blowing off my burdensome job. But my dad and my siblings and I were keeping this a secret from Mom.

Thus began a week of elaborate lies, and I can’t help thinking all of us were at least subconsciously inspired by television, the reality programming in particular. The reality shows have always had a tenuous grasp on reality, of course, but I was intrigued at how “Joe Millionaire” had a huge lie as its central point. The trashy, gold-digging women all believed Evan Marriott was an extraordinarily stupid millionaire, when in fact he was just an extraordinarily stupid construction worker. With “Joe Millionaire,” reality TV went beyond reality and into the realm of fiction. I predict the next step in reality TV will be shows that have pre-written dialogue and plots, in what we’ll call “scripts,” enacted not by regular people, but by professional “actors.” Perhaps some of these will even be taped in front of a live studio audience.

Anyway, with enormous falsehoods being perpetrated regularly on TV and in newspapers — lemon juice will get out blood stains? I don’t think so, Heloise — it was inevitable that regular people such as the Sniders would begin making them part of their lives, too. And so the lie went this way:

My big fat Greek brother Jeff was buying my dad’s car from him and thus only needed transportation one-way to California. So he borrowed my car and drove it down last Thursday, leaving it at the airport so it would be there when I arrived by plane the next evening.

What we told my mom was that Jeff was driving down with some friends. After dropping off my car at the airport, he called Dad and reported his friends’ car having broken down. Dad went to fetch Jeff, even going so far as to bring a toolbox with him to ensure that Mom wouldn’t want to come along for the ride. (No one likes watching guys fix stuff except other guys.) Dad returned with Jeff and with fanciful stories about the imaginary bunch of friends Jeff had ridden down with whom Dad had met while pretending to fix their imaginary car.

Friday, Dad obtained a large box, which was empty but which he told Mom contained her birthday present. He even had someone help him unload the box from the truck, putting on a show of it looking heavy. It sat in the garage all day, and Mom’s anticipation mounted.

Friday night, while Mom and Dad were out, I arrived via Southwest Airlines, which means my flight was extremely late and smelled like old people. I found my car and drove to my parents’ house. When we received word from Dad that they were on their way home, we put me in the box and taped it up. I was instructed to sit quietly until Mom opened me.

When Mom and Dad got home, Dad told her to open her gift, which of course I wanted to happen immediately. First, though, she wanted to finish watching “America’s Funniest Home Videos,” which I didn’t even realize was still on. To my great relief she was talked out of this. I would like to think she would have been talked out of it just on a matter of principle, even if her son hadn’t been smothering in a box, but I can’t be sure of that.

She began to remove the tape from the box by stabbing through it with a large knife. You will recall that I was inside the box at the time. So there I was, inside a box, trying not to be stabbed to death by my mother, though a tiny part of me thought it would be an even better surprise if she opened the box and found not just her eldest son, but her eldest son dead of multiple stab wounds. But allusions to David Fincher’s “Seven” (1995) aside, I was not eager to be the victim of ironic birthday manslaughter.

At last, she opened the box. I leapt up and uttered two familiar adages: “Happy birthday!” and “Don’t stab me!” The look on Mom’s face was priceless. It was a combination of surprise, confusion — she later reported wondering, briefly, if in fact I’d been in the box all afternoon — and terror. She jumped backward and screamed. Then she hugged me and began to giggle. Then she continued giggling. Then she fell on the floor from all the giggling, and then she had to go to the bathroom.

As you can see, this is not very different from what happened on “Joe Millionaire,” or from what happens regularly on the numerous prank-based television shows in which unsuspecting passersby are assaulted and humiliated by Tom Green or Johnny Knoxville. The only difference, really, is that in our case, we did it mostly out of love. The part where she almost wet her pants was just icing on the cake.

Old School

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“Old School” is, in fact, an old-school film in the spirit of “Porky’s,” with “Saturday Night Live” alum Will Ferrell filling the John Belushi role of chief mischief-maker and beer-imbiber.

There is little other point to the film than what is implied in that statement. It has only the barest remnants of a plot, its agenda instead focused on whimsical debauchery and random comic nudity. It is gleefully crass, and even irrelevantly so: One of the funniest moments is a profanity-laden version of “Total Eclipse of the Heart,” sung at a wedding reception as a throw-away joke.

As such, it’s only as funny as you allow yourself to think it is. Don’t take your mother to see it, or a date. Don’t schedule it as entertainment at a church function. Don’t view it on your last night before entering a monastery.

Luke Wilson is the star and straight man as Mitch, a lawyer whose live-in girlfriend (Juliette Lewis) has developed a hostile position toward monogamy, inspiring him to move out and buy a house near the local university.

His friends, newly married Frank (Ferrell) and married but unhappy Beanie (Vince Vaughn), use the house’s proximity to campus as an excuse to turn it into an unofficial fraternity, drawing in crowds of students in search of free beer and camaraderie.

It also attracts the attention of a crusty old dean — yes, this college-hijinks movie has a crusty old dean — named Pritchard (Jeremy Piven), a long-time rival of the trio from their own college days 10 years earlier.

There are amusing cameos from Snoop Dogg and Seann William Scott, as well as a horrifically unfunny one from Andy Dick. The humor is generally sexual, but not of the gross-out variety, despite being from “Road Trip” writers Todd Phillips and Scot Armstrong (Phillips also directed both films).

Vaughn gets off a few good lines and Wilson is OK, but it’s Ferrell whom viewers will remember. As he has proven on “Saturday Night Live” and multiple small film roles, he excels at loosy-goosey, dignity-free merriment and can deliver even the most average of punch lines with enough lunacy to merit a laugh.

“Old School” has its ups and downs, but its raucous, casual attitude is infectious. For its genre — ridiculous, subversive films that young people like — it’s above-average, and a nice reminder that when you get right down to it, college is pretty silly.

The Life of David Gale

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If your movie has a surprise twist in it, you should not trumpet that fact loudly in your advertising, the way Universal has done with “The Life of David Gale.” It acts as a challenge to the audience, practically daring them to spot the twist before it occurs, thus ruining the effect you intended it to have on them.

The exception, of course, is if the twist is so ingenious that even people looking for it can’t find it until you reveal it to them. But that’s not the case with “David Gale.” The director, Alan Parker (“Evita,” “Angela’s Ashes”), doesn’t have the finesse to play things on the down-low, and the screenplay by first-timer Charles Randolph drops hints awkwardly.

Though I am apparently very dumb and couldn’t quite piece it together until 15 minutes before the secret was revealed, the three critics and one civilian sitting nearest me had it a full hour before. (In my own defense, I was trying NOT to ruin the movie for myself … and I still had it a quarter-hour before the movie wanted me to.)

But this is counter-productive. All this talk is probably making you MORE eager to see the movie, not less. And it’s not that you shouldn’t see it; it’s that you shouldn’t be excited about seeing it. It’s an average movie of average intellect with mostly average acting, but with below-average skill at presenting its message.

The message is that the death penalty is wrong. In the movie, the people who disagree with that notion are Texas rednecks, and the ones who agree are the good guys, with Yankee accents. One of them is even a huge opera buff, just to show you how civilized he is.

Among the biggest abolitionists in Texas is David Gale (Kevin Spacey) who of course is a transplant and therefore does not have the local accent, and who at the film’s beginning has been convicted of murder and is sentenced to die. Cruel irony, that the state’s leading anti-death penalty advocate is about to become a victim of it.

But of course something is fishy, and Gale has requested an exclusive interview with no-nonsense news reporter Bitsey Bloom (Kate Winslet) just prior to his execution. Bitsey has a lot to learn. She is a Northerner, and very well educated — but tragically, she still thinks the death penalty is OK. “Maybe he’s innocent,” her boss says of Gale. “Yeah, right,” is her derisive reply. Surely she will learn a mighty lesson before film’s end!

Accompanied by an intern who does not serve any purpose in the movie, Bitsey heads to Texas, where Gale tells his story: After a trumped-up rape charge that was dropped, his life fell into disrepair. Then fellow abolitionist Constance Hallaway (Laura Linney), who had a strained platonic relationship with Gale, turned up raped and murdered. The physical evidence was damning, and Gale was convicted of the crimes. Now he will die, though he maintains his innocence.

In a manner not unlike that of Scooby-Doo’s friends, Bitsey and the intern (Gabriel Mann) snoop around for clues, leading to the aforementioned unsurprising surprise ending. Along the way, they encounter one sinister figure after another, and more videotapes than a Blockbuster employee.

The dialogue is occasionally sharp, but often forced, as when Bitsey makes “astute” observations like, “Never eat at a restaurant where the menus have pictures of the food,” and “Coincidences are always weird. That’s why they’re coincidences.”

In the acting department, we have solid performances from solid actors, but nothing spectacular. The closest thing we get to emotionally gripping is Laura Linney’s rather brave turn as Constance — an interesting character who doesn’t get enough chance to be herself before the movie is done with her.

I have no problem with the politics of this movie, nor of pretty much any movie, regardless of whether I agree with them. My only concern as a critic is how the politics are conveyed. Even if I were a rabid anti-death penalty crusader, I would not be impressed by the high and mighty histrionics put on display in this film. Those who do not already agree with the movie are not likely to change their minds after seeing the inelegant and ham-fisted arguments presented here. It’s a film with decent ideas, but a weak execution.

Dark Blue

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“Dark Blue” is set in the days before the Rodney King riots of 1992, when Los Angeles was on pins and needles, basically planning to riot if the verdict came back not guilty.

It was a tense time, and “Dark Blue” hypothesizes ways of making it even more stressful, adding more bad cops than there possibly could have been. It’s a fictionalized account, but it is straight-faced in suggesting the degree to which racism and corruption permeated the LAPD.

Ignore the fast and loose treatment of the facts, and you’ve got a fine, darkly dramatic thriller. Kurt Russell — overlooked as a quality actor — plays Eldon Perry, a quintessential Cop Who Doesn’t Play By The Rules who believes that if “at the end of the day, the bullets were in the bad guys,” then it doesn’t matter which laws were broken or what lies were told in the process.

He’s training Bobby Keogh (Scott Speedman), who looks like a younger version of himself, bringing him up in the ways of ends-justify-the-meansism. As the film begins, Eldon has saved Bobby from embarrassment by letting people believe he shot a fleeing suspect, when in fact Eldon shot him after Bobby dropped his gun. No harm in that lie, right?

The film brings out several sticky relationships between people, each demonstrating that no one is as he appears, and seemingly no one is without secrets. Bobby has a purely sexual relationship with a lady cop (Michael Michele), Eldon’s superior officer Van Meter (Brendan Gleeson) is even more racist than Eldon is — even Deputy Chief Holland (Ving Rhames), morally imposing and righteous, has troublesome skeletons in his closet.

Eldon and Bobby are investigating a case where four people were shot in cold blood in a convenience store robbery that, surprise surprise, was about more than simple thievery. And while it’s all going on, the Rodney King jury is out deliberating.

The story is by James Ellroy, who wrote the novel on which “L.A. Confidential” is based. The screenplay is by David Ayer, who also wrote “Training Day.” He has not moved very from from it to write “Dark Blue,” but his writing is strong. Witness the early scene in which the convenience store killers, one white and one black, discuss the repercussions of the King trial’s potential outcomes. It’s a curious, catchy blend of street profanity and ethical philosophies, reminding us that some issues are far-reaching enough to influence EVERYONE’S conversation.

Kurt Russell’s performance is noteworthy in that he creates a character whose type is so similar to so many others, yet it seems fresh. He was taught by his late father, whom he worships; he has no motives beyond wanting bad guys to be caught (or, if necessary, killed). When he delivers the obligatory Crazy Man speech — where the head lunatic lays out in simple terms what’s going on and why — you forget that so many movies, up through Al Pacino in “The Recruit” a few weeks ago, have had identical speeches already.

Director Ron Shelton (“Bull Durham,” “White Men Can’t Jump”) displays a love for L.A. and a mastery of his craft. The riot scenes are particularly harrowing.

In the end, as Russell’s dark blue eyes peer out at the city he loves, a city that is now burning, I wonder if the conclusion may be a cop-out. Surely Eldon Perry belongs in hell, and hell is what L.A. has become — but does he somehow deserve more than what the movie gives him? Discuss.

Gods and Generals

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Ronald F. Maxwell is apparently a big fan of the Civil War. Good for him, I say. Everyone needs a hobby, and while I personally don’t understand the pleasure to be gained in analyzing and reliving a horrific war that took place 150 years ago, far be it from me to criticize someone else’s pastime.

That said, I do wish Maxwell would stop making movies. I didn’t see his “Gettysburg” (1993), but by all accounts it was a tolerable, albeit very long, sort of film. His new one, “Gods and Generals,” a prequel to “Gettysburg,” is less so. I can only imagine that his planned third installment will be worse, according to the law of diminishing returns.

There is almost no dialogue in “Gods and Generals,” which clocks in at 3 hours and 40 minutes. When people converse, they are always either giving a speech, or else waiting silently until it’s their turn to give a speech. When no one’s talking, it’s because they’re shooting each other on the battlefield. Sometimes, people give speeches WHILE they’re shooting each other on the battlefield. Both activities — speaking and shooting — are done with a good deal of pomp and bombast.

The central character is Thomas “Stonewall” Jackson (Stephen Lang, who played Gen. Pickett in “Gettysburg”), a deeply religious man dedicated to states’ rights. “Though I love the union, I love Virginia more,” he says through his thick, thick beard, one of many thick, thick beards to occupy the film. And so he takes up charge of the confederate army, under the command of Gen. Robert E. Lee (Robert Duvall, a descendant of Lee), in the spring of 1861.

Though Maxwell is more earnest than skilled as both a writer and a director, he deserves credit here for presenting the South as the heroes, despite their espousal of several ideas — most notably slavery — that modern audiences are not liable to agree with. Indeed, in every battle sequence, it’s the confederacy we’re rooting for, even though a) we know they’re ultimately going to lose, and b) we’re glad they did.

Unfortunately, the battle scenes are often marred by the presence of non-actors in the ranks. Maxwell got hundreds of those guys who do Civil War re-enactments in their spare time to do their thing for the cameras, and it shows: The battles look like Civil War re-enactments, not like the bloody nightmares they actually were. Someone gets shot and sort of falls over, while the guy next to him gets a mild look of unconvincing surprise on his face; repeat that sort of hamminess over and over again and you get the idea.

Off the battlefield, Stephen Lang is very good as Jackson nearly bringing the man to life despite the two-dimensional manner in which he is painted. Robert Duvall is also wonderful to watch in the smaller role of Gen. Lee, giving an award-caliber performance in a mediocre film.

Maxwell appears to lack confidence in himself. When Jackson breaks down and cries at one point, it is not enough for us to see it and realize what it all means; there have to be two men standing to the side TELLING us why he’s crying. It ruins any poignancy the moment might have had. Maxwell shouldn’t be afraid of a little silence every now and then; he uses it much more effectively in a scene between a rank-and-file Yankee and a rank-and-file Reb who swap coffee and tobacco at a river crossing.

The director also ought to learn that it is not necessary to film everything. So concerned is he with getting all the details right that he includes things that could have been omitted, omissions that would have streamlined the story and eliminating extraneous characters.

“Gods and Generals” is not poorly made; it’s just over-made. Three hours and 40 minutes is excessive even for a great movie, and if the movie’s only so-so, it’s enough to make you want to secede from the theater.

Till Human Voices Wake Us

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“Till Human Voices Wake Us” is a line from T.S. Eliot’s poem “The Lovesong of J. Alfred Prufrock,” a poem I had to write a term paper on in high school and which I still remember very well. It is more interesting than this movie, which is as ponderous and plodding as a thousand bad poems.

It’s a lovely film to look at, and for a good while has a sweetly melancholic, almost elegiac, air about it. Dr. Sam Franks (Guy Pearce), a noted psychologist, must travel home to the Australian town of his childhood to bury his father. He meets a woman named Ruby (Helena Bonham Carter) on the train, and subsequently runs into her again after she jumps or falls from a bridge and he saves her life. Only now, she has amnesia.

Intercut with all this is the story of Sam as a boy (Lindley Joyner), around 13 years old and best of friends with Silvy (Brooke Harman), a sweet girl his age with braces on her legs. They spend all hours together; his father, a dentist, is oddly preoccupied, often with nothing, and Silvy’s parents treat him like one of the family. It’s summertime, and life is full of bike rides and swims in the pond (though Silvy, alas, must watch from the dock).

Eventually, we figure out how these stories are related, though there’s really not much to figure. I don’t know whether the writer/director, Michael Petroni (making his directorial debut), expected it to be a surprise or not. If he didn’t, one has to wonder what, exactly, he DID want us to get from it all. For the longest time, we have no idea where the young-people story is going; it seems to be nothing more than a series of slice-of-life vignettes.

Truth be told, that is the problem overall. The film doesn’t seem to be going anywhere, and when it’s done, you realize it didn’t, in fact, go anywhere.

The Doughnut Situation

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President Bush is deeply concerned about the nation’s economy. You can tell because during his State of the Union address in January, he spent 45 minutes talking about why we should bomb Iraq — because Saddam Hussein is evil, duh — and 11 seconds talking about stimulating the U.S. economy, which he proposed we do by making Monopoly money legal tender.

As a citizen of this nation and a commentator for a daily newspaper whose voice is crucial in shaping government policy, I, too, am interested in our nation’s economic survival. In particular, I am worried about the doughnut situation.

When I was a kid, a package of six Hostess Frosted Donettes cost 50 cents. A candy bar cost the same. Now, a candy bar is around 65 cents, while the price of the doughnuts has skyrocketed to $1.10. These are the same doughnuts as when I was young — in some of your 7-Elevens, I believe they are LITERALLY the same doughnuts — with no improvements or changes made, yet their cost has doubled while the price of the candy bar has remained more or less stable.

What happened to cripple the doughnut economy? Did I miss a major crisis in the doughnut industry wherein doughnuts became scarce while demand increased? Was there a doughnut embargo at some point? Did a doughnut-producing nation enter a lengthy, expensive war that diminished its doughnut resources?

ECONOMICS STUDY QUESTIONS: Was Hostess’ decision to make up the word “donette” a financial one? Do you think “Donette” would be a pretty name for a girl?

So the donettes baffle me. But I have also thought deeply in recent weeks about other economic matters, such as teriyaki chicken.

Last weekend, my good friends Tanny and Donette (names have been changed) got married after years of him insisting they were “just friends” and her insisting they were in love with each other. Finally, she won, and a victory wedding occurred, followed by an exclusive luncheon that cost, I’m guessing, $400,000,000. (I personally ate at least $1,000 worth of food and stuffed my jacket with another $500 in dinner rolls.)

ECONOMICS STUDY QUESTION: Why do dinner rolls taste so dang good?

While numerous friends were in town for the festivities, Tanny and Donette showed us a video they had obtained when they got their marriage license in Provo. This video, produced by the state of Utah, gives tips to newlyweds on making their marriage work. One segment is about having children, and the expert being interviewed makes this observation about what will happen to your life:

“It’s going to be a lot more Happy Meals and food courts and less gourmet dinners and teriyaki chicken.”

Her point, I believe, is that children cost money to support, which you’ll agree is one of their major downsides. However, those of us watching the video were unsure why she believed teriyaki chicken was a prohibitively expensive dish. I have eaten plenty of teriyaki chicken at many Chinese buffets, some of which have names like Special Lucky Gourmet Deluxe Buffet, which means you can be sure it costs no more than $7 to eat there. Where is the video lady going that she is being so drastically over-charged for teriyaki chicken? Does she drive past Teriyaki Stix, a fast-food chain owned by the people who brought you Hogi Yogi, see all the people inside and think, “Hoo-boy, I wish I were wealthy enough to go there…!”?

ECONOMICS STUDY QUESTION: Who says “hoo-boy”? I mean, seriously.

No doubt about it, these are hard economic times. We’re going to have to band together, conserve our resources and spend wisely. And in the meantime, we need to bomb Iraq, what with all the evil going on over there.


[ I had the bit about the doughnuts written several months earlier, maybe even a year. It sat in my leftovers file until I could find an opportunity to use it — in a column, fittingly, about my two favorite things, food and money.
Donette the newlywed had a different pseudonym — one I’d been looking forward to using for her for quite some time because it was part of a great inside joke — until I realized “Donette” would be a better name in the context of this column. It was one of those very, very difficult choices we humorists have to make on a daily basis. ]

 

Daredevil

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He’s a brooding superhero who only comes out at night, stubbornly fighting to avenge the years-ago death of his father. He has no super-strength; instead, he has nifty gadgets and acrobatic prowess, gamboling about the rooftops of a major metropolis while wearing a cowl and a rubber suit.

No, it’s not Batman. It’s Daredevil!

Following the death of a beloved relative, he sets out to fight crime, a renegade from the law, avoiding the negative spin put on him by the news media. His modus operandi is to swing from wires above the city of New York, nimbly swooping in at the last moment to save the day. His heightened senses help him know where danger lurks. But his solitary life as a do-gooder dooms any normal relationship he seeks to have, particularly when a friend mistakenly believes him responsible for a loved one’s death.

No, it’s not Spider-Man. It’s Daredevil!

And that, in a nutshell, is the trouble with “Daredevil,” the sunless new comic book adaptation written and directed by Mark Steven Johnson (“Simon Birch”). The character — a blind lawyer by day who uses his four extraordinary other senses to fight crime by night — is intriguing in its concept, but this film seems unaware of how derivative it all seems when you lay it out in simple terms. His sense of hearing and touch, in particular, are so strong as to almost cancel out his blindness — and without that gimmick, let’s face it, he’s Batman.

This is a darker, more adult superhero story, complete with a mild sex scene. (The camera pans away from the bed to a shot of a crackling fireplace, which means Johnson has apparently NEVER SEEN A MOVIE BEFORE, or he’d know that device is over-used. Later, he has a grave-side funeral take place in the rain, which means maybe he’s using all these clichés on purpose. But I doubt it.) It is not joyless, though, thanks to the gleefully wicked turns by Colin Farrell as Bullseye, a crazy-eyed Irish marksman; and Michael Clarke Duncan as the behemoth crime boss Kingpin. Jon Favreau earns a few laughs as Daredevil’s law partner.

Daredevil himself — or Matt Murdock, as he is called during the day — is played by Ben Affleck, a rather bland actor playing a rather bland superhero. He falls generically in love with Elektra Natchios (Jennifer Garner), a butt-kicking heiress whose name in MAD Magazine will almost certainly be Electric Nachos.

The plot from there is sloppily assembled, as crises emerge at odd moments and are quelled with equal hastiness. (What’s up with Matt’s priest friend?) Elektra and Daredevil become enemies, momentarily; then it’s just a matter of ticking off the bad guys as Daredevil fights them one by one. There is little flair or wit in the storytelling.

There is much to be enjoyed, however, in the visual style, which is replete with splendid imagery. The adventures are excitingly photographed by cinematographer Ericson Core (“The Fast and the Furious”), and the use of computer-generated images is thankfully kept to a minimum.

The sound design, usually taken for granted in a film, is fantastic here. Daredevil’s sense of hearing is his key to survival — he operates on a bat-like sense of echolocation — and the way it functions is portrayed vividly.

But these above-average technical achievements are, alas, confined to a film whose story and protagonist are pedestrian. Especially on the heels of last year’s “Spider-Man,” which was great in every respect, “Daredevil” seems positively un-super.

The Jungle Book 2

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Say what you will about the Disney company — that they have no respect for their own masterpieces, that they’ll do anything for a buck, that they make Walt’s corpse spin in its grave on almost a weekly basis — but one thing’s for sure: They know a good thing when they see it.

Last year’s “Peter Pan” sequel, “Return to Never Land,” was an uninspired dud that was originally scheduled to go straight to video. But it occurred to someone that if it were released in theaters and THEN on video, it would make twice as much money. After all, since when is already having seen a film a reason not to buy the video, especially when children are involved?

So “Return to Never Land” — which cost $20 million to make — grossed $48 million in theaters and more millions on video and DVD (Disney won’t release specific figures), despite being an inferior product unworthy of the Disney name.

This year’s pillaging of past glory, “The Jungle Book 2,” also started life as a direct-to-video project. But anyone who can perform simple arithmetic can see the financial advantage to following the “Never Land” strategy.

And so “JB2” hits the big screen, picking up the story of the original Rudyard Kipling-based animated film right where it left off. Mowgli (voice of Haley Joel Osment) is living with a family that adopted him after he found his way out of the jungle, but now he has longings to return to his life of bare necessities. The foster folks insist the jungle is dangerous for a human, and the evil tiger Shere Khan (Tony Jay) is indeed still after Mowgli, and yet he insists on returning.

When he does, his adopted sister and brother follow him, and soon there’s peril for everyone!

The film runs 72 minutes and is credited to six writers, which is an average of 12 minutes per writer. Take out the eight minutes filled with new songs by Lorraine Feather and Paul Grabowsky, and another eight minutes for the time spent singing the first film’s “Bare Necessities” over and over again, and you’re down to 56 minutes, or 9:20 per writer. This was not a work-intensive project is my point.

Unlike most sequels, the story for this one is logical. It stands to reason that, after being raised in the wild, Mowgli would miss the jungle when he became civilized. Unfortunately, nothing is done with this premise. “Jungle Book 2” has the exact same message, point and theme as its predecessor, and it goes about expressing it in an extremely flat, indistinguished manner. It’s approximately the same feeling as watching the first film, except you’re half-asleep while you’re watching it.

John Goodman breathes as much energy as he can into the character of Baloo the bear, and Haley Joel Osment is fine as Mowgli, though you have to wonder how Disney went about purchasing the boy. (He voiced a character in last year’s “Country Bears,” too, and “The Sixth Sense” was a Disney-owned Buena Vista release. Is Osment the new Kevin Corcoran?)

The new songs, especially “Jungle Rhythm,” are catchy, but the barely-above-TV-quality animation can’t keep up with it. You’ve got fast tempos and lively lyrics being matched with static shots of characters who don’t seem very enthused about what they’re singing.

It’s all well and good, and it’s not very long, and young kids will enjoy it. But you should skip the theatrical release and rent it — don’t buy it — when it arrives on video, where it should have gone in the first place.

All the Real Girls

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“All the Real Girls” is a tender story of young love, set against the unlikely backdrop of a blue-collar Southern town.

The town is the sort of place where men work in factories during the week and on their cars on the weekends. They drink beer, own dogs, and get in fights. And yet, in writer/director David Gordon Green’s elegant film, they all have souls, too, ultimately capable of expressing great emotion even if the physical manifestation of it is punching out a car window.

Physical activity is at a minimum here. Most of the film’s time is spent on establishing a very real sense of place; even if we don’t know which town this is, or even which state (the press notes indicate it’s North Carolina), we definitely know the type. Tim Orr’s cinematography perfectly matches the film’s yearning, wistful tone. The characters seem real.

The bulk of the scenes include conversations between 18-year-old Noel (Zooey Deschanel) and her new beau, Paul (Paul Schneider). Noel grew up in the town but has been at boarding school the past few years; Paul is part of the regular macho crowd, known for his frequent female conquests.

It is that last point that causes Noel’s brother, Tip (Shea Whigham), to disapprove of the romance. Tip and Paul are part of the same circle; no one knows better that Paul has a tendency to get infatuated, get lucky and then get lost.

That constitutes the film’s conflict, but aside from a few flurries of activity, it is put in the background. At the forefront is Paul and Noel’s courtship, played with natural, sweet awkwardness by Schneider and Deschanel. It’s one of the most down-to-earth teen romances I’ve ever seen in a film, full of optimism but not glamorized. Schneider is average-looking and out of shape; Deschanel plays Noel with a gentility that is tempered with small-town abruptness; as a pair, they are a far cry from most movie couples precisely because they’re so believable.

The film has a leisurely pace, which, yes, is critic-speak for “it’s slow.” No one has less patience for an unnecessarily slow film than I do, but it works here. The film brings you into its world and into the lives of its characters in such a way that spending time there a pleasure.

He Loves Me, He Loves Me Not (French)

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Among the many perverse pleasures in “He Loves Me, He Loves Me Not” is that the central character, an obsessive, dangerous stalker, is played by Amelie.

Yes, it is Audrey Tautou, that wide-eyed French pixie who made the whole world fall in love in “Amelie,” still as adorable and high-spirited as ever, except this time she may be responsible for a murder. Huzzah!

Laetitia Colombani’s psychological thriller makes ample use of Tautou’s “Amelie” notoriety, frequently putting her in situations that bear superficial resemblance to her activities in that film, activities like buying flowers and riding a bicycle. But the film has tricks up its sleeve beside the gimmickry. This is a film about the subjective nature of truth, and the inherent unreliability of a story told from only one point of view. And seldom has a film had so much fun with those themes.

Angelique (Tautou), a promising young art student, is housesitting for a few weeks while trying to prepare work for a show. She is preoccupied, however, with her infatuation for Loic (Samuel Le Bihan), a cardiologist with whom we get the impression she had a brief affair, perhaps only a one-night stand. He is supposed to leave his wife for her. On his birthday, he stands her up. The darkness begins. Later, he stands her up again. The darkness continues. Angelique is not to be trifled with.

Just when the film appears to be nothing more than “Fatal Attraction” in French, it pulls a switch: Forty minutes in, it rewinds back to the beginning and shows us everything again, this time from Loic’s point of view. Events that were puzzling at first now make sense, given the proper context. Everyone’s behavior makes more sense.

The film ingeniously uncovers all its secrets, leading up to a gleefully wicked conclusion. You see it coming a mile away, but no other resolution would be acceptable: Sometimes, the best way to end an utterly unpredictable film is with something just obvious enough to be satisfying. Here’s a clever, devilishly entertaining film with an inquisitive eye for human nature and a sly hand at storytelling.

Russian into Things

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Just in time for Valentine’s Day, I received a mail-order bride catalog in the mail.

Actually, it wasn’t I who received it, but we, as in the Daily Herald. I don’t know to whom it was addressed, or why. We get a lot of things here that no sane person could have ever thought we’d have a news-related use for. Many of these come from publicists, whose job it is to convince newspapers that irrelevant things ought to be put into print. (These publicists succeed a lot of the time, unfortunately, thanks to being well-versed in the art of witchcraft.)

The mail-order bride catalog was accompanied by a press release informing us that A Foreign Affair — the name of this particular company — is “one of the largest and most respected International Introduction Agencies in the world,” though I assume “most respected” is a relative term, in the way that Washington D.C. is one of the most respected places to be murdered.

The catalog is chock-full of photos of Russian women, some of them beautiful, some of them, uh, not as. Each woman lists her name, age, height and weight, along with her hobbies and a brief description of her personality. They also say what kind of men they’re hoping to attract. “Desperate and lonely” is a phrase I expected would come up frequently, but it never did.

Now, despite being colloquially known as a mail-order bride catalog — and the press release acknowledges that fact — A Foreign Affair does not actually sell women to you. If it did, the catalog would have more subscribers than TV Guide. Instead, they sell you the women’s mailing addresses, and you write to them in the hopes of developing a meaningful relationship with someone who doesn’t speak English very well, who is from an entirely different culture and whom you’ve never spoken with. It’s like the Internet, but slower and less reliable. (So, it’s like AOL.)

Which brings us to an interesting point: In this day and age, why would you pay money for someone’s snail-mail address when chat rooms and online personal ads are much faster and cheaper?

I talked to John Adams, president of A Foreign Affair and, if you’ll recall your American history, second president of the United States (1797-1801). He said, “In Russia a lot of the women don’t have access to the Internet, and if they do, it’s very limited.” This makes sense, considering that in many parts of Russia, they’re still working out “indoor plumbing.”

Adams said some disreputable companies have purported to sell Russian women’s e-mail addresses, “but whoever’s writing back, goodness knows who it is.” The scammers, posing as Russian gals, will try to get money from the unsuspecting American saps. With A Foreign Affair, though, you get actual mailing addresses, and presumably actual handwritten replies from actual Russian babes. To find out for sure, of course, you’d have to fly to Russia … and A Foreign Affair offers travel packages for that very purpose.

Are the men who use services like A Foreign Affair desperate losers? “For the most part, they’re college-educated, and they’re professional,” Adams said. “They’ve worked very hard, maybe they’ve had a divorce, maybe they’ve never been married. They just haven’t found the things they’re looking for in the women they’re dating, and this is another option.” (In other words, yes.)

You have to admire these men’s determination, though. Many guys, upon realizing that every woman in America is off-limits to them, might give up altogether. But not these guys! They simply choose another nation and start over.

According to the Foreign Affair Web site (www.AForeignAffair.com), they average seven engagements per day between people who met using their service. Even assuming the extraordinarily low Brigham Young University rate of one marriage for every seven engagements, that’s still 365 marriages a year between people who were strangers to each other until the catalog brought them together. I wonder how they will relate their “how we met” story to their children: “You see, son, I was a sad and pitiful man, shunned by every American woman with whom I came in contact, unable to establish even a rudimentary foundation of mutual fondness with any human being in the Western Hemisphere. And then I saw your mother’s picture in a catalog! She said she enjoyed reading and nature and that she weighed 118 pounds, and I knew she was the girl for me.”

Of course, I don’t claim to know everything, or even anything, about dating. It is a horrific process, a constant barrage of auditioning for those to whom you are attracted, hoping they will like you, or at least spare your self-esteem if they don’t. If some men prefer to do this by writing letters to Russian women, it is not my place to judge them. It is only my place to make fun of them, while secretly agreeing that a loving, lasting relationship is a great thing, regardless of how you stumbled across it.

How to Lose a Guy in 10 Days

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Two good-looking New Yorkers meet under false pretenses, fall in love, discover one another’s lies in a public setting, break up, realize they are miserable apart (in a montage set to music), then reunite again in a public place.

I have just described every romantic comedy ever made, from the cave paintings done 10,000 years ago in the mountains of Peru, up to and including “Maid in Manhattan,” which was released just a month ago yet contains no more believable dialogue than the cave paintings did. I have also described “How to Lose a Guy in 10 Days,” the latest entry in the genre that, as with most of its predecessors, brings nothing to the table other than its adorable stars, who in this case are Kate Hudson and Matthew McConaughey but who might as well be Katie Holmes and Freddie Prinze Jr, or Goldie Hawn and Kurt Russell, or Lassie and Rin Tin Tin.

The twist in the formula is that this time, both parties are lying. Hudson’s Meg Ryan-ish character, Andie Anderson, writes “how to” articles for a women’s magazine called Composure — you know, how to talk your way out of a ticket, how to fix your abs, how to be a skanky ho, and so on. Her new idea? How to lose a guy in 10 days. She will start dating a man and then intentionally do all the wrong things, thus driving him away within a week and a half and giving her fodder for an article about how women sabotage their own relationships. Think of it as a bubbly, reverse-gender version of “In the Company of Men.”

The guy she chooses for her cruel-but-funny (?) experiment is Benjamin Barry (McConaughey), a cool and loose advertising exec who, unbeknownst to her, has bet his friends he can stay in a relationship for at least 10 days — and in fact can even get a woman to fall in love with him in that time. He chooses Andie at the same time she’s choosing him; neither knows that they are but pawns in a game.

The fact that Andie and Ben are both playing each other leads to some amusing situations, though the focus is definitely more on Andie’s program of intentional annoyance than on Ben’s wooing skills. Women and men will all laugh with recognition at what Andie does: moving things into Ben’s apartment, making him miss crucial basketball games, embarrassing him during his guys-only poker night, and so on.

It’s not enough to sustain the film, and fortunately the workable script (by Kristen Buckley, Brian Regan and Burr Steers) knows this and shifts gears midway through, allowing Andie and Ben’s relationship to develop into something beyond jokes about tampons in the medicine cabinet. A scene with Ben’s Staten Island family is enjoyable, though marred by out-of-nowhere flatulence jokes. (I will grant you that old people farting is funny. I submit, however, that just because something is funny doesn’t mean you can put it in any scene you want to, whether it fits or not.)

The unraveling, in which Andie and Ben discover one another’s lies, is especially preposterous, even by rom-com standards. But it’s an unusual kind of preposterousness, and it involves Marvin Hamlisch and it made me laugh.

Bebe Neuwirth is nearly wasted as Andie’s boss. Wasting Bebe Neuwirth should be a felony. I’m just sayin’.

It’s essentially a very standard romantic comedy, with a few laughs and a couple semi-sweet moments. By any impartial system of judgment, it is at best a mediocre film, but within its genre, it’s better than some.

Deliver Us from Eva

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The average person, you see, isn’t going to watch “Maid in Manhattan” AND “Two Weeks Notice” AND “How to Lose a Guy in 10 Days” AND “Deliver Us from Eva.” The average person, when faced with four romantic comedies being released within six weeks of each other, will see one, maybe two of them.

The movie critic, however, sees all of them. Hence it is the movie critic who grows tiredest the fastest of films in which people either hate each other or like each other but under false pretenses, and in which hilarity is supposed to ensue but almost never does. The movie critic has seen it all before — in this case, he has seen it three times in the past five weeks.

It is not the fault of “Deliver Us from Eva,” however, that there has been a slew of rom-coms in recent weeks. In fact, it is to be admired for being something that few films have found financial success at being: an African-American romantic comedy.

Alas, even without being a retread of other films, and even ignoring the glut in the marketplace, “Deliver Us from Eva” is still only slightly better than most of its kind. It avoids the template for a while, but by the end, it’s doing everything that every other film of its genre does, right down to the reconciliation that occurs in a public setting.

But it starts well. In narration, Ray (LL Cool J) tells us that he is dead. In fact, we are looking at his funeral. He shows us the three men who killed him, the three Dandridge sisters whom they are all either married to or dating, and the fourth Dandridge sister, Eva (Gabrielle Union), who Ray tells us is the one truly responsible for his demise.

Is this a promise of dark comedy? Are we to see a story that actually ends in the death of its protagonist? I will only refer you to my previous assertion that this film ultimately follows all the normal conventions of romantic comedies.

At any rate, we go back six months to before Ray ever met Eva. As eldest child, she looks out for her three sisters, who respect every word she says, especially when she’s dissing their husbands and boyfriends. Eva doesn’t like her sisters’ men, even though they’re pretty decent guys. Eva doesn’t seem to like anyone, in fact. She’s mean and shrewish, which in her line of work — she’s a health inspector — is a plus.

The men figure Eva needs a man of her own. They approach Ray, the smoothest player they know, and offer him $5,000 to woo Eva, get her to fall in love with him, whisk her off to another city, and then dump her. She’ll be far away and heartbroken, and no longer interfering in her sisters’ relationships. (If this plan sounds imbecilic, wait till you see the last 20 minutes of the film, which bring imbecility to a new level.)

Ray takes the challenge (and the money), but whoops, accidentally falls in love with Eva for real, and much backfiring occurs. Et cetera, et cetera.

Eva is such a relentless harpie for so much of the film that by the time she is turned pleasant by the love of a good man, it’s too little, too late. Our hatred for her is irreversible. That she elicits any sympathy from us whatsoever in the last act is a testament to Gabrielle Union’s bountiful charisma, and not to any writing or directing prowess on the part of Gary Hardwich (who also gave us “The Brothers,” 2001).

LL Cool J is silky smooth as ever as Ray, and an enormously likable lead. His three co-conspirators, Duane Martin, Mel Jackson and Dartanyan Edmonds, earn a few laughs, too.

On the other hand, Eva has a foul-mouthed beautician friend who talks about sex non-stop. She is played by Kim Whitley, who I thought was Jackee Harry from “227” the last time I saw her in a movie, too. I will probably think that again the next time she appears in something as well, and so on, forever. Anyway, point of the story, her character is vile and irrelevant.

When the film is on, it’s way on, delivering good laughs and a little deviation from the norm. But when it settles into its rut, churning out cliches like there’s no tomorrow, it is considerably less enjoyable. In a genre that is being beaten into the ground, this entry isn’t helping.

Shanghai Knights

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The last thing on the agenda for “Shanghai Knights” is to do anything its predecessor, “Shanghai Noon” (2000), didn’t already do. More scenes of Owen Wilson being anachronistically sardonic while Jackie Chan has entertaining fights with bad guys — that’s what we want to see.

“Shanghai Knights” delivers that, with an additional bit of creativity most sequels would skip: It offers homages to many classic films, particularly the slapstick films of the silent era. No attempt is made to pass Wilson and Chan off as another Laurel and Hardy or anything like that, but several situations they find themselves in resemble moments that will be pleasantly familiar to film buffs. (From the non-silent era, there is even a graceful, whimsically choreographed fight scene involving an umbrella, set to “Singin’ in the Rain.”)

I appreciate the extra effort in these nods to the great films of yesteryear, whether they add anything to the current story or not. “Shanghai Knights” is defined by that philosophy: You appreciate what it’s doing, you chuckle quite a few times, and you’re amused by its Chan-centric fight sequences. Is any of it new, and does any of it matter? No.

The film’s thin plot has Old West sheriff Chon Wang (Chan) reuniting with his old buddy Roy O’Bannon (Wilson), an incompetent, contemplative, high-living would-be gunfighter, to pursue the man who killed Chon’s father and made off with the Imperial Seal. They’ve tracked him to London, which is really just an excuse to get both of the fish out of water again, fighting with bobbies and befriending Dickensian street urchins.

Chon’s sister, Lin (Fann Wong), is in England, too, and the butt-kicking genes apparently ran strong in the Chon family. She flits in and out of the story as plot developments require; most of the film, in fact, is as casual as Owen Wilson’s delivery. Note the film’s setting of 1887, yet our heroes encounter a young Charlie Chaplin (who was born in 1889), see front-page headlines about Jack the Ripper (who wasn’t a full-blown serial killer until 1888), and sail past a Statue of Liberty still under construction (even though it was dedicated in 1886).

I confirmed these facts after just 60 seconds of Internet searching, and if this were any other movie, I would complain about the screenwriters’ laziness. In this case, though, I think it’s beside the point. History gets rewritten, facts are messed with, the dialogue is peppered with 20th century slang (“This country blows,” Roy says) — the matter at hand is that Wilson and Chan are funny together, Chan’s fights are as spectacular as ever, and Wilson gets to say things like, “I’m a 30-year-old waiter/gigolo. Where’s the future in that?”

Like the first film, this one finds legitimate chemistry between its mismatched stars, using their particular strengths and weaknesses against each other. One is verbally eloquent, one can barely speak English. One’s an amazingly gifted fighter, the other looks like his nose has been broken too many times. Wilson and Chan make sense together in a movie, and this one wisely keeps them together for most of the longish running time. It’s an easy-going lark; who doesn’t enjoy one of those?

The Boys Next Door

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Tom Griffin didn’t do anything spectacular when he wrote his dramatic comedy “The Boys Next Door,” but he did give us a light-hearted play that takes a risk in its premise: It is about mentally retarded adults.

That the play dares to let them be funny is admirable; the temptation among over-reactionary types would be to assert that a comedy involving the mentally handicapped is automatically mocking those people. That the Provo Theatre Company production, directed by David Morgan, pulls it off without seeming to make fun of its subjects is also worthy of praise.

The setting is a group home supervised by Jack (Tom Nibley), a gaunt, graying man who loves the men he cares for but is feeling burnt out by his responsibility to them. First there is Arnold (Scott Wilkinson), whom Jack tells us is “marginal” as far as being retarded, but who is most definitely a nervous, obsessive sort of fellow. Norman (Steve Dunford) is high-functioning, works at a doughnut shop and has a sweet crush on Sheila (Kimberley Cote), who is also mentally challenged. Lucien (J. Tekulve Vann) is somewhat less able to function in society, a fact that comes into play when the government mistakenly concludes otherwise and discontinues his Social Security payments.

And then there’s Barry (Christopher Clark), who is not retarded but schizophrenic. (He believes he is a golf pro.) Jack says he doesn’t belong in the group home, and he certainly seems to be a world apart from his housemates. Late in the play, we meet Barry’s uncaring father (Bob Nelson, understudying for Paul DeWitt), whose rough demeanor is the opposite of how the play believes men such as Barry ought to be treated.

Griffin clearly did not intend for the humor to be at the expense of the retarded characters, but it does stem naturally from the fact that they are retarded. That is to say, much of what’s funny — their reaction to a mouse in their apartment, Norman’s obsession with keys, and so on — would play out much differently if they were not mentally challenged. These characters happen to be, and the play honestly examines their particular foibles in a manner that is funny and at times even hilarious.

The play is little more than a series of vignettes, with only minor plot threads connecting them, and as such there is a feeling of fragmentation about it. But the acting is extremely well done, with each of the actors carefully — and usually successfully — balancing the line between portraying real people and becoming stereotypes.

It reaches its emotional peak in the scene between Barry and his father, a difficult conversation that plays out with the right mix of awkwardness and sensitivity. The comic zenith, meanwhile, is Norman’s completely unhinged behavior while on a date with Sheila — a date that consists of sitting in the apartment and discussing keys.

Not everything works — Barry’s conversations with his deaf neighbor seem farcical and out of place — but much more is right about the play than wrong. It’s a funny, gentle production.

Stuff Happens

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(Author’s note: The events described within this column are true. Please note that it is about dogs and therefore contains several references to, um, you know, the stuff dogs leave behind. In deference to our more sensitive readers, we will refer to this as “stuff.” Please bear in mind it is also a verb.)

Diary of a Dog-Sitter

Day 1:
My charges, two high-strung Italian greyhounds named Queequeg and Astra, are alarmed to find me in their home and their owner, Vigga (names have been changed), nowhere to be found. I inform them that Vigga, a friend of mine, is merely away for a week and will surely return. Queequeg, the smarter of the two, reacts by trembling so hard she becomes blurry. Astra, who is dumber than a basket of pine cones, runs around in circles.

This will be easy, I think. I show up a few times a day to walk the dogs and give them some food, play with them a little, and collect eternal gratitude from Vigga. Plus, since they’re both female dogs, I have an excuse to use a particular swear word all week and it won’t even count as swearing.

The first walk is uneventful, which is a bad thing with dogs. The whole purpose of the walk is for something to happen, lest it otherwise occur indoors. Vigga, in her lengthy instructions to me, indicated I should carry a plastic bag when I walk the dogs, so that I can pick up their stuff and throw it away. I told her I could not imagine any sequence of events that would culminate in my laying hold on another animal’s excrement. She resigned herself to this fact and urged me to stay out of the main walkways around her apartment building. I made no promises.

But the point is moot, because neither dog shows any interest in relieving herself. Astra’s primary concern is eating leaves and sticks. Queequeg seems most interested in going back inside. I agree with her.

Due to my gullibility, I believed Vigga when she said the dogs are used to sleeping with a human being and that I must therefore spend the night there. Why this should matter to the dogs, I don’t know. But sure enough, they curl up with me in bed. The night passes.

Day 2:
I awake having learned something important about sleeping in a bed with dogs: I can’t sleep in a bed with dogs. I now smell so doggy I fear the scent may be permanent. Furthermore, I spent most of the night being all too aware of the fact that beneath the covers and adjacent to my lower quarters lay two animals with teeth and claws.

I enter the living room to discover that, during the night, Astra got up and stuffed on the carpet. I do not fault Astra for this; she is, after all, as dumb as a sack of doorknobs. I clean up the stuff, take the dogs on an uneventful walk, and go to work.

That night, I decide I cannot sleep with the dogs. It is too much to endure. What will happen if I don’t? Will they be awake all night from worry and thus unable to fulfill their dog duties tomorrow?

I tell the dogs I am leaving and that they should go to bed. In response to this — or perhaps randomly — Queequeg commits a felonious act against my leg.

Day 3:
I return to the apartment in the morning to discover that, in my absence, at least a dozen extra dogs must have broken in and stuffed. There is stuff everywhere. Surely this cannot be the work of two rat-sized dogs, unless one of them exploded.

I clean it up and take the dogs for a walk. The walks, which occur several times a day, are merely a formality now. The dogs clearly have no intention of stuffing while outdoors; in fact, they seem unaware that that is even the purpose of the walks. “It sure is nice to be outside,” they seem to say. “But can we head back in? I have to go.”

On the walk, Astra ingests several leaves and pieces of bark, all while running around in circles.

Tonight, I spread newspapers out on the floor in all the places where the dogs tend to stuff, though somehow I realize this will be ineffective.

Day 4:
A disturbance in the force tells me before I even arrive that nothing is as it should be. Sure enough, the dogs, in their continuing campaign of anarchy and mischief, have stuffed in several locations near the newspapers, in every case taking care not to befoul the newspapers themselves. In theory, then, if I covered the entire floor with newspaper, the dogs would not stuff at all.

I take the dogs on a walk, during which nothing occurs. Five minutes after returning to the apartment, Queequeg has an accident on the floor, though I am loathe to call it an accident when she did it while looking me directly in the eye.

Day 5:
The stuffing has reached psychotic levels. I have determined that the dogs are doing it on purpose as an act of defiance. Today, Astra went WHILE I WAS PUTTING THE LEASH ON HER to take her outside. She knew that if she waited literally 10 more seconds, she could go outside. But she chose not to. I don’t care how dumb you are — and Astra is as dumb as a pan of muffins — you must know, after wearing a leash 75,000 times, what wearing the leash means.

The stuffing, it would seem, is now just being done out of disrespect.

Day 6:
I am a broken man. The dogs have won. I now see stuff in my sleep, as well as everywhere I look when I’m awake, though the latter sightings are literal. Astra and Queequeg have claimed another victory for their race. The humans are further subjugated. Woof.

The R.M.

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This time, HaleStorm Entertainment won’t have to make up quotes from movie critics to use in its advertising.

“The R.M.,” HaleStorm’s follow-up to the amateurish “Singles Ward,” is an altogether amusing, nongrating, nonstupid comedy. It benefits from solid acting and sharp, good-natured humor. The script, again by John E. Moyer and Kurt Hale, is more focused than last time, and so are the cameras. It’s an altogether enjoyable film — not without its flaws, and some of them significant, but diverting nonetheless.

Kirby Heyborne, who played a soon-to-be missionary in “Singles Ward,” is back as a different character, Jared Phelps, just returned from the Wyoming Evanston South Mission of the Church of Jesus Christ of Latter-day Saints. At the airport, he finds no one to greet him. At home, he finds his parents have moved and forgotten to tell him. At his girlfriend’s house, he finds she is engaged to someone else.

With the exception of the last point, Jared’s problems thus far are unbelievable, which makes it hard to find humor in them. (You have to believe a thing could happen before you can laugh at it.) But the film, directed by Kurt Hale, picks up steam from there, realistically and comedically conveying the frustration many returned missionaries feel as they adapt to the real world. I will even accept the airport-no-shows and the moving-without-telling because they set the tone for the film: This will be a one-thing-after-another comedy, where things continue to get worse for the protagonist despite the seeming fact that they couldn’t possibly get worse.

Jared’s family includes multiple children and two extremely busy but loving parents (Tracy Ann Evans and Merrill Dodge). Mom is pregnant, while the oldest sister, Sariah (Maren Ord), is about to marry a doofus named Duey (Michael Birkeland). Jared’s lifelong friend, the fun-loving Kori (“Singles Ward” star Will Swenson), wants to hang out with him, but Jared worries about the influence Kori will have over him.

There are troubles with girls and employment, too, but most of the conflict is internal as Jared struggles to determine how, exactly, serving a mission has blessed him, when everything seems to have been screwed up by his going. These are weighty issues of faith, and while the film doesn’t resolve them very well — in the end, I can’t tell why Jared has reached the conclusion he has — it at least portrays his struggle convincingly.

“The R.M.’s” best asset is Heyborne, who has a likable Everyman quality as Jared. His resolution despite constant setbacks, with an expression of growing weariness about his face, is both funny and appealing. When the film becomes too dramatic in its last act, Heyborne carries it well.

Swenson, who almost made “Singles Ward” tolerable, is good again as Kori, and Tracy Ann Evans gets more than her share of laughs as Jared’s indefatigable dynamo of a mother. Britani Bateman is charismatic as Kelly, Jared’s new love interest.

The celebrity cameos are kept to a minimum this time and do not generally get in the way of the story. The soundtrack, which again features familiar LDS tunes re-cast in modern styles, is fun on its own but distracting within the film. Johnny Biscuit played the most annoying character in “Singles Ward”; this time it is TV personality Scott Christopher, who is embarrassingly unfunny as an attorney, badly dragging down the film’s finale.

But then there are the plusses. One of the best gags involves Jared’s visit to a jewelry store to return his ex-girlfriend’s engagement ring. I won’t spoil it for you, but it cleverly juxtaposes LDS culture with that of the outside world, taking what is familiar to viewers — “it’s funny because it’s true” — and tweaking it enough to earn real laughs.

Jared’s parents’ involvement in selling a Nu Skin-type product, some ward members’ commercial for a wedding Web site, his experiences as a telemarketer — these are legitimately funny sequences, and the first half of the film, especially, is a treat to watch.

What separates “The R.M.” most from “The Singles Ward” is its attitude. In “The Singles Ward,” things were thrown haphazardly onto the screen with regard only for whether the filmmakers thought they were funny. There was a smugness about it: If you don’t laugh, there must be something wrong with YOU.

“The R.M.,” on the other hand, reaches out to its audience and actually wants to be liked. It is not a great film, but it’s a good one, a pleasant one. The parts that make you laugh outnumber the parts that make you roll your eyes.

Biker Boyz

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There are many reasons not to take “Biker Boyz” seriously as a film, not the least of which is its title, what with its cutesy alliteration and the inappropriate “z.”

Also, we cannot discount the fact that this film contains both Lisa Bonet and Kid Rock, neither of whom, I think we can all agree, ought to be taken seriously as anything other than a former Cosby kid and a dirtbag Pamela Anderson-screwer, respectively.

We must also bear in mind that “Biker Boyz” has characters named Smoke, Wood, Flip, Kid, Chu Chu, Soul Train and Queenie. How different is this from “Our Gang,” which had Spanky, Alfalfa, Buckwheat and Porky? If we were not expected to take the Little Rascals seriously, why should we take “Biker Boyz” seriously?

The film can also be disregarded because it is about motorcycles. (Its secondary theme: People ride motorcycles.) This is a bold, sweeping statement, I realize, but I firmly believe that movies, if they are to have any impact on the human condition, ought to be about sentient beings, and not about machinery. Especially not loud, hateful machinery.

But the best reason not to take “Biker Boyz” seriously is that it is dull, unfocused, meandering stuff. It believes it has the makings of insightful drama, and then it ends by having its hero tell us that he has learned to “represent straight up.” I don’t even know what that means. Much of the rest of the dialogue is equally trite and/or nonsensical.

Our hero happens to be nicknamed Kid (Derek Luke), and he is the son of a man named Will (Eriq La Salle), who busts his butt working as a mechanic for a guy called Smoke (Laurence Fishburne). Smoke, clad in black leather — if Fishburne is wearing this, what is the guy from the Village People wearing? — is the undisputed “King of California,” at least in terms of late-night motorcycle street-racing. In other areas, such as quilting and television repair, I assume he concedes his crown to more qualified practitioners.

At any rate, Will gets himself killed in the first scene when a race goes awry and a chopper goes fly, that’s amore. Flash ahead six months, to where Kid is angry and cocky, secretly practicing to take Smoke’s throne in order to, I don’t know, prove himself or something. His worried mother (Vanessa Bell Calloway) frets and stews and lectures, like mothers are supposed to do in movies like these. Smoke, a good friend of the family who has offered Will’s widow any help she needs, tries to keep Kid from getting reckless and killing himself.

The film, directed with a ham fist by Reggie Rock Bythewood — who wrote a few episodes of “A Different World,” which explains the presence of Lisa Bonet — flits from one idea to the next with apparent randomness. There are family crises, some kitchen-sink drama, and a lot of scenes where testosterone-laden men glare and speak melodramatic challenges to one another in icy cool voices. When one of these men is Kid Rock, you know the movie has given up on being credible.

The one unifying theme in it all? Motorcycle racing. The motorcycle clubs of California probably have some inherent drama to them, what with the danger and the camaraderie and all, but this film fails to find it. Instead, it uses the same conflicts and character arcs as too many movies before it, never giving us a reason to care about anyone.

There is also the matter of padding, which the film indulges in capriciously. Between the last scene, which inevitably must have a race between Kid and Smoke, and what should have been the next-to-last scene, there are three additional scenes. They all could have been cut from the film without losing any story or character development; they are padding. It is not often I criticize a film editor by name, but Terilyn A. Shropshire, you suck.

Are there good moments in this film? Sure. Derek Luke, so great in “Antwone Fisher,” has a few instances of clarity. Some of his scenes with Vanessa Bell Calloway as Kid’s mother almost click. But in general, the acting is as soggy as the script. “Biker Boyz,” in a word, stinkz.

The Recruit

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“The Recruit” is, thankfully, a rare thing. It is a movie that inspires almost no feelings whatsoever in some scenes, mild interest in others. The overall impact is that of having watched something benign and inoffensive, of having spent two hours with nothing good or bad to show for it.

The film, a rather ordinary espionage thriller, benefits from charismatic performances by Colin Farrell and Al Pacino, though. Pacino plays Walter Burke, a long-time CIA trainer with typical Pacino swagger and bravado who recruits a Boston computer hotshot named James Clayton (Farrell) into the agency.

We don’t know much about James except that he’s brilliant with computers and always has a two-growth of beard, including, one assumes, immediately after he has shaved (just like Homer Simpson). Maybe he lives alone, maybe he doesn’t; in the first scene, he hollers for someone to answer the phone because he’s in bed, but there is never any subsequent mention of friends, family or loved ones.

At any rate, his father died in a plane crash years ago, and Burke implies it was CIA-related. Do not get attached to this plot thread, though, because it is under-utilized for the rest of the film.

Training is full of the usual sort of mind games you expect in a film like this, as well the traditional James Bond-style high-tech gadgetry. Then, finally, an hour into the film, we get to the real story, which has James trying to sniff out a mole within the organization.

Bridget Moynihan is sexy indeed as James’ fellow spy trainee and tentative love interest. Farrell, an interesting young actor, has sufficient charm to keep people watching even when nothing exciting is happening, and we all know about Pacino’s magnetism.

Directed by Roger Donaldson (“Thirteen Days,” “Dante’s Peak”), “The Recruit” has a few thrilling moments but no real unforeseen twists, plot-wise. It meets basic expectations — it is not dull and it is not difficult to watch — but it does nothing to exceed them.

Final Destination 2

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I believe “Final Destination” (2000) was a widely misunderstood film. On its face, it seems to be a generic, unbelievable horror film about teens who get killed, with thin characters and wooden dialogue. Upon further examination, though, it becomes clear that the filmmakers — “X-Files” veterans James Wong and Glen Morgan — intended it that way. They want us to laugh with the film, not at it. Surely these guys, being responsible for many genre-defying episodes of a genre-defying TV series, know “lame horror flick” when they see one. “Final Destination” was not meant to be taken seriously, but as a wickedly dark spoof that, like “X-Files,” successfully blended mockery of horror with actual horror. On that level, it was a decent piece of entertainment.

Now comes the depressing and obligatory sequel, made by new, inexperienced people, featuring almost none of the faces from the original, and using not a continuation of the first film’s plot, but THE SAME PLOT, recast with different characters. It is wearisome to contemplate Hollywood’s dearth of good ideas.

The story is that a teen-age girl named Kimberly Corman (A.J. Cook) foresees a horrific traffic accident in a vision, acts accordingly, and prevents the deaths of nine or 10 people who would have otherwise perished. But this messes with Death’s design — when it’s your time to go, it’s your time to go — and soon Death, merry prankster that he is, begins killing off the survivors anyway, using increasingly elaborate and ghastly methods.

Kimberly knows what’s going on. The near-accident occurred one year to the day after a teen-age boy foresaw a plane crash, got off, and spared the lives of several people, all of whom also died soon thereafter; this is what happened in the first “Final Destination.” She seeks out Clear Rivers (Ali Larter), the one person from that earlier incident to still be alive, though she has barricaded herself at a mental institution, safe from anything that could possibly kill her.

(This is a typical horror-film institution, by the way, all mist-enshrouded and featuring raving lunatics who yell things like, “Get ‘em off me!” when there’s nothing on them.)

Clear decides to help Kimberly and her fellow survivors, who are quickly becoming convinced that Death IS after them, since sure enough, they’re starting to drop like flies. They visit a creepy mortician (Tony Todd, from the first film), who gives them some ideas about how to escape Death once and for all.

The film is a copy of its predecessor, but a bad one. The plane crash vision in “Final Destination”? Whatever critics said about the film, they loved the sweaty terror of that well-produced sequence. The multi-car collision in “Final Destination 2”? OK, but marred by the over-use of fiery explosions, including a car that bursts into flames simply by having its top half — the half where the gas tank ISN’T — being sliced off.

More to the point, the aforementioned attitude of the first film is gone here, like maybe the new filmmakers didn’t even get it, much less were able to duplicate it. Where “FD1” was full of subtle visual clues foretelling characters’ deaths, and the use of “Rocky Mountain High” as a constant harbinger of doom, “FD2” manages one or two lame hints then gives up.

There is no atmosphere. This sequel, a deliciously stupid 90 minutes of outrageousness, actually is all the things that those who misunderstood its predecessor thought IT was. It’s lame and obvious, though I will say that at least it’s never boring. As far as bad movies go, this is a great one.

Chaos (French)

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While driving to some fancy dinner or gala event one evening, Paris couple Paul (Vincent Lindon) and Helene (Catherine Frot) see a frantic woman running toward them, fleeing a trio of Three Stooge-looking roughians. Paul locks the doors. After the girl’s face is beaten against their windshield, he reacts by driving to a car wash. This is not the first time Helene has been dissatisfied with her husband’s behavior, we suspect, but it might wind up being the last straw.

This is “Chaos,” a movie from writer/director Coline Serreau (“3 hommes et un couffin,” the film on which “Three Men and a Baby” was based) that is not the slightest bit chaotic, really, but that is energetic, darkly funny and engaging from beginning to end.

The morning after the beating, we see Helene’s life. Paul, an ultra-busy, joyless business executive, hides from his aged mother (Line Renaud), to whom Helene must make excuses. Helene’s own son, Fabrice (Aurelien Wiik), pulls the same kind of stunt with her when she visits his college apartment. She has no one, and now she wonders about that poor woman she saw beaten up.

She tracks down the hospital she was taken to and begins visiting her regularly, even while she’s still in a coma. Meanwhile, the three guys chasing her — her pimps, it turns out — come to call, still wanting something she’s got. It is during one pimp’s second visit that Helene takes action and we realize where this is going: This is female-empowerment, you-go-girl pulp fiction, and it’s a great chunk of it, too!

Once the girl, named Noemie (Rachida Brakni), is up and about, she and Helene become a sort of Thelma and Louise duo, fleeing, deceiving and manipulating the leaders of the prostitution ring Noemie had been dragged into. There’s also some justice to be done to old Paul, and the swaggering lothario Fabrice gets his, too. The women aren’t malicious in what they do — this isn’t “Kill Bill”-style revenge — and they’re more frightened than confident as they go about it.

It’s the sort of movie where everyone gets what they deserve, and you love seeing it happen. Does it all happen a bit too easily? Yeah, maybe. There are many loose ends — I haven’t even mentioned Noemie’s family back in Algiers — and they get tied up rather quickly, some of them, as the film breezes through its whimsically devious finale. I’m not sure if that’s a criticism or not, though, considering how satisfying it is to see justice done, even when it’s done hurriedly.

Catherine Frot and Rachida Brakni are a wonderfully amusing and sympathetic pair, conveying character and motivation even in a film driven mostly by plot rather than people. Male or female, victims or not, we can all appreciate the joy in setting things right and standing up for oneself.

Shore Enough

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When life presents you with opportunities, you have to take them, or else you’re some kind of lily-livered pansy and we can’t be friends anymore. For example, if you have the chance to lie to Pauly Shore, right to his face and in a sincere voice, you should do so. Otherwise, how can you say you have truly lived?

I am happy to report that I took advantage of this opportunity during the Sundance Film Festival, which ends today. Pauly Shore was in Park City, not because he had a film in Sundance — if there is any justice in the world, he is not even allowed to buy tickets to Sundance — but because he had a film in Slamdance, which is sort of like Sundance’s younger, pot-smoking brother that plays in Park City at the same time, so that if you get tired of watching good independent films at Sundance, you can go watch the movies Sundance rejected.

Pauly’s movie is “You’ll Never Wiez in This Town Again,” and according to the woman who approached me and my friend Jamal in a Park City restaurant, “it’s the worst [expletive] movie.” What’s alarming is that this woman was apparently surprised that something starring Pauly Shore would be so awful.

Now, perhaps you are fortunate enough not to remember the shameful period in our nation’s history when many of our young people were under the illusion that Pauly Shore was funny. I know I have blocked out most of the details of this era, though certain images of Mr. Shore cavorting with one of the Baldwin brothers in something called “Bio-Dome” have etched themselves into my memory in such a way that even the most thorough scouring will not remove them. My greatest fear is that through the recent resurgence in Carrot-Top’s visibility via the TV commercials in which he harasses strangers into making long-distance phone calls, he, too, will enjoy popularity reminiscent of what Shore had in the early 1990s. Surely you agree our culture cannot endure another terrible reign of unfunny clownery from a talentless comedian; we are still paying the price for letting Gallagher think he was funny, and we stopped encouraging him years ago.

At any rate, Jamal and I were walking along Park City’s Main Street one night during the festival, doing what everyone does during Sundance, which is to look for celebrities. Should you ever find yourself in Park City during the festival, I urge you not to pick your nose in public, because you can be sure that EVERYONE is looking at everyone else’s faces, hoping to recognize someone famous.

My personal track record with locating famous people during Sundance is sadly very sparse. I do not get invited to the same parties the cool people do; any party to which I am invited is probably not going to be very cool, almost by definition. And while many festival-goers are able to spot celebrities on Main Street, my luck runs the other way. On the night in question, I saw Pauly Shore twice, and real celebrities zero times. So you see what I mean.

The first time we saw Pauly, he was flanked by about six stylishly dressed men and women, who we assumed to be his entourage, though what Pauly Shore needs with an entourage is anybody’s guess. At any rate, upon seeing Pauly, I was inexplicably star-struck. Now, I believe I have made clear my dislike for the man’s body of work; if I have not, allow me to do so now: Pauly Shore is among the least-funny, least-talented human beings on the planet, and his films rank among the most unpleasant experiences of my life, and I include the time I cut off my own leg with a chainsaw in that statement.

So why was I giddy at having seen Pauly Shore? I believe it is our natural tendency, at least in America, to be inordinately fascinated with famous people, whether they deserve to be famous or not. The fact that we have seen them on TV or in the movies and are now seeing them in person is deeply, deeply cool, because somehow it proves they exist, that the fantasy of television and film really can come true.

I said nothing to Pauly when we passed him the first time, but two hours later, we stumbled across him again. This time, he was standing still, having his photo taken with two young men who appeared to be fans, though it’s possible they were members of his entourage whose job was to pose as fans for the benefit of passersby.

I saw my chance. I had to say something to Pauly Shore. But what? Honesty clearly would not cut it, for all of my honest feelings would have been hurtful and might have contained large words he would not have understood. So I went with lying. As we passed him, I patted him on the back and said, “Hey, Pauly, I loved your movie,” even though I had not seen it and almost certainly wouldn’t have liked it if I had. He said, “Hey, thanks, buddy,” and gave me a thumbs-up.

The great part is, I don’t think lying to Pauly Shore even counts as a lie, Ten Commandments-wise. I’m sure if Moses had the chance to say something untrue to Pauly Shore, he would carpe the diem, too. You should do the same.

My 2003 Sundance Film Festival Diary

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My 2003 Sundance Film Festival Diary

Day 1 (Thursday, Jan. 16, 2003):

It was my fourth year of full-time festival coverage — the advantage of being a member of the press in Utah — but only the first time that I’d attended the opening gala in Salt Lake City. This is where people dress up rich and snobby and act all glitzy while they watch a mediocre film. Timid woodland creature Robert Redford introduced the film’s director, who talked for about a year about the movie, which was “Levity,” a film that is remarkable for having not one bit of levity in it. It stars Billy Bob Thornton as a quiet ex-con, Holly Hunter as a sassy single mom, Morgan Freeman as a black guy, and Kirsten Dunst as a sassy teen-age girl. So it was a big stretch for everyone.

In attendance were Morgan and Holly. He is 6’2″, she is 5’2″ (as are most celebrities). To make the height difference appear even greater, Morgan wore a hat the whole time they were onstage together.

At the gala, I saw a woman whose film festival pass said her name was Princess Sharma. I didn’t know whether this meant her name was Princess, or that she WAS a princess. Either way, pretty freaky.

Day 2 (Friday, Jan. 17, 2003):

I headed to Park City, whose lack of parking facilities, movie screens and good weather make it the single worst place you could possibly hold a film festival, except maybe for the moon, although at least there is ample parking there. I met a co-worker for lunch on Main Street. She does The Daily Herald’s restaurant reviews, and we figured she should do a Park City restaurant during Sundance. Me, I got a free lunch out of it, so hooray.

I also stopped by the “Sundance House,” a new facility that replaces the old hospitality suite. The old one was better. They had juices and crackers and snacks and stuff; the new one doesn’t have anything free.

While I was there, I saw Patrick Coyle, who has a film at the festival. He didn’t seem to be doing anything special; if I’d wanted to, I could have talked to him forever about his movie. Alas, I had already seen his movie, “Detective Fiction,” at a pre-festival screening (along with eight others), and it sucked mightily. Unable to think of anything kind to say to him — he wrote, directed, produced and starred in it, so there was no one else I could blame — I simply didn’t say anything.

After lunch, I boarded a shuttle bus aimed at the Eccles Center, where there is a small press-screening room. I intended to see “Bend It Like Beckham,” a light-hearted English film about a women’s soccer team, at 2. Alas, the shuttle bus moved at a tragic pace, and I realized I was not going to make it. Not to worry, though: At 3 p.m., at the Eccles Center main theater, was a film called “thirteen,” with the “t” not capitalized because, being an independent film, the director could not afford a shift key. I decided I would just hang around for and watch that.

As luck would have it, next to me on the shuttle bus was a young fellow who was appearing in “thirteen.” His name is Brady Corbet, and he’s 14 and a polite lad. I didn’t recognize him, of course, because he’s not famous and I hadn’t seen his movie yet. But he told me he was in the film, and that Holly Hunter — who plays a sassy mom in this film, too — is shorter than he is, and that he has a pretty big role, because he plays her son.

It turns out he does play her son; however, the movie is about her daughter. Brady Corbet has about 10 lines and is in the movie for only a couple minutes. Still, he’s in a movie, which is more than I can say for me, unless you count amateur homemade porn. (Do you?)

After “thirteen,” I hung around the Eccles some more because I had obtained tickets to the 6 p.m. premiere screening of “The Singing Detective,” starring Robert Downey Jr. My friend Jamal (names have been changed) from Salt Lake City, a rabid movie fan and Sundance regular, was to join me for this movie, and then again for the 9:30 showing of “People I Know,” starring Al Pacino.

While waiting, I met Roger Ebert. Since I am a nerd, this was exciting to me. Ebert takes some heat for his TV show, which is a little superficial. But his written reviews are penned with great flair and skill, and while I believe he smokes a lot of crack, opinion-wise, there’s no question he’s a fine writer. I also like that, even at his status, he still sees pretty much every piece of crap that comes out.

He was standing behind me in line to enter the theater. I turned around and said, “I just wanted to introduce myself. I’m also a film critic, here in Utah.” He shook my hand and said, “Nice to meet you,” then looked at my nametag, since I had neglected to mention my name or who I worked for. I asked if he’d seen anything yet, and he said no, he’d just arrived and had to file a story first. I said, “It’s too bad they make us work during the festival, instead of just letting us watch movies.”

The main thing I noticed when I shook Ebert’s hand was that it was the softest thing I’d ever touched. It was like shaking hands with a mound of bread dough.

Anyway, I entered the theater, got seats for me and Jamal, and waited. The plan was quite simple. Jamal got off work at 5, at which point he would head directly to Park City, arriving just in time for the 6 o’clock movie. I would already be in the theater, saving us seats. Alas, this perfect plan was thwarted by Jamal’s tragic condition of being a retard. Despite our having discussed it extensively and with the aid of flowcharts, Jamal believed the film to start at 7, not 6. So when he got off work at 5, he thought, “Good, I have an hour before I have to leave.” When I called him at 6 asking how close he was to arriving, he said he was just leaving the house. Then, my head exploded.

So we missed “The Singing Detective” and went to dinner Main Street Pizza & Noodle instead, followed by a stroll along Main Street, looking for celebrities. We located none.

Then we saw “People I Know.” Al Pacino, who is 3’6″, was in attendance and took questions from the audience afterward. He was very nice, even when a dumb girl asked him whether he talked to any lawyers in preparing for the movie, a movie in which he plays someone who ALMOST became a lawyer but instead became a publicist. Me, I would have killed that girl.

Before the film started, we saw Ebert again. As he walked down the aisle, a fan walked past him and said, “Hey, Gene!” Ebert curtly replied, “Roger,” and kept walking, didn’t even break his stride. You could tell it happens a lot, people mistaking him for his dead colleague Gene Siskel. It was the funniest thing that had ever happened.

After the movie, I drove to Heber City, where The Daily Herald had been conned into paying for a hotel for seven nights. This meant my commute to the festival each day would be 20 minutes rather than 60, a savings of more than 66 percent. I slept.

Day 3 (Saturday, Jan. 18, 2003):

Rather than sleeping in, I forced myself to awake at a reasonable hour and bust out the stuff I was supposed to write. (In exchange for paying for the hotel room, The Daily Herald cruelly wanted me to actually cover the festival, if you can imagine.) Then I went to my first movie of the day, “The United States of Leland,” starring Ryan Gosling as a 16-year-boy who stabbed a retarded kid (not Jamal, a different one) to death. Kevin Spacey plays his father. Despite its premise, it’s not a very funny movie.

Thereafter, I had a few hours, so I hooked up with my HollywoodB****slap pals who were attending Sundance, all for the first time. I had lunch with The Angry Jew and Maegs at a brew pub on Main Street, then we headed back to their condo and met up with Oz and Erik the Movieman. I had never met any of them in person before, except Maegs, who happens to live in the same town I do. They’re a fun lot, and they like movies, and they swear so much they could, as the Bible says, knock a buzzard off a crap wagon.

Then I watched “The Mudge Boy.” The title character is a misfit teen whose mom died and who takes care of the chickens on the farm. He has learned that you can calm a chicken by putting its head in your mouth. I don’t know how someone discovered this — what other, less effective methods of poultry-soothing did they try first? — or why you would ever NEED to calm a chicken, but whatever.

Anyway, the Mudge boy eventually is the victim of anal rape. By the end of the festival, I would have seen three movies featuring anal rape, plus two more in which anal rape occurred but was not shown, plus two more in which regular old non-anal rape took place. 2003 was the year of the rape at Sundance, which I’m sure makes Redford feel very proud.

After “Mudge Boy” (“Fudge boy,” the other kids tauntingly called him), I saw “Party Monster.” In this movie, Macaulay Culkin plays a gay, drug-addicted murderer. It’s the part he was born to play. It is also the first time movie audiences have seen his naked butt, unless they borrowed Pete Townshend’s black-market special-edition DVD of “Uncle Buck.”

On a shuttle bus today, I saw another journalist, from China, whose name was Valentine Ding. This made me very happy.

Day 4 (Sunday, Jan. 19, 2003):

I couldn’t attend church due to having to cover the festival, but I did start my Sunday being bored: “Rhythm of the Saints” is about a teen-age girl in New York, and about how man it sure sucks to be a teen-age girl, and man it sure was boring.

Then: “The Cooler,” starring the wonderful William H. Macy as a guy so unlucky that a Las Vegas casino pays him to walk around the floor and touch people, thus instantly ending their winning streaks. Why don’t they just nail him over the front door and stop anyone from ever winning to begin with? Discuss.

Have you always wanted to see William H. Macy naked? Then you should see “The Cooler,” and a therapist.

Then: “Camp,” a rather funny movie set at a summer camp for theater nerds. Instead of canoeing and making baskets, they rehearse and produce musicals. Stephen Sondheim has a cameo in this movie. I was giddy with excitement, since I’m a theater nerd my own self.

After “Camp,” Jamal showed up again, this time because I’d been invited to a party and was allowed to bring a guest. The party was sponsored by Stuff magazine, which as you know is the same as Maxim magazine. When the publicist called and invited me to it, I asked if any celebrities would be there. He said, “Anyone from Britney to J-Lo could show up.” I suppose this was technically true — technically, Jesus Christ COULD show up — but despite my skepticism, I decided to go.

You see, I don’t get invited to cool parties very often at Sundance. Basically, if I’m on the guest list, you can assume, almost by definition, that it will not be a very cool party. Still, we gave it a shot.

The Stuff party was in a big tent on Main Street, with an open bar and a million TV screens, all watching the big football game between, I don’t know, a couple of football teams. There were about 150 people there, 140 of them male, and the sort of males who read Stuff magazine and watch football. There were two celebrities, both from “That ’70s Show”; one of them, Wilmer Valderrama (who plays the foreign exchange student on the show), was in town because he’s in “Party Monster,” in which he plays Macaulay Culkin’s boyfriend. We said hello to Wilmer, and a couple of hoochy girls who were hitting on Jamal had their picture taken with him (Wilmer, that is, not Jamal). The Stuff party was then over, as far as we were concerned, since we don’t drink, don’t watch football, and don’t like parties where the only celebrities are from “That ’70s Show.”

On Main Street, we saw Pauly Shore. He was in town to pimp his Slamdance film, and from what I gather, he was omnipresent.

We also saw two of the stars of “Camp,” neither of whom is famous yet but both of whom are very talented. I told them I liked their movie.

We also thought we saw Paul Sorvino. He was in “The Cooler,” so I could envision him being in town. But I wasn’t sure it was him, and I didn’t want to ask. We think maybe it wasn’t him after all, because what we saw him doing was not being able to get a table at a restaurant, and we think the real Paul Sorvino probably could. I mean, we did.

We ate dinner at a Mexican restaurant and then got in the wait-list line for a midnight screening of “Nightstalker,” at the Egyptian Theatre on Main Street. I had heard earlier that “Nightstalker” was a dreadful piece of crap, but I hid this fact from Jamal because it was the only screening available to us. Besides, I had never wait-listed a movie before, and never seen a midnight screening at all, and it sounded fun. (With my press pass, I didn’t have to pay for the ticket — but I did still have to wait in the wait-list line with the common folk.)

We got in, barely, and had to sit in the very front row. This was good for the movie, because it meant it could assault us more directly and painfully. This is an extremely poor excuse for a film, based on the real-life “Nightstalker” murders of Los Angeles of the 1980s, but with all the real-life excitement taken out of it. Not a single character is likable, and the heroine — the cop who catches him — never does anything heroic, or even competent. Also, the film has a thrash-metal soundtrack. Jamal, suddenly becoming his father, plugged his ears during several scenes.

Day 5 (Monday, Jan. 20, 2003):

First up, at 11:30 a.m. — I didn’t catch a 9 a.m. press screening the entire festival — was “Die Mommie Die,” a very campy gay comedy parodying the women’s films of the ’40s through ’60s, the things that would star Bette Davis or Susan Hayward or whoever. This would have been very funny as a series of 5-minute “SNL” sketches; as an entire movie, it got old.

Then: “Soldier’s Girl,” a sober film based on a true story in which an army guy falls in love with a woman who used to be a man and who in fact still is a man from the waist down. Again, despite the premise, not very funny. A rather good film, though, with good performances from Troy Garity as the guy and Lee Pace as his special, special friend.

Then: “Buffalo Soldiers,” starring Joaquin Phoenix and some other people who are soldiers in West Germany in 1989, when things were very boring, and it’s kind of cynical about the military, and then it develops about a hundred subplots and gets bogged down. Not a bad movie, but not a great one, either. Miramax bought it on Sept. 10, 2001; 24 hours later, they decided not to release a movie that made fun of the military at that time. It will finally hit theaters this year, now that Americans are back to being cynical and hating everything.

I took a dinner break then, after watching three consecutive movies, and did some writing. But I was back for more at a 10:30 press screening of “28 Days Later.” I had heard nothing but fantastic things about this film, and so had a lot of other people: Due to popular demand, Sundance had scheduled this press screening for us. It’s a sci-fi film about a guy who wakes up from a coma to find all of London — and perhaps all the world — wiped out by a virus that turns people into murderous zombie-like creatures. They’re fast-moving zombies, too, which makes them scarier. I saw this with a colleague and friend of mine, Salt Lake City Weekly’s Scott Renshaw, and when the film let out after midnight and we walked through the deserted parking lot, we heard someone running up behind us and both turned to look, just to make sure it wasn’t a zombie. (It wasn’t.)

Day 6 (Tuesday, Jan. 21, 2003):

I had to see “The Station Agent.” Everyone had been raving about it; Scott had said it was favorite of the festival so far. There was a press screening, and I wasn’t the only one who had heard the buzz; the place was packed.

Sitting behind me were Entertainment Weekly critics Owen Gleiberman and Lisa Schwartzbaum, along with EW features writer Chris Nashawaty. Again, being a geek, I was thrilled. I eavesdropped on their conversation, which was very eloquent. Owen was pointing out that with the exception of a music award for “Frida,” every single Golden Globe winner had been released in December. I told the three that EW was my Bible (and that the Bible is like my Reader’s Digest), to which Chris responded, “That’s very cool, and also a little scary.”

“Station Agent” turned out to be a fine film indeed. It’s about a dwarf who wants society to leave him alone, so he starts living in an abandoned railroad depot in New Jersey. But in the tiny town, he meets a couple other lonely souls, and they all wind up being lonely friends together. Pretty funny and sweet, and the guy who plays the dwarf — who, at 4’5″ is still taller than Dustin Hoffman — was excellent.

Then: “Fear X,” a Danish film, but shot in English and in America, I think. So I’m not sure what makes it Danish, except that the director is Danish and perhaps craft services provides danishes at breakfast. Anyway, John Turturro plays a guy whose wife got killed and he’s trying to find the killer, but it’s hard, because he has no short-term memory. No, that’s “Memento.” What the hell was “Fear X,” then? It was dull, I remember that.

Then: “Capturing the Friedmans.” I had been avoiding documentaries this year, I don’t know why. Last year, some of the best films in the fest had been docs, but for some reason this year it seemed like a chore to watch something non-fictional. Documentaries can bite me, that was my philosophy. But I had heard amazing things about “Capturing the Friedmans,” so I gave it a chance.

I’m glad I did. It’s an extraordinary story about a family that was torn apart in the 1980s when the father and one of the sons were charged with multiple counts of molesting neighborhood boys. Without being manipulative, the movie keeps us guessing about whether they were actually guilty or not — strong evidence exists both ways — and reveals information to us in a savvy way, slowly but surely. It’s a great movie, a harrowing story, and extremely well told. Being a documentary, no one in the world will ever see it again.

Being night time, it was time for more hanging out and celebrity-spotting. Jamal and I found ourselves once more on Main Street, this time eating at an outrageously over-priced French bistro (“bistro” is French for “bastard”) and then checking out the Slamdance scene. We caught the second half of “Easy Riders, Raging Bulls,” a documentary about the films of the 1970s, which a couple of nerds like us were very excited about. Film was good; we wished we’d seen the first half, too.

Also in attendance was the tiny star of “Station Agent.” I told him I liked his movie, which happened to be true.

On Main Street, we saw Miramax honcho Harvey Weinstein. He was the worst-dressed person at the entire festival, just ahead of Roger Ebert. Which means my theory holds true: The people who dress up the fanciest and glitziest at Sundance are the ones who have the least clue what’s going on. The people who are actually important don’t care what they look like.

We also encountered the HollywoodB****slap crew and wished them well. What a hearty bunch of merry-makers they are! I regret that our friendship exists primarily in imaginary form, over the Internet.

Day 7 (Wednesday, Jan. 22, 2003):

Traditionally, this is the point in the festival when I hit the wall, max out, burn up, get tired. I expected it all day to hit me, but it didn’t. I think seeing only three or four films a day, rather than five, helped, as did being more social than I usually am.

Also helping was that I started the day with a very good movie: “Raising Victor Vargas.” It’s about a Hispanic kid in New York who fancies himself quite a ladies man, but of course he’s insecure and clueless like all teen-age boys. The film doesn’t have any setups or punchlines, but it’s still very funny, because real life is funny. It’s one of the most authentic films I’ve ever seen, and thoroughly enjoyable to watch. It turned out to be the best thing I saw at the festival.

Then came “The Singing Detective,” which you’ll recall I’d missed the public screening of due to Jamal’s tragic retardation. I’d heard from no one who liked it, so I was eager to see it. I enjoy a good trainwreck as much as the next guy.

Turns out yeah, it’s fairly bad. Robert Downey Jr. plays a novelist with crippling psoriasis, and he’s covered in pustules and whatnot. Then there are weird musical numbers, where characters lip-sync ’50s rock ‘n’ roll tunes. There’s also Mel Gibson in a bald wig. This goes on for nearly two hours.

Then yet another drag comedy, “Girls Will Be Girls,” which is distinguishable from “Die Mommie Die” only in that it’s not as funny. (It does, however, contain this amusing line, spoken by a woman in reference to her many abortions: “I’ve had more kids pulled out of me than a burning orphanage.” For my money, there aren’t enough abortion jokes in films today.)

I ate dinner at Burgie’s on Main Street, a great hamburger place that serves big, thick Butterfinger shakes. Seated at the counter talking to someone was a famous guy. I can’t remember his name, but he’s been in stuff. You’d know him if you saw him. Good-looking, maybe 24 years old, been in some movies. I’d know his name if I heard it.

At 9 p.m., I attended a public screening of a French film called “Irreversible,” again at the Egyptian Theatre on Main Street. I had heard notorious things about this movie, about how two-thirds of the audience walked out during its initial festival screening. In the first scene, a guy’s arm gets nastily broken; seconds later, his attacker is beaten nigh unto death with a fire extinguisher to the head.

But that’s not what made people walk out. The exodus was caused by a nine-minute graphic rape scene, shot in one continuous take, with no cutting away or condensing of time. After the rape, the woman is beaten senseless by the rapist.

Did I “want” to see this movie? Not really, no. I was curious about the craft of it — shooting anything in a nine-minute take is pretty impressive, especially something as grueling as this — and I was doubly curious to see an audience’s reaction to it.

Listening to the crowd before it started, I sensed most of them were already aware of its infamy. Like me, some of them had probably shown up because of what they’d heard, to see for themselves. (Sundance, for its part, had signs posted warning patrons that the film contains an extremely graphic scene of sexual violence.)

Artistically speaking, it’s a reasonably good movie. It’s not brilliant, but it’s technically superior, and its story and acting are OK. Does it need to be as graphic as it is? Definitely not. The film clearly wants to assault the audience. The opening sequence has a throbbing underscore that, coupled with the constantly moving camera, literally almost made me nauseous. The film ends with about 30 seconds of a very strong, very bright strobe light effect on a blank screen. (“OK,” I remember thinking. “You’re weird. We get it.”) Take all that and add to it the graphic violence, and you have to wonder why, exactly, someone would want to watch this. I think you shoot yourself in the foot when you take an otherwise pretty respectable artistic endeavor and make it painful for an audience to watch.

After exiting the theater, I ran into an old acquaintance whom I see maybe once a year at parties or events or whatever. We grabbed a snack on Main Street and chatted a while. Once again, it was nice to be social, rather than just watching movies and eating Wheat Thins in my hotel room.

Oh, and we saw Rachel Dratsch from “Saturday Night Live.” She looked very cold.

Day 8 (Thursday, Jan. 23, 2003):

It finally happened today. It was a day late, but I hit the wall. Today, I hated all movies and the people who make them.

Naturally, the day started with a bad film. It was “Good Fences,” a premiere starring Danny Glover (the poor man’s Morgan Freeman) and Whoopi Goldberg (the poor man’s kick to the groin). I chose it over my other press-screening option because the guide said it was only 78 minutes long, and at this point in the festival, I choose movies based on how short they are.

Well, it turns out “Good Fences” is about 120 minutes long, and pretty amateurish to boot. I left at the 90-minute mark because I was hungry and couldn’t take anymore. I ate at possibly the world’s worst Chinese buffet and then headed to the other press screening room, at the Eccles, to watch “It’s All About Love.” I have retitled this “It’s All About … What?,” because I didn’t understand what was going on for most of the film. It takes place in the future, and there’s another ice age, and Joaquin Phoenix and Claire Danes are both Polish, and she’s a skater, and there are clones. Really, clones. I don’t know why. The movie confused and bothered me.

I had a few hours to kill, so I wandered Main Street and wound up eating at Burgie’s again. Burgie’s menu says, “We put the ‘urge’ in ‘burger,” which means they’re either pronouncing “urge” as “urgg,” or else they’re pronouncing “burger” as “burj-er.” Because really, there ISN’T an “urge” in “burger.” But why quibble, when the shakes are so big and thick?

I saw another Egyptian public screening at 9, this time of “AKA,” a British film about a guy who pulls a Talented Mr. Ripley with an associate’s identity in Paris. It’s a decent story, but too long. The film’s gimmick, which works pretty well, is that it’s told in a three-panel split screen, with all three panels usually showing different angles of the same scene. Sometimes they match up, like they shot the scene with multiple cameras; other times, it’s obviously different takes, and someone holds his hand up when he says his line in the middle panel, but not when he says it simultaneously in the right-hand panel, for example. It probably sounds annoying, but it’s actually a captivating way to tell the story. Again, too bad the film was too long and the story not that great.

But guess who I saw on the street? Beck! Pop superstar Beck! Since I have friends who love Beck and would never forgive me if I didn’t say hello to him, I said hello to him. I said, “Excuse me, are you Beck?” He said, “Yeah, man.” I said, “Oh, cool, that’s awesome, I love you!” He said, “Thanks, man.” This was the extent of our relationship, regardless of what you may have read in the tabloids.

Day 9 (Friday, Jan. 24, 2003):

My second wind arrived, though I was still feeling weary. This happens every year. By this point in the festival, people on the shuttle buses between venues are not nearly as chatty, the press screenings are less crowded (the press has either gone home or, like me, are burnt out), and things are just generally winding down. If you’re a civilian, this is surely the best time to come get wait-list tickets at sold-out screenings.

I should mention that up to this point, the weather had been fantastic. It hadn’t snowed or rained once, and while it was cold, it wasn’t arctic, unbearable, Alaska. Today, though, it turned rainy. Perhaps the heavens were crying because the festival was almost over, or perhaps it was just raining. I’ll leave such matters to the theologians.

At noon, I attended a public screening of “Owning Mahowny,” in which Philip Seymour Hoffman plays — get this — a loser. I know, it’s amazing what actors will do to stretch themselves in a small independent film. He’s a gambling addict and, worse, a Canadian. Minnie Driver plays his nerdy little Canadian girlfriend.

As the final credits rolled and I was exiting the Egyptian Theatre, Minnie Driver herself was standing in the lobby, good-naturedly imploring people, “Don’t leave! There’s going to be a Q-and-A afterward!” It seemed sad to me that she had to shill for her own Q-and-A, that in addition to starring in the film, she also had to act as press agent for it, but I guess it’s a tough business. The striking thing about her was that in her movies, I have always thought she was rather unattractive, her eyes too close together, her face too dog-like. But here in person, standing three feet away from me, she was very lovely. Good for her.

With time to kill, I opted to do some writing and have some lunch. Due to a bank screw-up, my debit card had stopped working, and I had only five dollars cash on me. So I would have to write a check. The place I was eating at did not take checks, however, not even local ones, so the waitress had to buy my lunch and I wrote HER a check. Surely you can imagine the humiliation in all this.

At 5 p.m., I saw a press screening of “Confidence,” a good old-fashioned heist caper shenanigan film about guys pulling off a job and getting away with it, where everyone’s double-crossing everyone else and saying the F word a lot. It was OK.

Evening having arrived, and Jamal having shown up once again — seriously, this guy runs a serious risk of losing his job every year, because he’s a Sundance junkie — we headed to Main Street. It was much calmer than it had been during the week. We ate at a Thai place whose menu items including the following: phuket chicken, gang deang, pad khing (“I am the pad khing”), chiang mai noodles (“Oh, I’ll chiang your noodles all right”), and pad him. It was the most entertaining menu I’d ever read, and in fact it was more enjoyable than several of the films I’d seen.

We planned to attend a 11:30 p.m. showing of the documentary “A Decade Under the Influence,” which, like the Slamdance entry “Easy Riders, Raging Bulls,” covers the films of the 1970s. We were going to wait-list it, but as we strolled through the Yarrow Hotel lobby, a man approached us and asked if we wanted to buy tickets to it. We did, but we had no cash on us. Jamal said he would dash over to the Albertson’s next door and get some, but the man said, “No, here, just take them.” He was very nice and middle-aged and probably couldn’t stay up that late. So we had free tickets, and we didn’t have to wait in line.

It also meant we had time, so we played chess in the lobby of the hotel. Neither of us had played in some years, and we both played very badly. Both our kingdoms quickly deteriorated to where it was basically a king who was governing a nation of pawns and maybe one stray bishop, who was no doubt drunk and morally unsound. I won the game, though a victory over such a kingdom seems pyrrhic at best.

“A Decade Under the Influence” was a highly enjoyable documentary. While “Easy Riders, Raging Bulls” had focused on the gossip and very little on the actual films, “Decade” did the opposite, dealing just with the movies and their impact. In the Q-and-A afterward, in fact, a rather argumentative audience member asked the director, Richard LaGravenese, why he didn’t talk about the drug scene at all — especially since the co-director, Ted Demme, died in the middle of making the film of a heart attack that coroners said may have been caused by cocaine. LaGravenese said he simply didn’t want the film to deal with that part of it, and he would leave it to other people to tell that angle of the story. Personally, I enjoy the gossip almost as much as the discussion of the films themselves; together, “Decade” and “Easy Riders, Raging Bulls” make a fantastic exploration into the films of the 1970s.

Day 10 (Saturday, Jan. 25, 2003):

The festival was basically over now. All of the films showing were ones I’d already seen or had no interest in seeing, bizarre films from foreign countries or other planets with running times of more than 120 minutes. I took in a shorts program that was diverting, then headed to the Park City Racquet Club for the awards ceremony. This is typically a low-key, raucous affair, sort of the anti-Oscars, held in a gym that’s been prettied up. It’s televised on the Sundance Channel, which I’m pretty sure no one actually gets on their cable system. This year, the hosts were Steve Zahn and Maggie Gyllenhaal, with celebrity presenters including Stanley Tucci, Matt Dillon, Hope Davis, Philip Seymour Hoffman, Patricia Clarkson, Steve Buscemi, Forest Whitaker and Tilda Swinton. It lasted about 90 minutes.

Does it matter who won? Yeah, I guess. “American Splendor” (biopic of cartoonist Harvey Pekar) took home the Grand Jury Prize in the dramatic category, while “Capturing the Friedmans” got the documentary honor. The audience awards went to “The Station Agent” for dramatic, “My Flesh and Blood” (about a woman who cares for 11 special-needs children) for documentary, and “The Whale Rider” (about a remote New Zealand village) for world cinema. Various other films won various other awards. A party ensued, but I had to write the story for The Daily Herald, once again being forced to work rather than play.

Day 11 (Sunday, Jan. 26, 2003):

Today there are a few miscellaneous screenings, plus encore screenings of all the award winners. I wanted to see “American Splendor,” but instead I slept all day. After seeing more than 30 movies in 10 days, some of which did not feature any rapes or Culkin nudity, closing my eyes and letting my brain rest was the best way to end things.

Darkness Falls

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In “Darkness Falls,” Darkness Falls is the name of the town, like Bedford Falls in “It’s a Wonderful Life” or Kingston Falls in “Gremlins.” You can see how clever they are, because not only is the film about darkness falling, it’s also about a town called Darkness Falls!!!!!!!!!!

Which is a pretty stupid name for a town, really. Most towns with “Falls” in the name are so called because there’s a waterfall nearby. Are we to believe some pun-loving 19th-century fur-trapper or explorer stumbled upon a natural waterfall and decided to call it Darkness Falls? Whatever.

Anyway, this is beside the point, though it’s more interesting than what’s not beside the point, which is the movie, which is dull. According to the film’s narration, there was a woman 150 years ago named Matilda who loved children and would give them a shiny gold coin every time they lost a tooth. Now, 150 years ago, a gold coin was probably worth about $100 in today’s money, so you can imagine Matilda was very popular. She became known as the Tooth Fairy around town.

Then there was a tragic fire that burned up Matilda’s face and made her sensitive to light. Thereafter, she only appeared in public with a porcelain mask covering her horrid visage.

Then a couple kids went missing, so the townspeople killed Matilda. I don’t know why they did this; she’d always been kind and beyond reproach in the past. It’s not like they didn’t know why she wore that mysterious mask now, because they knew about the fire and everything. Probably helped her rebuild her house, even.

Anyway, for some reason mask-wearing Matilda was first on the list of suspects, so they hanged her, but before she died she placed a curse on the town. Next day, the missing kids turned up safe and sound — whoops! — and the secret of Matilda’s wrongful death was buried along with her.

So now it’s the present, and the legend in Darkness Falls is that when you lose your last baby tooth, Matilda the Tooth Fairy shows up in your bedroom, and if you see her face, she kills you. (If Matilda doesn’t want to be seen by people, then maybe she should just stay home, you know?) Kyle Walsh (Chaney Kley) saw her as a child and managed to escape her, but his mom got killed. Now, he’s on tons of medication and draws lots of pictures of the Tooth Fairy and still can’t really get a good night’s sleep. On the plus side, I’m guessing his diligence in the field of oral hygiene has increased dramatically.

His childhood sweetheart, Caitlin (Emma Caulfield), calls upon him after all these years because her little brother, Michael (Lee Cormie), is experiencing extreme night terrors. He seems to fear the same phantasm that’s been haunting Kyle all this time. Can Kyle help?

Obviously not, since Kyle is still pretty screwed up himself. Still, they try to save themselves and the town in general from the Tooth Fairy, who for some reason that the movie doesn’t see fit to share with us has embarked on quite a rampage of random killing. You’d think if this was common behavior for her that someone would have noticed that townsfolk, especially children, turn up dead all the time. And if it’s NOT her ordinary way of doing things, you’d think the movie would tell us why she’s become more vicious now.

The Tooth Fairy’s M.O. is that she swoops suddenly into the frame, accompanied by shrieks and a jarring crash on the soundtrack. Rather than build suspense, first-time director Jonathan Liebesman prefers to “scare” us by making things leap out at us — terror by startling, in other words, rather than by actually making us afraid. (Have you ever heard the movie term “cat scare”? It’s when something frightens a character but then turns out to be something harmless, like a cat. Well, “Darkness Falls” has a cat scare that actually turns out to be a cat. I would not have been surprised to see a literal red herring lying around, too.)

But wait, I have even more issues with this film. The Tooth Fairy only strikes the town of Darkness Falls, as revenge for killing her all those years ago. This is grossly unfair. Even if you allow that the descendants of the perpetrators deserve to be cursed, too, why should people who have just moved into town, who have no connection whatsoever to the events of 150 years ago, be punished? And where, exactly, is the cut-off? Do people who live just outside the city limits but still have Darkness Falls mailing addresses count, or are they safe because they are not, technically, residents of Darkness Falls? It seems outlandish to curse a town rather than specific people, I guess is my point.

Also, what about all the other towns in America where parents tell their children about the Tooth Fairy? Is that figure a myth based on this actual malevolent being? Are we to understand that the Tooth Fairy we all grew up hearing about was actually a perversion of this very real, very fearsome monster?

Also, how, exactly, does she kill people? There are no fangs or claws to speak of, and the bodies, when we find them later, are not particularly dismembered, just bloody. I think maybe she just tosses them around.

Also, we know that light repels her, so where does she go? When she comes swooping in, it often appears to be literally out of nowhere. Yet other times, she is clearly shown hovering in the shadows, waiting for an opportunity. Is she subject to the laws of time and space? Can she disappear one place and reappear elsewhere, or must she travel? Both possibilities seem to be true at various times in the film.

Kyle’s job is mostly to run around yelling, “Stay in the light!” and “You have to believe me!,” both of which admonitions everyone ignores. Caitlin’s job is to believe what Kyle says and to look worried a lot. Little Michael’s job is to be a terrorized child, and who doesn’t enjoy watching that? If this film had any creative scare tactics or on-screen deaths, it might be passable. Instead, it’s just boring.

The Nayme Gaimme

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If you’re like me, you think it’s funny that a lot of people have goofy names. If you’re not like me, you’re one of the people coming up with the goofy names. One of us needs to change his ways, and I think it’s you, JuDee.

I write this with the knowledge that I am in danger of offending people I know and like. I have friends with absurd names, and some who have given their children absurd names. The extraordinarily snobbish diatribe that is about to follow should in no way be construed as evidence that I have less than warm feelings for these people, or for the children whose lives they have ruined with cruel names like “JayceSun.”

Now, I like fun as much as the next guy — unless the next guy is Pete Townshend, because hoo-boy, I can’t keep up with him! — but I draw the line at making child-naming time wacky creative fun time. Certain activities are meant to be boring. It means you’re doing them right. These include school plays, service projects and naming your children. If fun should break out during any of these undertakings, you should stop immediately and start again.

You see, one of the goals of parenthood — I am generalizing here — is that your children will live into adulthood. And if that should happen, and you’ve saddled him or her with an absurd name — one that you made up or intentionally misspelled — then what have you done to his or her chances of being taken seriously? Would you trust a doctor named Kaytelynne? Or a lawyer named M’Kaee? Or a senator named Orrin? (Seriously: “Orrin”?)

The two best places to find ridiculous names are Utah and the National Football League. I don’t know why this is. Those two groups have little else in common.

In Utah, there are names like these, all of which I got from the single best silly-name source, the obituary pages: Vonda, Julaine, Luray, Ferral, Ardath, Shyrel, Artell, Gerial, Zelma, and Elna. (Utahns 90 years ago were apparently still a little punch-drunk from the trek west.)

From elsewhere in the paper, I find these actual names of non-elderly Utahns: Jefra, Eunhi, Chanthy, Shurron, Chaulyn and Lyndell.

In the NFL, there are these names, all of which belong to men who were born on Earth: Edgerton, Adalius, Peerless, JoJuan, Canute, Artrell, Ligarius, KaRon, Jashon, Earthwind and Plaxico. (How does someone come to be named “Plaxico”? Did his parents follow the Utah practice of name compromising, where Dad want to name him Plate, while Mom wanted to call him Mexico, and they combined the two?)

Do you notice that the names of the mostly white Utahns are very similar to those of the mostly African-American NFL players? Perhaps there is common ground between our cultures after all.

I present these rules in naming your children:

1. Don’t make up a name. You have to give your child a name that already exists and is a commonly accepted name. That may sound restrictive, but there are literally thousands of perfectly good names to choose from. We don’t need any new ones. Civilization is more than 6,000 years old; the brainstorming session is over. I’m sorry you didn’t live 200 years ago, when exciting new names were still being forged. But now, in 2002, or whatever, WE’RE DONE. No new names.

2. Don’t misspell your kid’s name on purpose. Seriously, what are you trying to pull? Violation of Rule No. 2 is usually an effort to circumvent Rule No. 1: We can’t make up new names, so we’ll misspell an existing name, thus, in a way, making a new name!

No. You can’t do this. It’s not clever; it just looks like you can’t spell. It also does not distinguish your child from the other children with the same name. When the teacher calls on Michael, it will sound the same as if she is calling on Mikkal, MyKle or Mighkull. She should not have to differentiate between traditional-spelling Michael and all the train-wreck-spelling Michaels in the class.

3. You are entitled to one capital letter per name. Do not deplete our nation’s supply of capital letters by wedging two or more of them into one name.

4. No one takes women seriously whose first names end with two e’s. I’m sorry, but it’s true.

5. You have a friend who says he or she once encountered two people named Lemonjello and Oranjello. But your friend is lying. Those people exist only in urban legend. Stop saying you’ve heard of them, because you haven’t.

Kangaroo Jack

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“Kangaroo Jack” is the sort of useless movie where two guys put $50,000 in a jacket pocket, then put the jacket on a kangaroo they think is dead so they can pose it for photos, and then it turns out to be still alive and it hops away, leaving the two guys to be killed by gangsters who want to know where their $50,000 is. You know, THAT kind of movie.

It’s also the sort of movie where a character makes it past airport security and onto a transatlantic flight with a pair of scissors in his pocket and doesn’t get caught with them until he LANDS — you know, where there are no more metal detectors and no reason to search him. Yes, it’s that kind of movie. The kind where two guys wedge themselves into an airplane lavatory and examine a huge pile of cash, with their dialogue — audible to the entire plane, because apparently they’re SCREAMING it — sounding like off-color bathroom talk. (“I’ve never seen so much green!,” etc.)

This is a a simple-minded comedy of errors in which a lot of errors are made, but few of them are truly comedic. And yet, it is not intolerable. I’m not saying you should watch it, by any means. But if something happened where you HAD to watch it — I don’t know, terrorists forced you at gunpoint, or your little brother made you be his slave for the day — then you’d probably survive.

The stars are Jerry O’Connell and Anthony Anderson, who seem to be genuinely enjoying themselves. They are two life-long friends who wind up in Australia for convoluted reasons I won’t go into, and subsequently lose $50,000 for convoluted reasons I have already gone into.

Christopher Walken has an amusing few bits as O’Connell’s mobster father; otherwise, it is tiresome proceedings all around, with one scheme after another aimed at catching the kangaroo while avoiding the bad guys. Don’t miss the fabulous camel-flatulence scene!!!!!!

National Security

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Sadly, many Americans are still under a spell that causes them to believe Martin Lawrence is funny, despite his not having been funny since 1995. “National Security” may be the magic kiss that finally breaks the spell, though I have learned never to count on a film’s poor quality being enough to deter people from liking it.

In this mindless rehash of a thousand other movies, Lawrence plays Earl Montgomery, a mouthy security guard who wants to be a cop. One day he gets into a skirmish with Hank (Steve Zahn), who is a real cop, which leads to Hank trying to bat away an intruding bumblebee with his nightstick — which, from a certain angle, looks like he’s beating on Earl. This farcical event is caught on amateur videotape, and since Earl is a pigheaded jerk, he perpetuates the misinterpretation in court, leading to a six-month jail sentence for Hank. (This is the first time I know of that someone has gone to jail for participating in a farce. Wouldn’t the cast of “Three’s Company” be on death row by now?)

Hank’s career is ruined, naturally, so when he’s released, the only job he can get is that of a security guard. This leads to more encounters with Earl, and the two wind up working together to find the guys who killed Hank’s partner back when he was still a cop.

While Lawrence has excelled at playing irritating loudmouths, few have been as maddening as Earl Montgomery, a moron who never stops playing the race card. He even has a catchphrase, which you are supposed to start repeating: “What the problem is?”

Steve Zahn is funny. Not in this movie, but in general. It’s too bad he’s here.

This film has an alarmingly bad pedigree. The director is Dennis Dugan, whose credits include “Saving Silverman” (which I sorta liked), “Big Daddy,” “Happy Gilmore” (that’s two Adam Sandler films, if you’re scoring along at home), “Beverly Hills Ninja,” “Brain Donors,” “Problem Child” and episodes of TV’s “Shasta McNasty.” The co-writers are Jay Scherick and David Ronn, whose last two collaborations — “I Spy” and “Serving Sara” — make them the worst duo currently working in Hollywood.

“National Security” is full of shoot-outs, car chases and exploding things, all accompanied by lame one-liners shouted above the din. It is all familiar and derivative and altogether unpleasant to watch.

City of God (Portuguese)

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Brazilian filmmaker Fernando Meirelles tells the true stories in “City of God” with the urgency of a man possessed. The film has a mad energy about it, the sort of sweaty fervor we associate with the legendary parties of Rio de Janeiro, except these people are not celebrating life. They’re desperately trying to maintain a grip on it.

Set in the gang-controlled slums of Rio, “City of God” focuses on a handful of young people — children, really — whose destinies as hoodlums seem predetermined. In the beginning, there is Rocket (Alexandre Rodrigues), who finds himself being advanced upon by a gang he has apparently angered. The camera swirls around him and we are taken back in time, to the 1960s (the “present” was the 1970s), when he was a kid playing soccer. Rocket, narrating the film, tells us we have to see how it all started, to see the early lives of the characters to understand how they came to be where they are now.

The Tender Trio, as they called themselves, consisted of Rocket’s brother Goose and his friends Shaggy and Clipper. They are ill-fated. Rocket himself tries to avoid the life of crime, but the life of crime is unavoidable.

We encounter Li’l Dice (Douglas Silva), whom we will later see — the film is often told out-of-sequence, frequently doubling back on itself — laughing with malicious glee as he perpetrates a horrific act. This is a chilling moment, but it pales in comparison to a later scene where Li’l Dice, a little older and now called Li’l Ze (now played by Leandro Firmino da Hora), is the boss of the slum and he forces one of his underlings to choose which of two very young boys to kill.

We also meet Ze’s friend Benny (Phellipe Haagensen), who is too nice to be a hood and who balances out Ze’s coldly evil personality. We see how Rocket, who wants to be a photographer, clings to the hope that he can avoid his brother’s fate, that he can make it out of the City of God alive.

The cinematography and editing of the film are exciting, giving it a style that is distinct and visceral, perfectly complementing the operatic stories. Meirelles follows the example of “Pulp Fiction,” depicting a lot of violence in several multi-layered stories without actually showing a lot of it on the screen. When it’s over, you’ll have the impression that the film was far more gruesome than it actually was. In this world, life is inherently violent, even in the rare moments when the city is calm.

Many of the actors are actual kids from the slums depicted, with little or no previous acting experience. Meirelles and his co-director, Katia Lund, felt it necessary for authenticity’s sake to find young people whose souls were mired in the problems being examined, and it pays off wonderfully. Though “City of God” is occasionally difficult to watch, it is even more difficult to look away from its vivid characters, gripping stories and stimulating visuals.

Divine Intervention (Hebrew/Arabic)

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To understand “Divine Intervention,” you must know that there is a checkpoint between Ramallah and Jerusalem, a dividing point between the Palestinians and the Israelis. (I will assume you already knew those two groups hate each other.)

Even with that knowledge, however, this is a hard film to get but an enjoyable one to watch. Virtually without dialogue or plot, it is presented as a series of vignettes that range from the amusing to the bizarre, all showing the difficulty of daily life in Jerusalem and environs under the current political circumstances. Some scenes even seem to repeat themselves, which I suppose symbolizes the sense of futility and boredom that must arise when a hostile environment makes it impossible to do anything interesting with your life.

The film begins with Santa Claus being chased and ultimately stabbed by young boys. Then, we see an older man driving his car, waving politely to everyone he sees as he mutters obscenities about them. You will agree, I’m sure, that a film beginning this way is worth sticking around for.

In the Nazareth neighborhood where the profane old man lives, there is an assortment of ill-tempered folks. A woman burns things in her yard, a guy in a white tank-top destroys whatever he can get his hands on, another man throws his trash in a neighbor’s yard every morning.

Eventually, we meet a man whose name we never learn and who never speaks, a fellow reminiscent of Chaplin or Keaton played by Elia Suleiman, who also wrote and directed the film. He lives in Jerusalem but is in love with a woman (Manal Khader) who lives in Raballah. Since passing through the checkpoint is difficult, they meet in a parking lot on the border, sit in his car, and hold hands in the most sexy, seductive manner I have ever witnessed. All around them, chaos reins, presented with mordant wit.

It culminates in a weirdly choreographed scene set at a shooting range, where elements of music videos and “The Matrix” are brought into the mix and the religious symbolism flows freely.

What does it all mean? I have no earthly idea. Additional viewings would probably clear up a few points, but those would need to go in a critical analysis, not a movie review. A movie review is for people who plan to see a movie one time, not make it their thesis project. A viewer taking in “Divine Intervention” will find interesting camera angles and deadpan, burlesque-style humor and a lot of amusing things to look at. What you get out of it, well, that’s your business.

The Thirteen Steps (Japanese)

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“The Thirteen Steps” is only a pretty good murder mystery, but it’s an excellent portrait of life and death, of the choices that lead to one or the other.

It is also that rare film that values human life and dares to promote such old-fashioned ideas as taking responsibility for your actions. In it, we meet several people who have had varying degrees of responsibility for the deaths of others. Toru Kihara (Kankuro Kudo) is on death row, though he swears he is innocent and cannot even remember the night in question. An unknown benefactor has hired aging prison guard Nango (Tsutomu Yamazaki) to search for the real killer; Nango takes on as his assistant Junichi (Takasha Sorimachi), a young man recently released after a three-year sentence for manslaughter.

Junichi accidentally killed a man in a fight in a night club, though the accidental nature of the death has been questioned by the victim’s father (Hisashi Ikawa). Now he is adrift, seeking redemption and to find his place in the world. Accidental or not, the fact remains that he was responsible for another man’s death.

Nango, the fatherly man who becomes his guide, has issues to resolve, too. A large part of his job at the prison involves taking part in executions. Prisoners lose their names and are reduced to numbers. And then they are put to death. Nango has seen too much of it.

If the film occasionally comes on too strong with its anti-death penalty message, it’s forgiveable because of the genuine humanity it infuses the message with. When Nango — played with superlative dignity and wisdom by veteran Japanese actor Tsutomu Yamazaki — says, “Dying settles nothing. Living is the only way we have to settle anything,” he’s talking about everyone, not just condemned prisoners.

Like many of its American counterparts, “The Thirteen Steps” relies too much on coincidence and on people’s accurate memories of 10-year-old details. Yet it seems querulous to focus on that when the film has bigger things in mind than merely telling a mystery story. The acting is strong and the sentiments are powerful. It’s a fine film.

Rolling Kansas

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You worry about a film with a narcoleptic character. Probably the only condition more often exploited in movies for easy laughs is Tourette’s Syndrome.

“Rolling Kansas,” a not unenjoyable little outing, has its share of easy laughs and too-familiar situations, and it lacks the heartfelt characters that could have made it a great comedy. But it has a certain wit and whimsy to it, and even when it’s trying to push the envelope, it never seems to mean any offense. You can like this movie, even if you never care to see it again.

Somewhere in Kansas, we are told, is a vast government-owned marijuana farm. A map to this legendary place has been left to the Murphy brothers, children of hippies who were carted off to jail when the boys were wee.

The boys — just-divorced Dick (James Roday), wheelchair-bound Dink (Sam Huntington) and non-descript Dave (Jay Paulson) — leave middle Texas in a junker car to find and harvest some of this pot, with the intention of selling it, thus solving all of their various financial problems. (It is worth noting that in this stoner comedy, the stoners rarely indulge themselves in marijuana. Their interest in it seems to be more financial than recreational.)

Along for the ride are the brothers’ friends Hunter (Ryan McDow), a hefty fellow who carries Dink around after his wheelchair is stolen; and Kevin (Charlie Finn), a dim, grinning young man with a knack for being unconcerned even in the most dire of circumstances. (When the five are sitting on the road while a state trooper pulls multiple beer cans out of their trunk, Kevin says, “I like your hat,” and he means it.)

The script, by first-time writer David Denney, forgets that we have seen road-trip comedies before, and thus are no longer especially amused by car troubles, run-ins with the law, or encounters with animals. The script could use stronger focus, too. The objective seems to be to find the marijuana forest, but then that is achieved and the film still has 25 minutes left. These are matters of rising and falling action that should be straightened out in the first semester of film school.

The director is Thomas Haden Church, who played Lowell on TV’s “Wings” and has two roles here, as a DEA agent and a cop. His skill is no more than proficient, and slightly less than that in the film’s middle section, where the screenplay problems are not helped any by unimaginative direction.

And yet, the movie made me laugh quite a few times. Some of the lunacy is a bit forced, but some of it is truly inspired, as with Dick’s account of his parents’ commune being invaded, and Kevin’s amusingly laidback road to self-awareness. Any movie that begins with a quote attributed to Thomas Edison stating that “somewhere out there is a big-ass forest of weed” cannot be all bad.

Song for a Raggy Boy

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Talk about your dangerous lives of altar boys! “Song for a Raggy Boy” is a gray, overcast film about nefarious goings-on at a Catholic reform school in Ireland, circa 1939. It is a sort of “Dead Poets Society” for wayward boys, but not nearly as rewarding.

Aidan Quinn plays William Franklin, a broken man who fought on the side of the communists in the Spanish Civil War who now finds himself teaching at St. Jude’s. He lost his girlfriend and his best friend in the war, as well as much of whatever faith he had.

Now he is teaching delinquent boys, most around the age of 13, most of whom can’t read or write. Unsurprisingly, he has a drastic effect on them, and by the film’s end, they are quoting literature and poetry to him in a manner that is meant to be highly inspiring.

His opponent in all this is the evil Brother John (Iain Glen), the school’s disciplinarian, who believes these troublemakers can never change and shouldn’t even be treated like human beings. He likes to beat up on them. Another priest has even more troublesome intentions.

My goodness, but it’s all very dreary! Franklin’s crisis of faith is weak and obligatory, and Quinn’s idea of being “haunted” seems to consist of always looking like he didn’t get enough sleep. His interaction with the boys makes for some honest, avuncular scenes — newcomers John Travers and Chris Newman are sympathetic as the two most troubled, most doomed boys — but it in no way approaches the level of impact the filmmakers obviously hoped for.

The Baroness and the Pig

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It would be difficult for a film called “The Baroness and the Pig” to be any more interesting than its title, and this film isn’t. It is an unusually low-key affair that remains frustratingly calm even when the events depicted are stressful or emotional. It is like watching a rock band play in a library, hesitantly and with unreasonably subdued energy.

Based on Michael MacKenzie’s play and directed by him, the film is set in Paris in 1887. The titular Baroness (Patricia Clarkson), an American expatriate married to a British art expert (Colm Feore), seeks to have all the latest inventions — phonographs, electric lights, and so on — and to host a “modern, progressive” salon and be part of the French social circles.

Snobbishness among the natives is her constant obstacle, and for reasons not entirely explained other than by her boredom and curiosity, she locates a girl named Emily (Caroline Dhavernas) who has been raised by pigs. That’s right, pigs. The Baroness wants to clean up Emily, and to employ her on the household staff. The Baroness, one might say, puts the “pig” in Pygmalion.

Her husband disapproves in the extreme, but since his art speculations haven’t gone as well as he’d hoped, he sort of needs his wife’s money to stay afloat. And so he lets her go on with her foolish ideas about art and technology (all the while diddling any maids he can get his hands on, by the way).

The film stops being about Emily’s civilization process for a while and focuses on the Baroness’ social efforts, not to mention the Baron’s misdeeds. It all comes ’round again in the end, though not to a particularly satisfying degree.

MacKenzie has shot the film on digital video, and perhaps this is due to the story’s origins as a play, but it looks extremely stagy and, well, theatrical. It is one of the least cinematic movies in recent memory, and it is difficult to shake the notion that, no matter how good the acting is, you’re just watching a student film.

Patricia Clarkson is notably good as the Baroness, a woman who believes in love and who is more innocent than she prefers to believe. I also liked Bernard Hepton, an aged British actor, as her butler, Soames. (After the Baroness chucks a stool through a mirror in a fit of rage, Soames deadpans, “Would you like assistance with any other alterations, madam?” You dream of having a servant that loyal.)

There are surprising moments of humor interspersed through the drama, though the comedy — like the seriousness — is underplayed, almost skipped. Sometimes less is more, but in this case, more would have been more: More camera tricks, more music, more stylish editing, more close-ups. The story is OK, but it needs more filmmaker’s tools to really bring it to life.

Bookies

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“Bookies” has an interesting premise that it allows to languish from underuse. Rather than mining comedy or drama from it, the film throws its idea onto the screen and then shuffles away.

The idea is that three college guys — smart, handsome Toby (Nick Stahl), computer-nerdy Casey (Lukas Haas) and irrational hothead Jude (Johnny Galecki) — have lost $1,000 in a massive bet on college sports. It occurs to them that the only ones making money on gambling are the bookies, who take a 10 percent “vig,” or service charge, on every bet. Ergo, it seems advantageous to become bookies themselves.

Now, no one can know who the bookies are, of course, or they’ll be at best turned in to the cops and at worst beaten and robbed by fellow students. Jude works at the campus library, though, and he hits on a genius system. Each bettor is told a specific book in which to place his money, and another specific book from which to collect his winnings, if any. Naturally, Jude selects only books that are never checked out, lest the cash fall into the wrong hands. Since the gamblers assume they’re dealing with high-level bookies, they never think of just not paying up.

The system is fraught with peril, yet aside from one incident whose significance is largely ignored, it does not result in any grand mishaps. It works pretty well, in fact, and the trio of students become wealthy. Casey wants new computers, Toby wants to woo a pretty sports-medicine student (Rachael Leigh Cook), and Jude starts doing drugs. They also run afoul of the local Mafia, which already had a nice gambling ring going, thank you very much.

The film was directed by Mark Illsley, whose debut, “Happy, Texas” (1999), had all the whimsy and humor that this film lacks. It has brief moments of fun, and some minor skirmishes with high drama. But for the most part, it is content merely to tell its story, the plot of which is nothing different, unusual or special. This is an uncompelling movie.

What’s curious about it is the way it deals with the moral aspects of the boys’ scheme. To raise the initial capital necessary to start a gambling operation, Toby takes out an emergency student loan. If gambling isn’t already somewhat questionable in your system of morals, here’s something that surely is. And yet, the film ignores such questions. Early on, I assumed there were two ways it could go. Either it would all come crashing down and it would turn out to be a cautionary tale, or else they’d get away with it and the film would revel in the immorality of its characters. Little did I suspect a third possibility: that the film would pretend the moral questions don’t even exist. My problem with the film, then, is that without those issues, what’s the point? Did the characters learn anything? Did they NOT learn anything? The movie acts like learning isn’t even one of the things movie characters are expected to do, which seems pretty obtuse.

Detective Fiction

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Everyone talks a lot in “Detective Fiction,” but darned if they say anything.

Patrick Coyle is, in this case, a quadruple threat: He wrote, directed, produced and stars in this film, a low-key drama that is so underplayed, it forgets to have a point.

Coyle plays Jack, an introspective man whose marriage is on the fritz. His wife, Jennifer (Mo Collins), recently went through a mid-life crisis, quit her job, and went back to school. Jack, meanwhile, is writing a detective novel as an outlet for his thoughts. Anything’s better than communicating with his wife, apparently, who I should mention is having an affair.

There are individual scenes, especially at the beginning, that demonstrate a knack for creativity. One is a flashback to Jack’s childhood, when he first tasted beer; the other is a fantasy sequence involving a marriage counselor. Everything else is flat and stilted. These are some of the most boring characters ever put on film; in that sense, Jack and Jennifer deserve to stay together.

Rhythm of the Saints

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Ah, yes. Yet another Sundance film that takes itself far too seriously, dealing with heavy themes like adolescence, and how much it sucks. Is there no end to the innovative??????

“Rhythm of the Saints” is a standard urban melodrama, given even less interesting treatment than usual. It is about Rena Juarez (Daniella Alonso), a tomboyish 15-year-old Latina in New York’s Washington Heights whose very young mother (Sarita Choudhury) has a hairy boyfriend (Ivan Martin) who makes unwelcome advances toward Rena.

Seeking help without just, you know, telling her mom what’s going on, Rena turns to Santeria, a voodoo-esque practice that, in the film anyway, is utterly useless. For a while, you think “Rhythm of the Saints” will have an interesting supernatural twist, but then the witchcraft is relegated to the backburner as Rena’s friends help her deal with the situation in a far more dramatic, more ordinary manner.

Cyn Canel Rossi’s script has more than its share of hackish dialogue, and it engages in too much hand-wringing over the woes of childhood. The director, first-timer Sarah Rogacki, displays little ambition or intuition, letting her actors — most of them apparently rather talented — fumble through their awkward dialogue without enthusiasm. It’s a film to be forgotten. D

A Clone Again, Unnaturally

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After years of wasting our time cloning sheep, rats and game show hosts, we have finally cloned a human being. What’s shameful is not that it took so long, but that extra-terrestrials had to help us do it. What happened to American initiative and know-how?

The first alleged cloning was of an unnamed woman whose partner is infertile. The alleged clone is of the woman herself — which I find vain — and she allegedly gave birth in December, all with the alleged help of a sect called the Raelians, who believe space aliens used cloning technology to create the human race.

The word “alleged” must be used often when reporting such news, because most of your major scientists and experts think the Raelians are 1) crazy for claiming they’ve successfully cloned a person, and 2) irresponsible for even trying. The typical success rate with animals is about 2 percent, and they frequently wind up with weird physical defects such as not having kidneys or growing to be 100 feet tall and destroying Tokyo. People are generally more complicated than animals — though this is obviously not true in every case, as MTV has demonstrated — and the odds against a normal baby being produced are extreme.

In the New York Times, science reporter Gina Kolata — and, like me, you probably like Gina Kolatas and getting caught in the rain — explained the difficulty. She cited one doctor who, had he not known of the trouble researchers have had trying to clone monkeys, would have thought humans would be easy to clone due to the advances made by fertility experts. “But the monkey work gave him pause,” Gina Kolata wrote.

Yes, “The monkey work gave him pause” would be a good opening line for a mystery novel. But it is also a reminder that slapping together a cloned human is not easy, even for doctors and mad scientists. So how have the Raelians done it?

They won’t say. They won’t name any of the scientists involved, nor their methods, nor will they give the name of the alleged mother. They did say, however, that several more cloned babies are due in the coming weeks, and in fact, one was allegedly born to an allegedly Dutch couple last week. So basically, we got one song-and-dance routine, and now the encores have begun.

The Raelians were founded by a French racecar driver named Claude Vorilhon who, in 1973, was visited by aliens. The aliens told him they were the authors of the human race, that they used cloning technology to accomplish this, and that if we’d get on the ball, we could start doing cool sciencey stuff, too. They’re proud of the human race they spawned, though apparently they don’t care for the name Claude Vorilhon, because they renamed him Rael, which I don’t see as an improvement, but I’m neither French nor an extra-terrestrial, so my opinion may not be valid in this case.

You can read all about the Raelians at www.rael.org. For example, we read there that the aliens “are not invaders. They have shown their desire to come (to Earth) but they respect our choice to say no. It is up to us to invite them. … It’s the least we can do.” In this regard, they are like vampires, who cannot enter a home unless invited in. (Same with Mormon missionaries.)

One of the goals of the Raelian movement is to inform people of our spacely origins. Once enough of us have accepted this and want our forebears to return, they will do so, presumably bringing useless gifts and telling us how much we’ve grown. (The aliens are only 4 feet tall, which only supports my use of “visiting grandparents” imagery.)

According to Rael, who is the sect’s spiritual leader, Raelians are big on cloning because once we’re good enough at cloning our bodies, we’ll learn how to copy memory and personality, too. This means that, even if someone died, an exact duplicate of him, down to his last neurosis and phobia, would still be alive. It will be eternal life! But not in some bizarre, perpetually happy other-worldly paradise, but here! On Earth! A place that is really dirty and often unpleasant! Who wouldn’t want to live here forever?!

Is Raelianism the one true religion? It’s hard for us to say, probably because we’re laughing too hard. True or not, though, human cloning remains mostly a mystery. And isn’t it unnecessary anyway? We have enough people already, and a lot of us don’t even like a lot of the ones we have. No one is so genetically awesome that we need to create physical duplicates of them. But if such a worthy specimen should emerge, you can bet the aliens will be there to knit booties and send birthday cards with $5 bills in them.

Just Married

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I’m not a proponent of the philosophy that movies with good messages are therefore good movies. Too many films with upstanding morals are very dull, and plenty of gray-area films are, let’s face it, highly entertaining.

But “Just Married,” while only a passable movie, is elevated a bit by its pleasantly old-fashioned ideals. It promotes monogamy, marriage, staying committed and the importance of honesty in a relationship. Its protagonists might have been too young to get married, they realize — but they never suspect marriage in general is a bad idea. The very notion that people might have to, you know, PREPARE for marriage — that it’s that important a step — is already more refreshingly nonprogressive than most films are willing to be.

This slapsticky, cheerful film chronicles the disastrous honeymoon of semi-employed Tom (Ashton Kutcher) and his ultra-rich new bride Sarah (Brittany Murphy). There is trouble on the plane to Europe, and then at the castle where they’re staying, and subsequently with their comically small rental car and pretty much everything else they come in contact with. Through most of it, though they squabble immaturely, they remain in love. Only when confronted with each other’s dishonesty about their past do things begin to break down.

There is a childish giddiness about most of the film, and in particular with Tom and Sarah’s relationship. The sexuality is handled discreetly; you get the idea that much of the time, they’re probably laughing too much to actually do anything, seeming more like kids at a slumber party than newlyweds. When Tom finds out Sarah’s mom’s nickname, which is a sexual double-entendre, he covers his mouth and giggles; sex embarrasses him. Kudos to any film that can focus on a young couple’s honeymoon and not dwell on consummation jokes. (They are here, but they are few.)

The director is Shawn Levy, who directed the similarly lame-but-harmless “Big Fat Liar” (2002). The writer is Sam Harper, whose only other credit is “Rookie of the Year” (1993) — yet another film that was more likable than it should have been.

Ashton Kutcher will forever be vilified for “Dude, Where’s My Car?” (2000), but his comedic skills — honed on “That ‘70s Show” — are considerable. His delivery is good, and his chemistry with the almost-equally talented Brittany Murphy is genuine. They help the film overcome its weaknesses — such as running out of steam long before it ends — and it’s altogether a surprisingly enjoyable experience.

The Son (French)

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You must pay attention during the first 30 minutes of “The Son,” even though it seems like there’s nothing to pay attention to. You’ll see a slight, bespectacled woodshop teacher offered a new student, and you’ll see him decline because he has hands full with his current class. You’ll see him change his mind and invite the new student in anyway. You’ll see the man’s ex-wife tell him she is remarrying, and that she is pregnant. All of this will be done with very little dialogue, with much time spent simply watching the man go about his life.

And then the man, whose name is Olivier (Olivier Gourmet), will tell his ex-wife (Isabella Soupart) what he’s known since the first minute of the film, which is that the new student in question is someone from their past. This explains the man’s unusual interest in the boy. And it explains his dilemma over what to do next.

This quiet, thoughtful film from writers/directors Jean-Pierre and Luc Dardenne takes a situation familiar to movie-watchers, one in which the course of action and eventual outcome seem predetermined, and shows what would happen not in the movies, but in real life. We are so used to contrivances and neatly wrapped (but unrealistic) resolutions in our films that to see one address a topic rationally seems almost revolutionary. The film borders on genius.

The boy is Francis (Morgan Marinne). He is 16 and has spent the last five years in a juvenile correctional facility for a variety of offenses. His demeanor now is sullen and introverted: If prison isn’t what made him socially backward, it certainly didn’t help. He can barely read or write and doesn’t fit in with the other boys in his carpentry class, even though they’re all juvenile offenders, too.

Olivier, a skilled carpenter who can determine a thing’s length to the centimeter just by looking at it, teaches at the youth center, guiding the boys through the process of reform with a fair, steady hand. He is an exact, measured person. He is not given to extreme emotions one way or the other, nor to extreme actions. To introduce potential crisis into a life as stable as his seems patently unfair.

I’m not telling you all that is involved here — what Olivier and his ex-wife’s past connection with the boy is, for example — because I think you’ll enjoy the film more not knowing. Keep your eyes on everything, and you’ll get more out of it. Watch Olivier’s face for his emotions and thoughts. And then once all is revealed, and you begin to contemplate what will happen, continue to observe his behavior and see if you don’t find Olivier Gourmet’s performance one of the most compelling and natural of the year.

Apathetic Display

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As a man of great sensitivity and compassion, there are a good many things about which I care deeply. For example, Southwest Airlines’ madcap seating policy concerns me, because it would seem to indicate that Southwest Airlines despises its passengers. And the fact that Uber-tool Ryan Seacrest is returning as host of “American Idol” has me greatly distressed, though it surely will not stop me from watching the show.

But despite my passion for life, there are some things that many people are very interested in that I cannot muster even one iota of concern for. In fact, sometimes it puzzles me just how worked up people can get. (Like the controversy about Deseret Book. Who would waste a newspaper column writing about that?)

Here are some things that I don’t care about, no matter how hard I try.

Trent Lott. He said America would be better off if Strom Thurmond had been elected president in 1948. This was a bad thing to say, because Strom Thurmond is a racist, lecherous old relic who recently turned 1,000 and who looks like a turtle. Would the nation be better off if a turtle had been elected president? I don’t know.

The point is, Lott made an unwise comment, apologized for it, insisted he didn’t mean anything racist by it, and then resigned anyway. I don’t know what the senate majority leader does — admit it, neither do you — but I’m pretty sure it’s not as high a position as president, and we consistently allow our presidents to say and do things that are far more offensive than endorsing a political campaign that occurred 54 years ago. And so the whole thing makes me shrug and go back to not caring who the senate majority leader is, or what he does, or why someone would name their child “Strom.”

Everything related to Jennifer Lopez. Here is a woman who worked her way up from the Bronx to become a triple-threat: a performer who is bad at singing, dancing AND acting. Somehow, perhaps using witchcraft, she has convinced a nation of straight men that an enormous rear end is a GOOD thing. And now she is engaged to bland actor Ben Affleck. I simply don’t care. I can’t even imagine caring. You show me a person who cares, and I will show you a person with whom I have nothing in common, not even cellular structure or evolutionary origins.

News stories about the change in gas prices. When gas prices go up, there is a story about it. When they go down, there is a story about it. What’s the point of this? The one group of people who care about gas prices — people who drive cars — already know that prices have fluctuated, because THEY DRIVE CARS! The same goes for stories about the weather. Don’t tell me it snowed yesterday. I KNOW it snowed yesterday. I was alive yesterday, remember? Tell me that gas prices are ABOUT to go up, or that it WILL snow. That, I care about. Especially if one event is causing the other, because that would be freaky.

Fluoridation. Some people think the government should put fluoride in the water because it promotes healthy teeth. Other people — crazy people — think the gubmint shouldn’t be puttin’ chemicals into the water supply no-how. I wouldn’t have thought the Eagle Forum, which normally concerns itself with matters of morality, would have an opinion on this, but sure enough, they are against it. (From now on, I’m going to assume the Eagle Forum espouses ALL paranoid or ridiculous notions. If there is anything absurd, preposterous or laughable, they seek after these things.)

Anyway, fluoride in the water or not, I’m unconcerned. I brush my teeth and I have some dental floss, I think, somewhere in my medicine cabinet. When I eat sugary food and cannot brush right away, I at least try to rinse out my mouth with Diet Coke. I didn’t visit the dentist at all between 1995 and 2002, and when I finally did have a check-up, there was no damage to repair. So I’m apparently doing OK, even without fluoride in the water. But if they want to put it in, and then I can wait 14 years instead of seven for my next check-up, hey, great. When it’s all over, maybe my teeth will be as blindingly white as Ryan Seacrest’s.

Confessions of a Dangerous Mind

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Many actors have turned into directors, but few have had such auspicious first outings as George Clooney does with “Confessions of a Dangerous Mind,” the loopy, absurdly entertaining biography of “Gong Show” creator Chuck Barris.

The story — which is based on Barris’ “unauthorized autobiography” and which contains several straight-faced elements of fiction — lends itself naturally to absurdity; having a screenplay adaptation by Charlie Kaufman (“Adaptation,” “Being John Malkovich”) certainly helps matters. But who knew Clooney had such a mischievous, inventive streak in him?

Ah, but we did. His off-kilter performance in “O Brother, Where Art Thou?” (2000), his participation in the “South Park” movie (1999), his wry work in “Out of Sight” (1998) and “Three Kings” (1999) — Clooney has given us glimpses of his impish side all along. It stands to reason his first trip behind the camera would yield such giddy results.

This is the story of an unlikely character named Chuck Barris (played by Sam Rockwell), a Philadelphia boy whose over-active sex drive led to rage and fistfights, and eventually to more trouble than that. Barris found his way into television, ultimately convincing network executives that his idea for a game show called “The Dating Game” would be a hit. He followed it with “The Newlywed Game” and the no-talent cavalcade “The Gong Show,” the latter of which he hosted and which was decried at the time as being the low point in the history of television. (In the 1970s, the Fox network didn’t exist, so low points were not nearly as low as they are now.)

In the midst of all this, Barris claims in his memoir, he was hired by the CIA as an assassin. His contact in the film is a mysterious figure named Jim Byrd (Clooney), one Patricia Wilson (Julia Roberts) his femme fatale. Whether the CIA stuff is true or not, the film doesn’t care. It’s in the book, and it makes the story a little zanier, so it stays.

Sam Rockwell’s performance as Barris is splendid, perfectly capturing the man’s idiosyncrasies and mannerisms. To the extent that the film allows it (which is not much), he also conveys Barris’ fears and self-doubts, his uncertainty whether any of it — the CIA, the game shows, anything — makes sense. Rockwell has always been a reliable supporting actor; here he is given the opportunity to shine, and he takes the leading role with precise, comical gusto.

And who better to play Barris’ free-spirited hippie girlfriend than Drew Barrymore? Enough said about that.

Clooney’s directorial style is whimsical in the best sense of the word, never being content to let something just appear on the screen if there’s a more interesting way of showing it. Characters pop into shots out of nowhere, and a moving camera often catches as many well-timed entrances and exits as it does lines of dialogue. Kudos also to the cinematographer, Newton Thomas Sigel (“Three Kings,” “The Usual Suspects”), who uses over-saturated color to mimic the time periods, giving much of the film a surreal quality that is perfectly appropriate.

The CIA material, surprisingly, is not nearly as interesting as Barris’ experiences in television. Perhaps it’s because we can rely on most of those stories, while the hired-assassin business seems fishy and therefore worthy of less attention. Whatever the reason, the film loses some of its steam when it turns to the hitman scenes. When it focuses on the madness of television, though, it runs on all cylinders, churning out a succession of giggly sequences that make for an entertaining film, if not exactly an insightful one.

The Best and Worst Movies of 2002

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The Best and Worst Movies of 2002

Movie critics and normal people are living in peace and harmony.

Glance at my list of the best movies of 2002 and you’ll find no foreign films, no Sundance Film Festival entries, and only one documentary. If you’re a regular movie-goer, you’ll probably find that you’ve seen — and enjoyed — nearly everything on the list. Or at least HEARD of them.

It’s not that my fellow critics and I have lost our taste for non-mainstream films. It’s just that this year, Hollywood managed to produce some excellent movies and deliver them right to the multiplexes rather than to the arthouses. Critics and audiences applauded a lot of the same movies this year.

Below are 10 thoughtful, well-crafted films. Three of them are comedies, but with serious undertones. Two of them are fantasies, but with humanity and depth. One is an outright tragedy, but so beautiful it uplifts rather than depresses. All 10 restore my faith in the potential of film to inspire, inform and — above all — entertain.

Herewith, my top 10 list for 2002.

1. “The Hours”: Most noticeably, this thoughtful drama is a parade of terrific performances by Nicole Kidman, Julianne Moore, Meryl Streep, Toni Collette, Ed Harris, Jeff Daniels, John C. Reilly, Stephan Dillane, and so on. You need the acting, otherwise the film — which tells three stories in three different time periods — would be a disastrous, action-less mess. You also need the directing, which in this case, by Stephen Daldry, seamlessly weaves the stories together, moving fluidly from one subject to the next. The film focuses on three women on the verge of either coping with life or giving up on it. The beautiful, emotional manner in which their stories are told make it the most piercing, heartfelt movie of the year.

2. “Far From Heaven”: An achingly tragic melodrama in the style of the weepy romances of the 1950s, perfectly re-creating the cinematography, costumes and dialogue down to the last detail. But the film’s success at capturing the movies of a previous era is not what makes it great. It is the masterful, honest performances by Julianne Moore, Dennis Quaid and Dennis Haysbert that make this stylized, old-fashioned story as relatable as if it were set in 2002. You will seldom see such beauty and poignancy on the big screen.

3. “About Schmidt”: Jack Nicholson, as a recently retired man who has no idea what to do now, gives his best performance in recent memory in this subversive, hilarious comedy that has — like most of the best comedies — a sweet, emotionally effective undercurrent. That the nicer sentiments are hidden beneath raucous humor and outrageous characterizations makes it all the more sublime.

4. “Spider-Man”: For sheer, all-out entertainment, few films this year could hold a candle to the humor and visual thrills of “Spider-Man.” Just as last year’s “Lord of the Rings” did, “Spider-Man” combined exhilarating fantasy with gravity and humanity, reminding us that while we go to the movies for fun — especially during the summer — we shouldn’t have to check our brains at the door.

5. “Adaptation”: By far the most clever, original film of the year, “Adaptation” is a movie about a man trying to write a movie, based on a book about someone writing a book. Off-kilter performances by Nicolas Cage and Meryl Streep, with delightful humor at every turn, make us forgive it if it’s a little contrived. The sheer courage it took to make a film this self-referential and loopy warrants praise, and the more you think about it, the more of its hidden surprises you discover.

6. “Panic Room”: David Fincher’s ingenious thriller about a woman and her daughter trapped by villains in their house’s “panic room” is as crafty a game of cat-and-mouse as you’ll ever see. The omniscient camera takes us through every nook and cranny of the house, and the all-too-real sound mix puts us in the room with the heroines. By the end of the film, we are as relieved to have survived as they are.

7. “About a Boy”: Hugh Grant quit stammering and started acting in this fantastically witty film about an irresponsible man whose friendship with a kid forces him to grow up. The keen literary style of Nick Hornby’s novel is left intact, as is the underlying pathos that propels the comedy. As a result, we have sad humor and hilarious drama, all mixed and mingled and making for a perfectly delightful movie. And that soundtrack…!

8. “Bowling for Columbine”: Part documentary, part journalistic inquiry, this account of rabble-rouser Michael Moore’s examination of American gun culture is, by turns, funny, harrowing and thought-provoking. Whatever your politics, “Bowling for Columbine” asks questions that are desperately in need of answers, and Moore has assembled a film that is more watchable and engaging than nearly any documentary you’ll ever see.

9. “The Lord of the Rings: The Two Towers”: It didn’t have as much heart as its predecessor, but part two of this fantastic trilogy was still more impressive than most of its competition in 2002. This is truly an epic for the ages, and the middle chapter of Frodo, Aragorn and friends gives us three more hours of grand entertainment.

10. “Road to Perdition”: Sam Mendes proved “American Beauty” was no fluke with this gorgeous, elegiac film about an Irish-American mobster who wants to stop his son from following in his footsteps. The father-son relationship is explored with compassion and subtlety, enhanced by stellar acting from Tom Hanks, Paul Newman and young Tyler Hoechlin. The rare film in which acting, photography, music and screenplay all blend together so seamlessly that you can’t imagine the film succeeding without each of them.

The next best 10 (in alphabetical order): “Chicago,” “Lovely & Amazing,” “Minority Report,” “Moonlight Mile,” “My Big Fat Greek Wedding,” “One Hour Photo,” “Punch-Drunk Love,” “The Ring,” “Spirted Away,” “Tadpole.”

The Worst Movies of 2002

1. Nearly anything starring a “Saturday Night Live” alumnus. Dana Carvey’s comeback film, “Master of Disguise,” came and went. Adam Sandler gave us the dreadful “Mr. Deeds,” did fantastic work in “Punch-Drunk Love,” then came back again with the horrid “Eight Crazy Nights.” His old buddy Rob Schneider joined him and Carvey in the slums with “The Hot Chick.” They all need to do what Mike Myers did: Find a few good characters that are actually funny, and milk them for all they’re worth.

2. Kung Pow: Enter the Fist: Several fine concepts, ruined by squeezing them into one film. Seldom has a more basic misunderstanding of the fundamentals of comedy been demonstrated so thoroughly.

3. Serving Sara: I am convinced this movie, starring Matthew Perry and Elizabeth Hurley, hated me. Why else would it beat me so mercilessly with its dull, anemic comedy and its gross-out humor? Though I don’t remember it, surely the film and I crossed paths earlier and it held a grudge.

4. FearDotCom: You look at a Web site, and two days later, you die. An idea just as absurd worked fabulously in “The Ring”; here, it’s merely an excuse for wanton gore and frenetic editing, accompanied by an incomprehensible storyline and turgid acting. (Runner-up in the bad horror film category: “Ghost Ship.”)

5. Juwanna Mann: This obvious, dim-witted drag comedy makes juwanna kill yourself. It is always disheartening to realize that after spending 90 minutes with a movie, you have found more flaws in it than the filmmakers did in the several months it took to write and produce it.

P.S. I am disappointed that I cannot include Freddie Prinze Jr. anywhere on this list. “Scooby-Doo” was bad, but not bad enough to make the cut. Better luck next year, Freddie!

A Year of Good Friends and Occasionally Some Bad Movies

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A Year of Good Friends and Occasionally Some Bad Movies

It goes without saying that movies are a big part of a movie critic’s life. But with a majority of films being viewed at sterile press screenings, the actual movie-going experience diminishes with time. In most cases, I can remember the movies vividly but very little about the circumstances surrounding them.

That’s as it should be, maybe — the films should speak for themselves — but it’s also fun to remember the audience reactions, the friends who watched the flicks with you, and the awful popcorn you ate simply because it was in front of you.

If you’ll indulge me, I’d like to share some of my more significant movie-watching experiences of the year. You will notice that all of them involve friends. Without friends to watch movies with, I don’t know how important movies would be in the first place.

Josh and Chanel

With Josh’s girlfriend (now fiancée) living in California, he found himself spending inordinate amounts of time with me and Chanel, the three of us forming a merry, platonic band of entertainment-seekers.

We saw an advance public screening of “The Rookie” at Provo Towne Centre’s Cinemark 16. Chanel sobbed through the end of this genuinely uplifting, wholesome story. Josh and I would have mocked her mercilessly, except that we had to fight back tears ourselves.

For reasons I still do not understand, Josh and Chanel were convinced the drag-comedy “Sorority Boys” would be funny. Not having attended the press screening already, I went with them on opening day, where we found it to have some shining moments of comedy mixed with the awfulness. My friends subsequently received DVD copies of the film as gifts. The movie is quoted among us to this day, a testament to the staying power of a movie experience, whether the movie was any good or not.

Chanel has consistently proven unreliable in her predictions of movie quality. She insisted on attending the press screenings of “Mr. Deeds” and “Master of Disguise” with me, hoping to be entertained by them. After “Master of Disguise,” which featured the once-funny Dana Carvey, there was some talk of ending our friendship immediately so the ugly incident would never have to be revisited.

One weekend in April, I was visiting friends in Florida when Josh called to say he and Chanel had just seen Frailty and it had, as he put it, “stolen our souls.” At the time, the state was buzzing with debates about sports betting FL legislation, and every coffee shop conversation seemed to circle back to morality, luck, and temptation—making Josh’s description oddly fitting. The next night, my friends and I saw the film at a theater in Tampa. I kept my soul, but the movie provoked a long talk about faith and fanaticism. Flawed as it is, Frailty deserves to be seen and discussed, which is more than you can say for most movies.

I saw “About a Boy” with Chanel and Josh, too, on one of the nights when I was persuaded to go to the movies with a large group of friends despite my having already seen everything playing. (I am not very much fun to hang out with for that reason.) I gave “About a Boy” an A- when it was released. The second viewing made me wonder why I included the “minus.” It is the funniest drama, or the most serious comedy, I saw all year, and the second screening of it convinced me it belonged on my Top 10 list. I have learned never to be afraid of giving a movie a second chance to make a first impression.

Josh was also with me when I saw “My Big Fat Greek Wedding” for the first time, a few days after it sneaked unnoticed into Utah theaters. Josh reports that he had never seen me laugh so hard as during the scene in which the insane Greek grandmother tiptoes across the lawn, is assaulted by automatic sprinklers, and then tiptoes back, shrieking. Apparently, I laughed so hard he feared for my safety. So be careful of “My Big Fat Greek Wedding,” I guess.

Brett and bad movies

Of all my friends, it may be Brett whose love and knowledge of film is most keenly defined. Ironically, instead of watching Hitchcock or Bertolucci masterpieces together and then discussing them, what we usually dine on are bad slasher flicks.

For example, in 2001 we watched the entire “Friday the 13th” series on DVD and video. Sadly, in 2002, Brett could not attend part 10 (“Jason X”) with me, and we have yet to find time to watch it together. That void remains in his life.

We did, however, watch all eight “Halloween” films this year, up to and including the newest one, “Halloween: Resurrection,” which we saw in the theater. The first two films in this series are rather good, while part three is among the worst cinematic experiences of our lives. The last one features Busta Rhymes, which to me is all a movie needs to make it bad.

We saw “Wes Craven Presents: They” in November; it seemed inevitable. A bad horror film is released; naturally, we will view it in one another’s company. Surviving bad movies is like living through a plane crash or other serious trauma: You’d never want to repeat it, but you’re grateful for the way it strengthened you and refocused your priorities. In the case of “They,” it made us go around saying, “In the dark they come for me” in the creepy way the little boy in the movie says it. You could tell the filmmakers wanted it to be the next “I see dead people,” but as far as I know, it only worked on me and Brett.

Miscellaneous friends

During the Olympics, Artisan Entertainment sponsored all-day, back-to-back free screenings of “National Lampoon’s Van Wilder,” set to open several weeks later, at the Gateway in Salt Lake City. Since it was free and an excuse to go to Salt Lake in the midst of Olympic fever, I attended with two friends. We were all horrified and offended; sadly, the gross-out humor of the film was not the worst I’d ever seen, so I was least traumatized of the three of us.

I took my “Star Trek” nerd friend Randy with me to “Star Trek: Nemesis,” in part because he asked but in part because I valued his input. He, like many Trekkers, was disappointed by the film. As a non-Trekker, I didn’t enjoy it but did not take its mediocrity personally, as I had nothing invested in it.

Jeremiah, whose seriousness about film rivals Brett’s, consented to see Steven Seagal’s “Half Past Dead” with me at the press screening. I went into it happily, knowing it would be stupid and feeling prepared to revel in it. Jeremiah believed it would be mediocre but was unprepared for how bad it actually was. He declared it among the five worst films he’d ever seen in his life, and when I told him it did not even rank among the five worst films I’d seen this year, he pitied me.

The best place

My favorite place to watch movies? The Tower Theatre in Salt Lake City. This is where I saw two of the films on my top 10 list — “Far From Heaven” and “Bowling for Columbine” — and this year, for the first time, I finally took advantage of the Tower’s weekend midnight movie series. There is something very cool about seeing classics like “A Clockwork Orange” and “Raiders of the Lost Ark” on the big screen, especially late at night in an audience full of excited but respectful film lovers. Is there anything better than cozying up next to someone special and watching a great film in a historic theater? If there is, it definitely includes chocolate.

Love Liza

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“Love Liza” is a slow, mournful film about a guy who deals with the death of his wife by getting high on gasoline fumes. Such a story probably needs to be funnier than this well-acted but lugubrious work is, because I don’t know how seriously I can take that premise.

Philip Seymour Hoffman, whom we really love as an actor, plays Wilson Joel, a Web site designer whose wife has just committed suicide. It was without warning, and though she left a note, he can’t bear to read it. He is positively crushed. Almost accidentally, he becomes addicted to gasoline fumes, as well as remote-control model airplane fuel.

His mother-in-law, played with the usual brassiness by Kathy Bates, tries to help him, as does a gentle coworker (Sarah Koskoff) and a kind boss (Stephen Tobolowsky). But he slowly spirals downward into addiction and misery.

Hoffman plays stoned for most of the movie, and while no one does “pathetic” better than he does, it is a trial upon the audience’s patience to inflict this much gloominess upon them. We don’t have a clue what Wilson was like before his wife’s death, but after it, he’s a miserable wretch.

Director Todd Louiso has an unusually evocative style that would be better served by a script that went somewhere. This one, written by Hoffman’s brother Gordy Hoffman, is all scenery and no destination: plenty of shots of Wilson huffing fumes, but for no good reason, story-wise. There’s also the matter of the suicide note, which is played up as a major mysterious document for most of the film, only to have its contents revealed as extremely disappointing.

In short, it’s difficult to imagine why someone would want to watch this movie. It has its moments of beauty, and even some of humor, and certainly Hoffman and Bates give marvelous performances. But the dreariness of the film is oppressive and tiresome.

The Best of ‘Snide Remarks’: 2002

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Somehow, among the 101 columns I wrote this year, I managed to find a few highlights. Don’t think of this as a rehash of stuff you’ve already read; think of it as me being lazy and taking a week off.

No, wait, don’t think of it that way, either. In fact, don’t think of it at all. Just read and, if possible, enjoy.

Out and about

Babies love theater. Bring them, no matter how young. It is perfectly acceptable to give birth in the car on the way over and then bring the baby, still dripping, into the theater. Babies love theater. — “How to Behave at the Theater,” Jan. 11

• If a film existeth that hath too many lesbians, the Sundance committee hath not seen it.
• Thou shalt include in thy cast people like Parker Posey or Christina Ricci; behold, if thou casteth Adam Sandler or Cheech Marin, thou might as well throw thy movie in the Dumpster — yea, verily, in the damn Dumpster. — “Sundance Report: The Ten Commandments of Independent Filmmaking,” Jan. 15

I can’t imagine any situation in which I would feel I HAD to dress up as a woman, much less where I thought I could get away with it. Yet people in movies and Shakespeare plays seem to exhaust every other choice and arrive at that option with startling rapidness. They’re always vigorously heterosexual characters, too, insisting the LAST thing they want to do is dress like the opposite sex — but I am skeptical, because I think if you REALLY didn’t want to cross-dress, you’d find another solution. — “What Fools These Cross-Dressers Be,” July 3

I don’t think rap artists should be allowed to star in motion pictures. It’s not because they can’t act; I have come to accept that certain people will always be in movies, regardless of their having minimal talent. (This is known as the Freddie Prinze Jr. Prinziple.) The reason I object to rap stars as movie stars is that they don’t even have names. Snoop Dogg, Ice Cube, Li’l Bow Wow, Dr. Dre — those aren’t names! They’re not even proper nicknames. They’re barely even words. Seems like having a name should be the MINIMUM requirement for being a film star. — “Sinceriously,” May 17

A man in the audience answered his cellphone during the show and then talked on it for about a minute, casually, before hanging up. I don’t know this man or his background, but clearly he is the stupidest man in the world. He must be, if he thinks it’s OK to talk on his phone during a play. What puzzled me is how someone as stupid as he must be is able to dress himself and go outside and be part of society. Shouldn’t he be in a zoo or an institution, being studied by scientists? But maybe the phone call was urgent. Maybe it was the lost and found, letting him know they’d found his 11 missing chromosomes. — “Shmildren of Shmeden,” Aug. 2

Traveling

Granted, the airlines have been under extraordinary duress in recent months. However, the effect of this has merely been that now, in addition to being incompetent, the airlines are also paranoid and delirious. It’s like going up to a man who’s already insane and telling him his rear end is on fire. — “Delta Bad Hand,” Jan. 2

I learned that it’s impossible to sleep in an airport, due to the prerecorded lady telling you every 10 minutes over the loudspeaker (there’s a reason they call it that) that you are not allowed to smoke in the terminal — which it seems to me everyone already knows. You can’t even bring nail clippers into an airport anymore; does anyone really think you can have fire? — “Cross Words at JFK,” March 20

There was a Korean-born American girl who learned I was visiting England from Utah and who then said, in a very disgusted manner, “You’re not a Mormon, are you?” Telling her I WAS a Mormon shut her up in a hurry. Having seen BYU’s Julie Stoffer on “The Real World,” I knew precisely how to deal with awkward circumstances like this one: I crawled into a cupboard and wept. — “Hostel Takeover,” March 29

With an average humidity index of 150,000 percent, Florida is by far our sweatiest state. That is why it is so attractive to old people, because the elderly, much like the dolphins they sound like, need to be kept moist in order to survive. — “Humid Nature,” April 19

When you give three weeks’ notice, you can get a plane ticket for $150 or so. When you give three days’ notice, they charge you $300, I guess because somehow it’s harder for the plane to fly when it has procrastinators on it. — “Generation Eric,” June 28

TV

I got Dish Network, a satellite service that brings well over 1 billion channels directly into my home, including some from other planets. At least, I assume that’s where the people on “Iron Chef” are from. Certainly no regular people get that excited about cooking dinner. — “Special FX,” Jan. 4

Claire and Monty find England amusing, but they are fed up with certain aspects of it. For example, over there, ugly people are allowed on television. This bothers Claire and Monty, who believe, as Americans, that only attractive people should be televised. “If I wanted to see ugly people, I’d go outside!” Claire says. — “To Bee in Dawlish,” May 1

In theory, stealing is wrong. In theory. In theory, democracy works. And then Nikki McKibbin makes it to the final four in “American Idol” and we realize democracy is a failure. Lots of things work “in theory.” — “Scream of Conscience,” Aug. 21

Customer disservice

Never in the history of mankind has a tow-truck driver said, “OK, you’re right. We shouldn’t have towed you. There will be no charge, and I apologize for the inconvenience.” If a tow-truck driver’s brain ever even attempted to combine those words in that order, his head would explode. (Raise your hand if you would like to see this.) — “Towed You So,” Jan. 23

We rode in Gus’ tow truck to the nearest ATM, three miles away, so I could get enough cash to pay him to get my car out of impound. Out of the blue, Gus said, “I bought a new bed.” I was amazed to hear this. I had been searching all my life for the topic of conversation that I was least interested in, and now I had found it! A new bed purchased by an obstinate journeyman was precisely the thing in all the universe that I couldn’t possibly have cared less about. And now I was talking about it! I was afraid if I appeared uninterested in Gus’ new bed that he would change his mind again on how much money I owed him. (“I’m also gonna have to charge you a $25 not-caring-about-my-new-bed fee.”) So I said, “Oh, yeah?” I even raised my eyebrows, the way interested people do. — “Gus Mileage,” Jan. 25

I am told that since RC Willey offers free installation, the installation will only cost $45. (There are charges for various parts.) Apparently, the installation is called “free” because there are no slaves involved. All of the laborers are freemen, being paid wages for their work. It makes me happy to know I am not supporting a sweatshop. — “Fee Installation,” June 5

I had to bail my big fat Greek brother Jeff out of jail. The cost was $650, or $2 a pound. I had to come up with this money because I was the only relative nearby, and because I am believed to have flora growing in my back yard that produces fruit made of cash. In truth, I don’t even have a back yard, and $650 was more than I had in my bank account. Fortunately, Washington Mutual offers overdraft protection, and charges only $22 every time you use it. (Twenty-two dollars is such a low sum that I’m sure the bank loses money on the deal.) — “You Have the Right to Remain Fat,” Oct. 2

Physical appearances

Abercrombie & Fitch, the chain of quasi-trendy clothing stores, has caused furor before with its racy catalogues. The pictures in these catalogues feature lithe young men doing manly things like frolicking gaily in the surf or wrestling nakedly on a bearskin rug in front of a fireplace, always demonstrating the best way to showcase A&F clothes, i.e., by not wearing them. — “A&Ftermath,” July 19

Why are there no good-looking polygamists? Does a life of gingham and farm work not attract people with high cheekbones and svelte figures? Or are the good-looking people being ruined by it, going into their first marriage looking like Tom Cruise and coming out of their seventh looking like Tommy Lee Jones? — “The Sardonic Versus,” Sept. 1

Chad contacted an acquaintance who had connections in the modeling world, and next thing you know he’s getting some shots taken to put in his portfolio. He called me beforehand because he was nervous, and I couldn’t figure out what he was nervous about. It’s not like an audition, where you might screw up your lines. For a photo shoot, you’re showing up basically with your face. If you forget your face at home, yeah, I guess you’re hosed. But otherwise, it seems like it ought to be smooth sailing. — “The Problems of the Cute,” Sept. 4

Maybe it’s wrong to marry someone based on something as superficial as good looks or money, but maybe ugly, poor people don’t need love anyway. — “Words of Inspiration: Maybe,” Feb. 27

A New York man sued several fast food chains because he was fat. I saw a picture of this guy, whose name is Caesar Barber, and he sort of has a point: He is very, very fat. If his case goes to trial and there is any dispute over whether or not he is fat, I will gladly testify on his behalf. — “Some Body to Love,” Sept. 22

The controversy over double-charging fat airline passengers began when an internal memo escaped the confines of Southwest headquarters, which are in a shack on the outskirts of Barstow, Calif. (This is also where Southwest keeps its plane.) The memo was to remind employees of a 22-year-old policy stating that customers must pay for as many seats as they occupy, and that ticket agents, if necessary, should remind customers of this fact, preferably in a loud voice and using the expressions “jumbo” and “tons-o’-fun.” … So how much spillage constitutes “occupying”? Where do you draw the line? What, should Southwest put a box at the ticket counter, and you have to stand in the box, and if you don’t fit completely inside it, you have to pay for another seat? YES. That would be GREAT. I would spend hours at the airport, just watching people get in the Fat Box. — “Seating Disorder,” July 10

I was reviewing a play when, during intermission, a woman asked if I was Eric Snider, and when I told her I was, she said she recognized me from my column and added, “You’ve gained weight since that picture was taken.” Apparently, the fact that I write reviews of local theater productions gives strangers license to tell me I’m fat. — “The Problems of the Cute,” Sept. 4

Politics and current events

The billboard I saw on my way to work said this: “The United Nations Wants to Take YOUR Gun!” I was alarmed. How could the United Nations Want to Take MY Gun when I don’t even have one? Are they planning to issue guns to everyone, just so they can take them away? Because THAT sure wouldn’t make any sense. Plus, I don’t want a gun in my house, even if it’s only long enough for the U.N. to take it away. Who knows how long they’ll leave it there before they come get it? It could be days, or even weeks, and in that time, plenty could go wrong, such as my roommate leaving dirty dishes in the sink FOR THE LAST TIME. — “The U.N. Column,” Feb. 1

They are clever with the wordplay over at PETA. Don’t they know that every time you make a pun, a kitten gets shot in the head? — “PETA’s Dragon,” May 24

On Feb. 7, 1993, Cody Judy interrupted a BYU fireside where LDS apostle Howard W. Hunter was speaking. Judy held a briefcase containing what he said was a bomb, and in his other hand he held what he said was a detonator. Those of us in attendance wet what we said was our pants. We also sang some inspirational hymns of God’s love and mercy, which distracted Judy long enough for a bunch of guys to tackle him and beat him senseless. — “Codypendent,” June 7

When I heard about the Toby Keith controversy, my first thought was: Who? Then I did some research and found out he’s actually quite famous in country music circles, which I do not feel snobbish in mentioning are circles I do not travel in, due to my having completed high school. — “Butt Seriously, Folks,” July 5

When you think of stores that sell pornography, probably the first name that springs to mind is Deseret Book. But those purveyors of smut are finally cleaning up their act, starting with a refusal to sell Mormon author Richard Paul Evans’ trashy new novel, “LaVonda Does LaVerkin.” — “An Embarrassment of Richard’s,” Nov. 24

I fear the time may have come that we shall have to start taking UVSC seriously. First it became a state college instead of a community college. Then they began hiring professors instead of hobos. Then they started giving graduates diplomas instead of Chili’s gift certificates. Now, apparently, they will play at the top level of NCAA athletics, competing against other colleges rather than high schools and scout troops. … In the past, we have considered a UVSC athletic event to be on the same level of legitimacy as a same-sex wedding, or a little girl’s tea party to which her dollies are invited — you know, you’d attend if there was nothing else going on, but it’s not like you’ll take it seriously or anything. All that could change now. If UVSC successfully makes the leap from NJCAA Region 18 to NCAA Division I-A, it will be the first school ever to do so without most of its students knowing what those letters stand for. — “UVS-Legitima-C,” Aug. 7

Young people

Owen, age 2, is a force of nature. He toddles around ferociously, raging and hollering like a madman. He appears to be speaking, but the words are not from any discernible language. If he weren’t so adorable, I’d assume he was evil. My best guess: He has bees in his head, and the bees are crazy. — “To Bee in Dawlish,” May 1

What in tarnation does a teen-age girl need a cellphone for? My theory is that since they are genetically programmed to talk 24 hours a day regardless of whether anyone is there to listen to them, they prop the cellphones against their faces so they won’t look crazy. — “Chang of Subject,” June 21

The Olympics

How strong is the Mormon influence on the Games? Take a look at some of this year’s events: Women’s Downhill Jump to Conclusions; The Self-Righteous Huff; Slalom Minivan Driving with Non-Operating Turn Signal; Bobsled; Freestyle Scrapbooking; Guilt; Scripture Chase; Preparing Lesson During Sacrament Meeting While Also Distributing Cheerios Among Toddlers Biathlon; Southern Utah County Big Hair Curling. — “Olympics Report: The Molympics,” Feb. 8

Each of Utah’s five Indian tribes were represented in the Opening Ceremonies. I guess we did kill a lot of them and steal their land, so it’s only fair we let them play flutes at the Olympics. I say we call it even. — “Olympics Report: How Much Does Bob Costas?,” Feb. 10

So women are playing hockey now, apparently. I know because I watched them do it at The Peaks on Tuesday. What will come next in the women’s movement? Why, soon they’ll be voting! — “Olympics Report: Women’s Hockey Is Finnished,” Feb. 13

Chicago

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If “Moulin Rouge” brought the movie musical back into vogue, “Chicago” should do a lot to keep it there.

The demise of the movie musical has been lamented much in the past several years. Before “Moulin Rouge” (2001), it had been 22 years (“All That Jazz”) since a live-action musical was nominated for a best picture Academy Award, and 33 years (“Oliver!”) since one had won.

Oscars aside, when was the last time that a movie musical found favor in the eyes of the American public? Madonna’s “Evita” (1996) failed to get audiences singing again; “Newsies” (1992) flopped and subsequently developed a cult following on video, but did little else. The Disney animated musicals did extraordinarily well in the early 1990s, but those ultimately waned in popularity, too. Somehow, it was no longer cool for movie characters to sing, not even in cartoons — unless they were making fun of musicals, as in the “South Park” movie (1999).

“Moulin Rouge” made musicals hip again, but functioned as something of a fluke. Nearly all of the songs were pre-existing pop tunes reworked for the movie, and the film was altogether much more stylized than an ordinary drama. Basically, if the audience could accept the frenetic editing and other oddities, it could — and did — accept that characters frequently burst into song, too.

Now comes “Chicago,” the first major film since “Evita” to be based on an existing live show. Such an undertaking is risky. We have already discussed America’s on-again/off-again love affair with musicals, which is currently on again but only tentatively. In addition to that, “Chicago” has been very popular as a stage musical, which means a film version runs the risk of alienating those fans. And if you offend the fans, and America in general isn’t interested in movie musicals, then who’s going to watch it?

The good news is that “Chicago” is a stupendously exhilarating film, so entertainingly assembled that I would not be surprised to hear applause burst forth from movie audiences at the end of the bigger numbers.

It is set in Chicago in the 1920s, when criminals could often parlay their notoriety into fame and fortune (just like today, in other words). Velma Kelly (Catherine Zeta-Jones), a vaudeville performer, has killed her husband and sister; Roxie Hart (Renee Zellweger) has killed her boyfriend; both are on Murderess’ Row awaiting trial, under the watchful eye of Matron “Mama” Morton (Queen Latifah). Billy Flynn (Richard Gere), a smooth-talking lawyer, assists them both, seeking his own fame and well-being as much as theirs.

The satire is trenchant and sly, ruthlessly mocking America’s love of villains, and the way anyone with a bit of savvy can manipulate public opinion to his (or her) advantage. As a satire, it does not delve deep into its characters psyches; these are types, not people, and that’s just fine.

I count myself a fan of musicals in general, and “Chicago” specifically — but I am also a fan of movies, and I recognize film is a medium that does not always work for musicals. “Chicago” works. Director Rob Marshall (a choreographer who directed the 1999 TV version of “Annie”) has deftly steered clear of the obvious problem — “Why do these ordinary people keep bursting into song?” — by staging the musical numbers as fantasies. For example, the “Cell Block Tango” number, in which the various women on Death Row recount their deeds, is two sequences interwoven. During the dialogue parts, we see what’s “really” happening: The women are sitting around the prison, telling stories. During the singing parts, we see them dressed in black underwear, bathed in red light, singing and dancing on a set that is a prison-nightclub hybrid. It’s an effective way of keeping the show’s songs intact without having to face the weirdness of vicious killers who warble in their cell blocks.

Most of the songs from the show made it to the film, the notable exceptions being “My Own Best Friend,” “I Know a Girl,” “When Velma Takes the Stand” and “Class” — most of Velma’s songs, in other words. As a result, the Velma character seems decidedly secondary to Roxie, while the stage version made them co-equals. This makes their eventual decision to team up a little less satisfying, but that may be a quibble.

Catherine Zeta-Jones and Renee Zellweger both sing and dance like stars, and Zeta-Jones’ seductive performance makes Velma’s secondary status seem like a compliment rather than a slam, like maybe more of her would have been too much of a good thing. Zellweger captures Roxie’s transition from naive would-be starlet into full-fledged media whore with perfect grace and humor.

They are good, yes, but they are overshadowed by — hang onto something here — Richard Gere. Is it just me, or does this guy always play really quiet, dull characters? And yet here he is as slick Billy Flynn, talking fast, singing beautifully, and razzle-dazzling his way into stealing the film out from under its female stars. It is easily his most charming performance in recent memory, maybe ever.

(His character also gets the two best metaphors: While acting as his client’s “mouthpiece,” we see him working as a puppeteer, manipulating the press and his client with equal agility; later, when he’s thrown a curveball in court, we see him perform both a literal and figurative tap-dance. I cannot stress enough how delightful the blending of reality and fantasy is in this film.)

It’s about time a movie gave us a reason to tap our toes again. Here’s to the resurgence of a grand Hollywood tradition.

The Pianist

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The source of our discontent with “The Pianist” does not become apparent until the final seconds, when title cards inform us that what we have seen — a Polish man fleeing the Nazis during World War II — is a true story.

Ah, that’s it! The filmmakers have fallen prey to the classic syndrome of assuming a story will be interesting just because it is true. In the pursuit of being true to Wladyslaw Szpilman’s real story (the film is based on his autobiography), director Roman Polanski has neglected what separates a good film from a great one: the narrative.

The narrative in “The Pianist” is too simple, too uneventful. Wladyslaw (played by American actor Adrien Brody), a classical pianist for Polish radio in Warsaw, hides from the Nazis with his family, then continues to hide, then flees, then hides somewhere else, and so on. Polanski tinkers with the idea that music somehow helps Wladyslaw survive, but that theme is left undeveloped until, suddenly, it plays a pivotal role in a pivotal scene. Basically, the film wanders for nearly 2 1/2 hours, telling a story that is inspiring, but no more so than the dozens of other Holocaust films we’ve seen in the past half-century.

Wladyslaw’s attempts to contact a woman he once had a crush on, while probably portrayed close to how they actually occurred, don’t work in the film. The efforts seem to be taking the story somewhere, but they turn out to be rather unimportant in the overall scheme of things. The woman is included in the film simply because she existed in real life, too — but unless you’re making a documentary, “because it really happened” is not reason enough to include something in your film.

Polanski is a long way from his best work (“Chinatown,” “Rosemary’s Baby”), but he gets quite a few things marvelously right in “The Pianist.” There is an eerie, horrific scene where Wladyslaw’s family watches as the apartment house across the street is invaded and a resident is thrown off the balcony. The family, like the audience, is a mute witness, watching from a distance. Other noteworthy moments include the awesome visuals of Wladyslaw playing while his radio station is being bombed, and the apocalyptic ghetto he discovers near the end.

In general, Polanski successfully conveys the random brutality of the Nazi occupation, with death at every turn and survival not guaranteed to anyone.

Adrien Brody’s performance as Wladyslaw is key to the film; the character appears in nearly every frame. Curiously, despite the amount of time we spend with him, we do not come to know him very well. He seems to be a quiet, reserved man — but that may be only because he is in hiding for most of the film. What drives him? What keeps him alive? His love of music? Again, that notion is not given substantial support within the movie. He is a cipher.

As a young boy, Polanski himself escaped from the Warsaw ghetto and wandered through the Polish countryside for much of the war. His mother died in a concentration camp. He has a great vested interest in this story, and one hesitates to criticize such a personal film. It is akin to correcting the grammar in someone’s diary.

Nonetheless, as much sympathy as we may have for Polanski the man, that only carries over so far into sympathy for Polanski the filmmaker. “The Pianist” has the noblest of intentions and bears many marks of excellent filmmaking, but ultimately, there is very little to distinguish it from a history book. It’s the sort of movie that builds character, like visiting a sick aunt or eating vegetables.

Nicholas Nickleby

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In 1996, Douglas McGrath adapted and directed a film version of Jane Austen’s “Emma,” giving it sumptuous new life and helping introduce a whole new generation to Ms. Austen’s work.

He has now done the same with Charles Dickens’ “Nicholas Nickleby,” giving it a similarly whimsical treatment as he winnows the massive text down to a manageable 133 minutes of British congeniality.

“Nicholas Nickleby” is not as widely read as, say, “Great Expectations,” which has nearly the same plot and many of the same character types. So we will acquaint the reader with the gist of the story as it is presented in McGrath’s very lovely movie.

It is a very merry, very British story, with the usual vivid assortment of Dickensian villains, cads, benefactors and child abusers. Good-natured Nicholas (Charlie Hunnam) is 18 when his father dies, leaving him to see that his mother (Stella Gonet) and sister Kate (Romola Garai) are cared for. They head to London, in the hopes that wealthy Uncle Ralph (Christopher Plummer) will assist them. This he does, though his having ulterior motives should not surprise you.

Nicholas obtains a job assisting at a school for wayward boys, under the watchful eye (that’s singular) of the filthy Wackford (Jim Broadbent). Among Wackford’s possessions is young Smike (Jamie Bell), a semi-lame boy with no parents who does all the manual labor around the school but is not permitted to learn anything.

Nicholas and Smike eventually leave Wackford’s compound and encounter a large number of interesting folks on their way to, and within, London. Charlie Hunnam is not anything special as Nicholas, and neither is Anne Hathaway as his bland love interest, but the thing with Dickens is that it’s the oddballs who swirl around the protagonist who matter most, and these are portrayed with great humor and flair by an absolutely stellar ensemble cast. There are Nathan Lane, Barry “Dame Edna” Humphries and Alan Cumming as members of a traveling acting troupe; Tom Courtenay as Uncle Ralph’s nervous butler; Timothy Spall and Gerard Horan as a Tweedledee/Tweedledum pair of generous brothers; and on and on.

That’s not to mention the extraordinary performance by Christopher Plummer, who manages to breathe full-blown life into Uncle Ralph, a character who could easily be nothing more than a sneering villain. And Jamie Bell, who was dazzling in “Billy Elliot,” is once again skilled beyond his years as the endlessly sympathetic Smike. Either of them alone would be fantastic; here they are surrounded by character actors who are just as enjoyable to watch as they are, in a movie that very nearly lives up to all of its great expectations.

Max

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The trouble with “Max” is that it’s difficult to take a movie seriously that has a pre-Reich Adolf Hitler as one of its principal characters. In fact, it’s difficult sometimes to tell whether the movie even WANTS to be taken seriously, though I ultimately have little doubt that it does.

But when we hear lines like, “You’re a hard man to like, Hitler” and, “Wanna go out for drinks, Hitler?,” what should our reaction be? We have seen “The Producers” and have experienced the catharsis in ridiculing the most evil man of the 20th century through satire and irony. How can we view this kind of dialogue as anything but winkingly self-referential?

How about when the young Hitler (Noah Taylor), in the military in Munich in 1918, tells his fellow soldiers, “I don’t believe in anti-Semitism”? He elaborates to explain that anti-Semitism should come through government means rather than through emotion — that is, he IS anti-Semitic, but not for personal reasons — but upon hearing that initial line, what should we do? Smirk? Laugh? Wince?

“Max” makes us do a lot of that; it’s difficult to get a grasp on what its tone is. The title character, played by John Cusack, is a Jewish art dealer who lost his arm in World War I. He is glib and intelligent, as John Cusack characters are wont to be, and when he meets Hitler, the latter is an angry would-be artist who seeks Max’s input on his work. Max tells him that if he’d put as much energy into his art as he does into his political tirades — a recent pastime of his — he would be a success.

It is intriguing to watch Max’s efforts to channel Hitler’s passion in a productive direction, especially because we know such attempts will ultimately fail. It is also noteworthy to see suggestions that some of Hitler’s anti-Semitism and war-mongering were fueled by the German military he was already a part of, and to see the connections he draws between politics and art. Both are a means of controlling people’s emotions, after all.

But in the end, despite earnest performances from Cusack and Taylor, and what one assumes was earnestness on the part of writer/director Menno Meyjes, “Max” registers falsely. It doesn’t offer audiences any way of gripping what its point is, or even its attitude toward its subject.

Catch Me If You Can

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“An honest man has nothing to fear,” Frank Abagnale Jr. tells his father in a letter. “So I’m trying my best not to be afraid.”

The problem is that Frank is not an honest man and therefore has every reason to be afraid. The FBI is on his tail, and his web of lies is spreading more every day, reaching into every single aspect of his life. Surely all of this will come crashing down. Surely fear is something Frank ought to feel a lot of.

Steven Spielberg’s thoroughly enjoyable new film “Catch Me If You Can” does not focus on the fear that pervades the life of a con artist, though, choosing to dwell instead on the entertainment value of Frank’s story. And that element is considerable. We honest folk enjoy hearing tales of cleverness and thievery, from “The Sting” to “Ocean’s Eleven,” particularly when the bad guys don’t hurt or kill anyone. “Catch Me If You Can” is Spielberg’s most agenda-free, just-for-kicks story since “The Lost World,” and the boyish love of a good romp that made his films of the 1980s so enjoyable is evident in every corner.

Leonardo DiCaprio plays Frank Abagnale Jr. in this slightly fictionalized account of the real-life Abagnale, who posed as an airline pilot, a doctor and a lawyer for six years in the 1960s, evading the FBI and passing bad checks the entire time before finally being captured.

As depicted in the film, Frank comes by his talents for lying naturally, his father (Christopher Walken) being a small-time con man himself occasionally, when it suits him. Dad has a stationery store in upstate New York with a lot of IRS troubles, and he sweet-talks his way out of problems whenever possible. It is worth noting that he is not nearly as successful at fooling people as his much handsomer, more charming son is.

Frank Jr., devastated by his parents’ sudden divorce, leaves home at age 16. He winds up in New York City, where he observes that airline pilots are treated like celebrities and are always surrounded by gorgeous stewardesses. Soon, he is passing himself off as a pilot and manufacturing (and cashing) fake payroll checks from PanAm at hotels that cater to pilots.

It snowballs from there, though the film’s major flaw is that we’re not shown how or why. One minute Frank is cashing checks for $300; next thing we know, he has bilked a total of $1.5 million. How did he go from penny-ante stuff to large-scale embezzlement? What motivated him to stop making a living and start making a fortune? His motives are not evil: The only individual (rather than billionaire corporation) he’s ever shown defrauding is a prostitute.

But again, the film’s focus is the adventure of it all, not the psychology behind it. To that end, we spend a lot of time with Carl Hanratty (Tom Hanks), the humorless FBI agent who is doggedly pursuing Frank. Armed with a businesslike attitude, a harsh New England accent and a no-nonsense G-man hat, Hanks is a slightly cartoonish version of the classic government agent, a cross between “Dragnet’s” Joe Friday and, well, Tom Hanks. Not since “The Fugitive” have both sides of the law been so charismatic and worthy of being rooted for.

DiCaprio’s performance is impressive, better than “Gangs of New York” and certainly better than “Titanic.” The role is perfect for him: Both he and Frank can play kids as well as grown-ups, and here he often has to play both in the same scene. DiCaprio more than adequately conveys the kid-in-a-candy-store mentality of a teenager who has stumbled onto a great scheme. In the rare moments when Frank is dragged back into reality, the disappointment on his face is almost heartbreaking, like a little kid who’s been busted for doing something really fun that happens to be against the rules.

The Hours

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“The Hours” is a parade of sad, beautiful performances, a sort of gorgeous funeral procession of acting. Its structure allows each actor the opportunity to emote with Oscar-worthy fervor at least once, and in the case of some of them, several times. A young thespian could open the screenplay to nearly any page and find a scene or monologue worth memorizing for auditions. It’s that good.

The screenplay, by David Hare, is based on Michael Cunningham’s Pulitzer Prize-winning novel, whose multi-storied structure and action-less plot make for an introspective book and a seemingly unfilmable movie. Yet here it is, directed by Stephen Daldry (“Billy Elliot”) with such grace and cinematic flair that it’s hard to imagine it NOT being a movie.

It is about three women who are on the edge: Before the film’s end, they will either learn to cope with life, or else they will give up on it completely. The title refers to what one does in the hours AFTER the party. Once the momentary diversions have ended, are we still able to deal with life? That is the question here.

The first woman is Virginia Woolf (Nicole Kidman), the troubled British novelist who, in 1923, when we see her, is writing her most famous book, “Mrs. Dalloway.” Her husband (Stephen Dillane) worries for his wife’s well-being; she clearly is not happy, but neither he nor the doctors can figure out why.

Next is Laura Brown (Julianne Moore), a nervous housewife in suburban Los Angeles in 1951. She has a young son and a devoted husband (John C. Reilly), but all is not well. She is uncertain about something. She has begun reading “Mrs. Dalloway”; it will inspire her one way or the other.

Finally, in 2001, is Clarissa Vaughn (Meryl Streep), a modern-day Manhattan version of Mrs. Dalloway, a frequent thrower of parties, and a friend to many of the artists and writers in Gotham. On the day in question — for the film examines one pivotal day in the life of each heroine — Clarissa is planning an event in honor of her friend Richard (Ed Harris), an AIDS-stricken poet who is being given a major award.

Thanks in part to a prosthetic nose and frumpy costuming that render her unrecognizable, Nicole Kidman is terrifically, tragically sad as the dowdy Virginia Woolf. She carries the melancholy in her eyes, and though the fake schnoz doesn’t look quite as good when examined closely, that doesn’t stop Daldry from shooting her in tight close-ups, to let us see those sad eyes. Kidman’s performance is breathtaking; she has lost herself completely in the utterly unglamorous role.

Julianne Moore, who excelled once this year already as a heavyhearted 1950s housewife in “Far From Heaven,” goes back to the well for more angst as Laura Brown. What an achingly sympathetic and wrenching performance this is! She is even better than Meryl Streep, and Meryl Streep is fantastic as Clarissa, who is slowly melting under the pressure of daily life.

Ah, and then there are glorious supporting turns by John C. Reilly and Toni Collette, help from Claire Danes and Allison Janney, a remarkable couple of scenes with Ed Harris, and even a fine speech by Jeff Daniels.

And it is all organically directed by Daldry so that it appears to be one cohesive story, and not a series of attention-grabbing star turns. Since the stories, being set in different time periods, do not actually intersect very much, Daldry finds other ways of uniting them, using little visual devices to keep the divergent narratives from breaking apart. There are obvious points like each of the heroines being in bed when the film begins; and then there are subtle maneuvers like having Julianne Moore scrape a failed cake into the trash early on, and then having Meryl Streep dispose of a tray of hors d’oeuvres in much the same fashion near the end. They are small efforts that pay off richly. When “The Hours” is over, you are blissfully unaware of the cunning necessary to pull off such a fine film; all you know is that you have seen a masterful piece of work whose emotional resonance is so natural, you wonder why more films can’t accomplish it.

Pinocchio

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“Pinocchio” is an excuse for Roberto Benigni to gambol around like a ninny, acting merry and whimsical and annoying the hell out of everyone. It’s the way he behaved at the Oscars in 1999, when “Life Is Beautiful” was winning awards and he was America’s favorite irrepressible funnyman, climbing on seats and sloshing exuberance all over the theater. The difference between then and now? We weren’t tired of him then. Even by 2000, we were a little embarrassed we’d ever been so taken with the Italian goofball, and today, he is strictly on a case-by-case basis. We are keen to enjoy his movies when they are good — “Life Is Beautiful” is still a masterpiece, regardless of how Benigni acts in public — and to hate them when they are bad.

It is into the latter category that “Pinocchio” falls. It is a curiously mirthless, uninspired adaptation of the 1881 Carlo Collodi fairy tale, with 50-year-old Benigni as the title character.

Yes, it’s a little odd to have the famous puppet who wants to be a boy played by someone who already WAS a boy, and who stopped being one in the 1960s. The incongruity — nay, creepiness — of such an idea is one of the film’s numerous flaws.

Another one is the way it’s been dubbed. The English-language actors — Breckin Meyer, Glenn Close and John Cleese among them — are stuck reciting dialogue that sounds like it has been translated too literally. It is awkward and strange, in no way resembling the way people actually talk, or even the way movie characters actually talk. You can never get an emotional hold on the thing because you keep noticing how stilted the language is.

Much of it is obvious and redundant, too. Pinocchio has a habit of talking to himself, saying unnecessary things like, “I’m so scared! If I can get to that house, maybe I’ll be safe!” Well, duh.

The production and costume design, by Danilo Donati (his last work before dying in 2001) is splendid, charmingly setting the story in approximately the same era as when Collodi wrote it. But as a whole, the film is not fanciful enough to make us suspend our disbelief. Instead, we are nagged by questions: Why does everyone think Pinocchio is a puppet when he looks NOTHING LIKE A PUPPET? How does a boy sit in jail for four months without any attempt being made to contact his parents? Why is the owner of the puppet theater a giant? Why would Geppetto send his beloved boy off to school without an escort, or without at least giving him directions to the school?

Good special effects and Benigni’s flair for physical comedy are wasted in this insipid, nearly unbearable film. Take a step back, Roberto, and before you write, direct and star another film, get some input first. A fairy tale is a terrible thing to waste.

Merry, Merry, and Quite Contrary

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Today we are discussing how to enjoy the holidays to the full extent of the law, to enjoy every last drop of goodness in them, to enjoy them so much that you cannot stand to enjoy them again for at least another 10 years.

First of all, in order to truly enjoy the holidays — and when I say “the holidays,” let’s be honest, I really just mean Christmas; Hanukkah was three weeks ago and Kwanzaa doesn’t exist — you must resign yourself to spending truckloads of money. You can’t avoid it. Sure, you will see magazine articles with headlines like “Four Cheap Ways to Enjoy the Holidays,” but then you read the articles and realize the tips basically boil down to: 1) Don’t buy anything; 2) don’t go anywhere; 3) don’t invite anyone over; and 4) turn out the lights, crawl under a blanket, and sob.

Money is what drives the Christmas season, and we’re apparently OK with that. According to the 2002 American Express Retail Index, the average American plans to spend $1,073 on holiday gifts this year. The significance of this is clear: I need to get richer friends, because no one I know is spending that much. Is it possible American Express didn’t do any research and instead just chose that figure randomly, the same way they come up with their interest rates?

The big dilemma is not how much you’re spending, but what you’re spending it on. Obviously, the worst gift you can give anyone is cash. It’s the thought that counts, and cash indicates your thoughts were, “I’m obligated to give you a present; here you go.” Several years ago, on my 24th birthday, my friend Rob gave me a check for $24. I said, “Too bad I’m not turning a million!” It was our little joke, and I never forgave him.

So don’t give cash, and don’t give gift certificates, which are only slightly better than cash. Cash says, “I don’t know anything about your tastes, interests or needs.” Gift certificates say, “I’ve identified one store that I can imagine you wanting to shop at; beyond that, you are a stranger to me.”

But giving is important, regardless of what you give, or to whom you give it. Some people get into the Christmas spirit by giving to the less-fortunate. It sounds crazy, I know, but it’s true. At Village Inn, they are urging people to donate Village Inn pies to an organization that will give them to homeless shelters, because if there’s one thing homeless people need, it’s pie. Time was, the government would provide the needy with pie — indeed, with all necessary pastries and sweetmeats — but no more! We’ve gotten so spendy that the pie fund has been exhausted and the homeless are left to fend for themselves in satisfying their pie needs. (Village Inn has graciously offered not to send any of its signature skillets to the homeless, because even people who are really hungry can’t eat that stuff.)

*** Holiday shopping tip: To avoid the crowds, do your shopping five months ago! Let us know how that works out for you.

Another way to enjoy the holidays to an excruciating degree is to host a holiday party. I did this last year, and Luscious Malone and all the gang were in attendance. The party began well, but trouble arose when we sang Christmas carols and occasionally disagreed upon the correct words. This minor disruption escalated to the level of full-scale brouhaha during “Joy to the World,” when the “saints and angels” faction tried to out-sing the “heav’n and nature” camp, which responded by singing even more loudly than before, and a hymn of jubilation turned into a cacophony of hurt feelings and bitter recrimination and Luscious Malone telling everyone they were wrong. But in some other ways, it was different from every other day of the year. The important thing is, we spent the holidays together without having to make monthly payments afterward.

Gangs of New York

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The film begins with an epic, bloody battle, fought entirely without explosives or firearms, between two factions whose motives are not elaborately explained. We gather some are “natives” while others are interlopers; there is also mention of Catholicism versus Protestantism.

Whatever the cause, the men — and women, too, and there are children nearby — struggle ferociously against each other, killing their enemies by any means possible, disfiguring them when finished and keeping trophies. The atrocities end — and then comes the punch line. Words on the screen inform us that this barbary did not occur in medieval times, or in an undeveloped nation, or in some distant post-apocalyptic future. It was in New York City, in 1846.

Thus begins Martin Scorsese’s latest bloodbath “Gangs of New York,” an epic-length film of minuscule proportions that purports to be a tribute to the brutal infancy of the world’s greatest city, but which is ultimately just a revenge tale — and one hardly deserving of 160 minutes of screen time.

Something in the moviegoer’s psyche suggests that when a movie is this long, it is more likely to be a cinematic triumph than, say, a 90-minute flick. This may often be the case — a longer running time frequently gives actors more moments to build their characters and directors more room to develop themes — but it is not a hard, fast rule.

“Gangs of New York” perfectly exemplifies the truism that bigger is not necessarily better. Technically, it’s a marvelous film, with cinematography, editing, production design and costumes all ranking among the best of the year. It flawlessly captures the chaos, conflict and filth of 19th-century New York down to the very details.

Yet its story suffers. It is the tale of Amsterdam Vallon (Leondardo DiCaprio), whose father was killed in that opening battle by Bill the Butcher (Daniel Day-Lewis). Sixteen years later, Amsterdam has returned to the Five Points neighborhood of Manhattan to find that everyone works for Bill, and that relations between native-born New Yorkers like Bill and Irish immigrants like Amsterdam have improved only slightly. Bill, not recognizing the lad whose father he killed years ago, is happy to put Amsterdam into his employ, overlooking his Irishness as long as he can do the boss’ bidding.

It will not surprise you to learn that Amsterdam has revenge in mind for Bill, nor that a woman (Cameron Diaz) is added to the mix to make things more complicated.

What is unusual is that such a pedestrian plot is dragged out over 2 1/2 hours. DiCaprio’s performance as Amsterdam — one of the actor’s least mature to date — rarely offers any compelling reason for us to keep watching.

Daniel Day-Lewis, on the other hand, is colorful and vivid as the sadistic Bill the Butcher. He electrifies the screen nearly every time he appears on it, consistently outshining his callow co-star. His story, I suspect, would have been far more interesting.

The film has several scenes of gruesomeness, some warranted and some gratuitous. Their purpose, as a whole, seems to be establishing what a ruthless time this was in American history, and I respect that notion. Still, if watching a movie is going to be an ordeal, there ought to be a better payoff — greater emotions stirred, more intriguing stories told, higher heights reached to counteract the gory depths. “Gangs of New York” offers technical proficiency and narrative mediocrity.

Two Weeks Notice

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“Two Weeks Notice” is a perfectly likeable romantic comedy, containing not a single unforeseeable plot twist but featuring a good deal of witty dialogue and amusing interaction between the lead characters. In fact, when Hugh Grant and Sandra Bullock are not onscreen, both of them at the same time, the film drags considerably.

This is, I suppose, a sign that the screenplay (by Marc Lawrence, who also directed) is not that great after all, and that it’s the charisma of the actors keeping us interested. No matter. I’m just delighted at having enjoyed a romantic comedy rather than being annoyed by it. It takes a lot of work for a movie to entertain me when I can see all of its plot points coming before I even enter the theater.

Bullock plays an exceptionally clumsy woman named Lucy Kelson, a righteous do-gooder attorney who fights to preserve historical sites in Manhattan. (I’m pretty sure no romantic comedy in the history of the genre has ever NOT taken place in New York City.) Her enemy is George Wade (Grant), whom her mother calls a “philandering robber-baron,” and that pretty much sums it up. He’s an irresponsible millionaire playboy who means no one any harm but who also thinks of no one but himself. (“I own the Grand Hotel and I live there,” he says. “My life is very much like Monopoly.”)

George is desperately in need of a good lawyer, and Lucy agrees to the job in exchange for George not knocking down a Coney Island community center she has fond feelings for. However, she soon becomes less his lawyer and more his personal assistant, helping him make every tiny decision in his life and figuratively — if not literally — getting him dressed in the morning. Then she gets fed up, wants to quit, can’t because of the iron-clad contract she has with him (which she wrote), and so on. At some point, they sort of fall in love, or at least the movie wants us to think they do.

George’s utter dependence on Lucy and his cavalier attitude toward everything is highly amusing, particularly given Grant’s adeptness at these kinds of characters. Bullock has never been my favorite, but she’s a good comedian and has an excellent onscreen rapport with Grant. They’re no Tracy and Hepburn, but they’ll do.

These kinds of movies aren’t rocket science, Bullock pointed out in a recent interview, nor are they curing cancer; they’re just for kicks. She’s right, of course. We know the end from the beginning, and so the movie’s task is to make the journey enjoyable. “Two Weeks Notice” is thoroughly contrived, but golly, it’s a fun trip.

Narc

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There is a grittiness in Joe Carnahan’s “Narc” that seems forced. In the film’s opening moments, a man is stabbed in the neck, causing him to choke on his own blood; and then a pregnant woman is shot. All of this is accompanied by realistic screaming and commotion that may give the film “street cred,” but which also smells like a case of trying too hard.

For when you boil it down, “Narc” is just like a thousand cop dramas before it, and in particular like a lot of TV shows that focus on loose-cannon law-enforcement officers. The crazy one here is Henry Oak (Ray Liotta), a brutal narcotics officer whose partner was recently killed. Pretty much the only significant difference between Oak and the protagonists in “NYPD Blue” and “The Shield” is that they can’t say the F word; you can see, then, why the film would try so hard to convince us it’s not just another cop drama.

Oak is joined in his search for his partner’s killers by Nick Tellis (Jason Patric), a former narc who has been taken out of active duty after making some questionable decisions in a moment of crisis. His wife, Audrey (Krista Bridges), wants him safe, and he wants the same thing: In exchange for a cushy desk job, he agrees to help find the cop killers.

The path is not smooth, of course, and Tellis learns things about the dead cop that Oak either didn’t know or chose to ignore. It affects Tellis’ marriage, which is nothing more than obligatory; curiously brought up and then disregarded is the idea that the police force is looking for a scapegoat in the murder to avoid a race riot.

But it is all very slickly told, and well acted to boot. Jason Patric’s mix of weariness and fervor is perfect for Tellis, and Ray Liotta strikes just the right combination of toughness and believability for Oak. Two possible revelations about Oak’s character are presented, and Liotta has done such a thorough job in establishing the character that, rather than one option being obvious and the other absurd, we find we could honestly believe either of them. (Credit should be given to Carnahan, too, who knows how to include important scenes without labeling them “Important Scene.”)

The plot has one neat little twist, and then another one, and then possibly a third, depending on how you look at it — all just enough to convince us we’re seeing something new. It’s nothing more than an extra-gritty cop show, but it’s a competent one.

Antwone Fisher

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Movies like “Antwone Fisher” serve a noble purpose in that they tell true stories of strong-willed people who have overcome obstacles. They are inspiring, and they tend to make you cry at the end.

The downside is that they tend to seem the same after a while, especially since they always come out at this time of year. “Antwone Fisher” is as slickly produced and sentimental as its most recent predecessors, “A Beautiful Mind” and “Finding Forrester,” with a lot of glossy emotion surrounding a few minutes of gritty realism, all underscored by a stirring soundtrack that goes heavy on the horns. I don’t mean to say it’s not good; just that it’s nothing you haven’t seen before.

Antwone Fisher is a real person, and he wrote the screenplay about his own life. He is played in the film by newcomer Derek Luke, whose strident, shining performance is the movie’s most admirable quality. It is hard not to like Antwone Fisher the character, even if “Antwone Fisher” the movie is not especially noteworthy.

In the film, Antwone is a Navy man, sent to a military psychiatrist after a series of violent outbursts and antisocial behavior. The psychiatrist, Dr. Davenport, is played by Denzel Washington, who also directed the film. I cannot imagine the personable Denzel failing to get ANYONE to open up to him, and sure enough, though it takes a few weeks of silence, Antwone finally begins to tell the story of his difficult childhood.

His father was killed a few months before Antwone was born, and he never knew his mother. He spent most of his youth in the home of a fire-and-brimstone preacher and his abusive wife (Novella Nelson), who took in foster children but failed to love them. The Navy was an escape, but now he is plagued by personal demons that have affected his ability to relate to women.

Washington’s directorial debut is solid. He does not attempt anything flashy or unusual, choosing instead to tell his straightforward story in a straightforward manner. His actors are good, the pace is steady. It’s a promising debut.

Most of the film deals with Antwone’s efforts, with Davenport’s help, to heal himself and face the world. The third act sends him in search of his mother, whom he has never had any contact with. You may rest assured that Antwone triumphs over adversity, and that you will need a Kleenex handy when he does.

25th Hour

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Spike Lee’s “25th Hour” is in some ways a thrilling departure for the director, and in other ways a predictable, tired adherence to the quirks that have marked his previous work.

It is only the second time, after “Clockers” (1995), that Lee has directed a fictional film based on a book, and one of only a few times that he has not written the screenplay himself (or at least had a hand in it). The novel, by David Benioff (who did the adaptation, too), is set in New York but otherwise has little in common with the themes and characters that have inhabited most of Lee’s films. Race relations are not an issue here, and nearly all of the characters are white.

Thus, there is a certain curiosity in seeing what a talented director will do when he steps outside of what he has heretofore focused on. “25th Hour” confirms that Lee has a remarkably keen sense of cinematic style, that in many ways he can compete with heavyweights like Scorsese and Spielberg, and that like most great directors, he has a knack for screwing up his own work.

The story is of Monty Brogan (Edward Norton), a drug dealer who has been nabbed by the DEA and has 24 hours before reporting to prison for a seven-year term. Within that day, which he treats as though it were the last day of his life, he must say farewell to friends and endure a massive going-away party at a nightclub where he is a celebrated patron. He is plagued by the possibility that his girlfriend, Naturelle (Rosario Dawson), is the one who turned him in. Monty Brogan is a tortured soul.

His best friends are Jakob (Philip Seymour Hoffman), a depressed schoolteacher, and Francis (Barry Pepper), a hot-shot investment banker. They support Monty, though they privately suspect he’s getting what he deserves; Monty appreciates them, though he secretly wonders if as friends they ought to have done more to prevent him from ruining his life.

“25th Hour” has a startlingly real and palpable sense of gloom about it. Norton’s devastating depiction of Monty’s regret, anger and sadness force us to reflect on what we would do in that situation. He could run, of course, and his father (Brian Cox) even suggests it, though it would mean he could never set foot in New York again lest he be caught.

Norton’s most shining moment as Monty is a lengthy diatribe in a mirror in which he rails against every group in New York: blacks, cops, gays, Asians, Osama bin Laden, everyone, on and on for what seems like several minutes, each slur more passionate than the last. It’s a fantastic scene, reminiscent of similar talk-to-the-camera moments in “Do the Right Thing” (1989), but more inflammatory.

Somewhat less effective is the subplot involving Jakob’s attraction to one of his students, the vixenish Mary (Anna Paquin). Amidst the drama and introspection, this small matter seems lightweight. In the novel, it adds to the idea that this is the long, dark night of everyone’s soul, not just Monty’s; in the film, though, it seems irrelevant.

And then there is the film’s biggest mistake, the one that reminds us most of Lee’s fallibility: The film insists on wedging post-9/11 references into the story. Jakob and Francis have a lengthy conversation in Francis’ apartment, which overlooks Ground Zero. Lee’s audacity for filming at such a location is admirable; indeed, “25th Hour” will go down as the first major film to address and deal with Sept. 11. But it’s as though the hope of earning that footnote-worthy distinction was Lee’s only reason for doing it. The story itself, written in 2000, doesn’t need the 9/11 baggage, and every time it pops up in the film, it stands out like a sore thumb, like something that clearly was never intended to be part of the drama.

It is worth noting that, aside from those insertions, the film is virtually free of Lee’s usual bombast and political activism. The characters actually seem to live and breathe, rather than being made-up figures blasted onto the screen. Frequent Lee collaborators Barry Alexander Brown (editor) and Terence Blanchard (music) contribute as well, with Blanchard’s sweetly melancholic score being particularly useful in the film’s operatic final sequence.

Some do not like the film’s (and the book’s) ambiguous ending, and I disagree with casting Edward Norton, as good as he is, as a character whose main reason for wanting to avoid prison is that he’s “too pretty” to survive there. (Norton is good-looking, but would you ever call him a “pretty boy”?) It is hard to argue against a film as well-acted and sensibly assembled as this one, though. It demonstrates maturity on the part of the director, even if that maturity is tempered with the occasional bursts of vainglorious grandstanding.

The Lord of the Rings: The Two Towers

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“The Lord of the Rings: The Two Towers” suffers slightly from being the second story in a trilogy, where the imaginative exposition is behind you and the thrilling conclusion is yet to come.

But the second film is, in many ways, imaginative and thrilling, and though it may turn out to be the least of the three “Lord of the Rings” films, it is still more visceral and engaging than nearly any other action/adventure film this year.

Those who have not seen “The Fellowship of the Ring” — if there is anyone in America who fits that description — shouldn’t bother with this one, as no attempt at a recap is made. Going in unindoctrinated would be akin to showing up at a three-act play after the first intermission. (That is not a criticism; merely an observation.)

It picks up a few days after “Fellowship” left off, with three separate threads to follow. Frodo (Elijah Wood) and Sam (Sean Astin) are heading for Mordor to destroy the titular ring, trailed by the simpering Gollum (voice of Andy Serkis), who was once owner of the ring. Merry (Dominic Monaghan) and Pippin (Billy Boyd) have been abducted by Orcs. Legolas (Orlando Bloom), Aragorn (Viggo Mortensen) and Gimli (John Rhys-Davies) are searching for Merry and Pippin, but soon have other worries to attend to — specifically, evil Saruman (Christopher Lee), who is planning an all-out war on the world.

Though I realize faithfulness to J.R.R. Tolkien’s novels makes this inevitable, it is the splintering of storylines that, for me, weakens the film. The most attention is paid to Aragorn’s crew, and those characters simply aren’t as interesting or sympathetic as Frodo and his noble, unenviable task. Our hobbit hero, in fact, is relegated to supporting-character status, his screen time reduced to a few “I have the weight of the world on my shoulders” lines and almost nothing else of note. Merry and Pippin, for their part, are practically irrelevant; the film seems to include them merely because, well, it has to. (And, yeah, Treebeard is pretty cool.)

And yet, if the focus on war preparations removes some of the story’s heart, it adds to its brawn, with battle scenes so massive and intense you can practically smell the dead Orcs. And if Frodo and Sam don’t get enough screen time, Sam’s thesis-underlining speech at the end makes up for it: “There is some good in this world,” he says, “and it’s worth fighting for.” (In the field of giving the critic a lump in his throat, this speech is up there with Gandalf’s line from the first film, when Frodo wishes none of this had ever happened: “So do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given to us.”)

Director Peter Jackson, co-writing again with Fran Walsh, Philippa Boyens and Stephen Sinclair, offers much of the same spirit as the first film, with the same unexpected humor and the same keen understanding of what makes the story more than just a three-hour chunk of popcorn escapism.

He has also, with the help of technology that I don’t pretend to understand, given us Gollum — hands-down the most authentic, convincing computer-animated character in movie history. Unlike Jar Jar Binks and Dobby the house elf, Gollum actually seems to have mass and occupy space. There is no suspension of disbelief required. He also has a soul, and, amazingly, pulls off his conflicted arguments with himself as well as any flesh-and-blood actor could. It will seem strange to look at the “Two Towers” row at the Oscars ceremony and not see Gollum there, sitting next to Elijah Wood and Ian McKellen.

Shooting all three films at once was a gamble, but it has paid off. They bear the mark of having been cut from the same cloth, rather than being watered-down, like most sequels. The millions of people who loved last year’s triumph will find just as much to love this time.

Ask Eric Stuff 13

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Well, I’ll be judied! It’s time to make up words like “judied” (past tense of the verb “to judy”), and it’s also time for “Ask Eric Stuff,” a staggeringly popular feature in which people ask Eric stuff and he answers them. People write in wanting advice and opinions, and advice and opinions is/are what they get!

You can submit your own questions here. Items of general interest, and to which Eric can think of snarky answers, will be printed occasionally in this column. Boring questions will be judied.

Dear Eric: How do I get a great job like yours? — As Clever as Eric
Dear Of Course You Are: Night manager at Arby’s? Oh, it’s not hard. I’ll send you an application.

Dear Eric: I am colorblind and struggling to make it in our unkind society. Could you please help me cheer up? — Seeking Grants
Dear Blindy: You’re colorblind? HA HA! That’s funny! Hey, colorblind! How many fingers am I holding up? And what color are they? Ha ha ha ha ha ha!

Dear Eric: Would you ever date a fan of your column? — Thinks Eric is Hot
Dear Delusional: Sure. And I would date a unicorn or a griffin, too, if they existed.

Dear Eric: Donald Duck never wore pants, right? So how come after taking a shower he always wears a towel around his waist? — Couch Potato
Dear Spud: The question is, why do you want to see a cartoon duck naked?

Dear Eric: What’s the best thing money can buy? — Greedy in Georgetown
Dear George: Money.

Dear Eric: Will you marry me? — Crazy About You in Cache Valley
Dear Crazy: Possibly. You’re not into cartoon ducks, are you?

Dear Eric: Where in the nursery rhyme does it ever say that Humpty Dumpty was an egg? — All the Kings Men
Dear Men: In the little-known second verse, which begins: “There once was an egg from Nantucket.”

Dear Eric: Where do babies come from? — Curious
Dear Curry: From the woman who lives down the street from me. Eight and counting! She’s like a Pez dispenser!

Dear Eric: Why do all of today’s popular songs have such asinine lyrics? — Deep Folkster
Dear Folksy: Good point. What happened to the intelligent lyrics of yesteryear, such as, “You ain’t nothin’ but a hound dog/Cryin’ all the time/You ain’t never caught a rabbit and you ain’t no friend of mine”?

Dear Eric: Have you ever thought of running for office? — Gayle Ruzicka’s Evil Twin
Dear Medusa: I’m too lazy to ever think of “running” for anything. I wouldn’t run for water if my head were on fire. I might consider walking for office, but even then, I don’t know. Isn’t there an easier way to get to office?

Dear Eric: The neighbor kids torment my dogs through the fence, and then their parents threaten to have my noisy dogs taken by Utah County Animal Control. What do I do? — Bark Collar in Orem
Dear Barky: I know it’s difficult, but you may have to consider euthanasia. Their parents will miss them for a while, but they’ll thank you later.

Here’s Love

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Provo Theatre Company bills itself as the valley’s only semi-professional theater. This, coupled with ticket prices that are slightly higher than those of other area theaters, suggests PTC is holding itself to a higher standard.

Which is why “Here’s Love,” the light Christmas musical currently playing at PTC, is something of a disappointment, albeit a merry one. The cheesy prerecorded orchestrations, the frequent overacting, the generally uneven quality — this would be fine for community theater. But PTC prides itself on being better than that, and “Here’s Love” simply isn’t.

It is cheery, however, and its fluffy, pointless storyline basically means it can glide from one charming song to the next — until the second act, when the songs become fewer and the dialogue becomes more plentiful. That’s when you remember you’re really just watching “Miracle on 34th Street,” and you know how it’s going to end, and can’t they just bring in the huge sacks of letters already?

The show, by Meredith Willson, debuted on Broadway in 1963, after his two major hits, “The Music Man” and “The Unsinkable Molly Brown,” had closed. It is certainly the least of the Willson trio. The mischievous humor and endlessly hummable tunes that characterized the first two shows are found only in snippets in “Here’s Love,” where vanilla-flavored comedy and forgettable music are more the rule.

The story is the same as in “Miracle on 34th Street,” the film on which the musical is based: A little girl doesn’t believe in Santa Claus, then comes to understand that the department store Kringle she’s befriended is the real deal. In the meantime, and kind of as a result of the Santa business, and kind of because this sort of thing is obligatory in a musical, the girl’s divorced mother falls in love with the soldier-turned-lawyer next door.

Nine-year-old Ali Hill plays Susan, the doubting little girl in question, and she’s a charmer. Her mom, Doris, is played by Allison G. Belnap, who has a nice singing voice and a pleasant matriarchal air about her. Davison Cheney is Fred, the suitor; he gives many of the stiff lines a fresh delivery and can be credited for lifting several scenes out of the doldrums. His song with Susan, “My Wish,” is utterly sweet.

According to the program, Kris Kringle is playing himself; however, since Kris Kringle doesn’t exist, I’m inclined to believe it’s actually local bearded actor Craig Dunford. Whoever it is, his performance is suitably jolly, and his rendition of the title song is one of the high points of the show.

Scott Wilkinson, a good director and a better actor (he shines in his one scene in this show), has assembled a production that is merely average. “Here’s Love” is not very well-written; it tells a familiar story without much flair or wit, and the conflicts are underdeveloped. (Kringle has a crisis of faith that lasts, as far as I can tell, no more than 90 seconds.) A few cast members persist in over-the-top behavior that lowers the level of professionalism. And the fabulousness of Macy’s department store can only be hinted at on this small stage; in a larger venue, perhaps the show packs more of a yuletide wallop. As it is, the show is comparable to the Christmas offerings you’d find anywhere else: good enough for some holiday cheer, maybe, but nothing special.

Intacto (Spanish)

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A big part of the fun in “Intact” — and it is a very fun movie — is figuring out the rules.

I won’t spoil them for you, then, but I will give this outline. The movie is based on the premise that luck is a transferrable commodity, and certain people have the gift of taking it from others. This is done sometimes by touching their hand, sometimes by photographing the person. And it stands to reason that if your luck is taken from you, you will now be very unlucky, while the thief will be very lucky indeed.

It all takes place in a luxurious European underworld (nicely photographed by Xavi Gimenez) where people play games of chance using other people’s stolen luck as currency — think Monte Carlo, but with Polaroids instead of poker chips. One man, Federico (Eusebio Poncela), once had the gift until it was taken from him by Samuel (Max von Sydow), his one-time employer and the innovator of the luck-transferring process. Now out for revenge, Federico is looking for a champion to destroy Samuel, and he thinks he’s found him in Tomas (Leonardo Sbaraglia), a thief who was recently the only survivor of a plane crash.

Tomas isn’t sure what to make of the crazy idea that he’s preternaturally lucky, but he knows that under Federico’s guidance, he keeps winning and winning, always staying one step ahead of the cops and others who are looking for him.

It is a credit to writer/director Juan Carlos Fresnadillo that the luck-betting games don’t just involve dice and cards. In fact, the methods of determining which participant is luckiest grow more and more elaborate. (My favorite is where each player is blindfolded with his hands tied behind his back and then instructed to run at full speed through a forest. Whoever is luckiest, naturally, will NOT run face-first into a tree; everyone else will.) It’s all leading up to a trip to Ucanca, to go head-to-head with Samuel — the World Series of luck, you might say.

It’s a creative idea, and well-executed by Fresnadillo and his compatriots. Max von Sydow gives an exceptional performance as luckmeister Samuel, and his harrowing account of how he first learned to steal luck is unsettling.

If the film has a flaw, it’s in occasionally being too obtuse for its own good. One accepts that it will be hard to follow at times, given the strangeness of the premise. But that needn’t be compounded by unexplained, unnecessary bizarre behavior. Overlooking those few instances, “Intact” is weirdly logical and a mind-bending lark to watch.

Star Trek: Nemesis

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“Star Trek: Nemesis” should be the final nail in the coffin of this franchise. It boldly breaks the trend of even-numbered films in the series being good, daring to fill its running time with unexciting peril and forced homages to previous entries.

I speak to you as someone who is not a “Star Trek” geek; the “Star Trek” geeks who viewed the film with me disliked it even more than I did. And considering “Star Trek” geeks are the ONLY ones in the country interested in seeing it — seriously, does anyone else even know it’s being released? — such an assessment doesn’t bode well.

As a regular film (which is all a non-aficionado like myself can judge it as), it is mediocre and pale. The central conflict deals with Shinzon (Tom Hardy), a member of the Reman slave race who has managed to take control of the government of the slavers, the Romulans.

The trouble with Shinzon is that he is a clone of Capt. Jean-Luc Picard (Patrick Stewart), and needs Picard’s blood to stay alive. As a result, he is constantly pestering the Enterprise and its crew of freaks and humanoids, which is especially vexing at this juncture, when Commander Riker (Jonathan Frakes) and Counselor Deanna Troi (Marina Sirtis) have just gotten married. If you have always wanted to see those two having sex, then you’re in for a treat, my friend.

Shinzon also wants to destroy the Earth and the Federation, though I don’t remember why. The movie probably told us, but I was still in a state of shock after the aforementioned menage a Troi.

Though the stakes are allegedly high — oh, no, he’s going to destroy the Earth, and so on — the film never convinces us that there’s any serious danger. Instead, the script (by John Logan, from a story by Logan, Rick Berman and Brent Spiner) wastes time fulfilling geek fantasies: What if we used the Enterprise as a battering ram and smashed it into another ship? What if Picard got to drive a car and get into a high-speed chase? What if Data sang at a wedding reception? What if Wesley Crusher were in a movie, but only in one scene, and with no lines?

And yet, apparently, even the geeks aren’t impressed with the pandering the film does to them. My opinion is that the movie has occasional bursts of coolness but is generally rather dull and unimpressive. The geeks are even harsher, declaring it not as bad as “Generations,” but still bad. Whichever camp you’re in, there’s little reason to bother with this one, unless you’ve always had a thing for Riker.

Maid in Manhattan

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From its first focus-group-prescribed moment to its last prefabricated images of cuteness and love, “Maid in Manhattan” is a 100-percent unoriginal, factory-made romantic comedy without an ounce of creativity or a shred of unpredictability.

Its unsurprising nature is, itself, unsurprising. People who go to romantic comedies (i.e., women and the men they drag with them) don’t want twists or shocks. They want the glamorous onscreen couple to wind up together in the end, no matter how obvious or predictable it is that they will.

But even as we forgive “Maid in Manhattan” for having the same outcome as countless other films — everyone likes happy endings, after all, even predictable ones — we must also wonder whom the filmmakers think they’re fooling. Making “a romantic comedy” is one thing. Making “a romantic comedy that copies its prototypes down the last detail” is borderline inexcusable. As we describe the film, directed by Wayne Wang (“Anywhere but Here,” “The Joy Luck Club”), count how many times the phrase “of course” is applicable.

Jennifer Lopez plays Marisa Ventura, a maid at the ritzy Beresford Hotel in New York City. She’s a resourceful single mom (of course), whose son Ty (Tyler Posey) is really cute (of course) and really smart (of course).

One of the hotel guests is senatorial candidate Christopher Marshall (Ralph Fiennes), who has a reputation for being non-committal in his romantic relationships (of course). He mistakes an out-of-uniform Marisa for a wealthy guest, not the poverty-stricken maid she really is, and invites her out on that pretense.

Now, Marisa could clear things up by simply telling the truth. But she perpetuates the lie (of course), leading to wacky, farcical situations like being invited to his suite for lunch — the lunch at which she, as the maid, is supposed to act as waitress!

Hilarity, alas, does not ensue. Kevin Wade’s by-the-numbers script offers the usual assortment of whimsical co-workers (of course), and several pretentious straw men for Marisa to bring down to Earth with her sassiness — but few real, actual funny lines. Within 15 minutes of the film beginning, there have been not one but two naked men, both of them bare for purposes of comedy. That’s the sort of desperate humor we’re dealing with here. (One scene with a naked guy is funny. But two? Within minutes of each other? No.)

Lopez and Fiennes have charisma separately, but together they are nothing special. More watchable are Bob Hoskins as a noble hotel butler and, in other scenes, Stanley Tucci as Marshall’s flustered publicity adviser. Both actors are above the material but gamely go at this nonsense with full gusto.

In the end, the truth comes out (of course), and after Marshall delivers his obligatory makes-you-think line — “Are you running to something you want, or running from something you’re afraid to want?” — the couple breaks up (of course), and a montage demonstrating how sad they are when they’re apart is accompanied by a wistful love song (of course). Then they are reunited in a public place with the whole city watching (of course), aided and abetted by the precocious kid (of course).

It’s completely contrived and fake, every bit of it, even more than you’d expect from a simple, inoffensive cookie-cutter romantic comedy. But will it appeal to the usual audience for these? Of course.

The Hot Chick

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The Hot Chick

I always hoped I would live my entire life without hearing someone utter the words “Rob Schneider IS the hot chick.” Once again, life proves to be one crushing disappointment after another.

The premise of this insipid, worthless comedy is that a hoochie high school girl named Jessica (Rachel McAdams) puts on a magic earring that makes her switch bodies with whoever wears the other one. In this case, it’s a low-life criminal named Clive (Rob Schneider). So one morning she wakes up, and she has Rob Schneider’s body. You can imagine the shame. Bad enough you’re a lithe young teen-age hottie who suddenly has a man’s body; does it have to be Rob Schneider’s? That horrific thought alone warrants an R rating.

At any rate, Jessica calls her best friend April (Anna Faris) and convinces her that, Schneideristic appearance aside, she really is Jessica, and April accepts her for who she is. So do their other friends. They also start to accept the fat girl, and the witch girl, and the black girl accepts her Korean mother — in the end, every single character, including some of the extras and people hired by the caterer, has had a change of heart and learned to accept people for who they are.

Whatever. The movie’s still not funny.

But back to the point. Now stuck in a man’s body, Jessica does the worst thing she could do: She keeps acting like herself. A smart person in this situation would realize that since she looks like a man, she should probably try to act like one, wear a man’s clothes, use a man’s mannerisms, and so on. But Rob Schneider acting like a man isn’t funny. Rob Schneider acting like a girl, though — well, that’s not funny, either. But it at least has potential.

And so there’s Rob Schneider, talking like a girl and wearing frilly clothing and looking at cute guys. Naturally, everyone around him thinks he’s gay, which of course is THE FUNNIEST thing in the world, to think a guy is gay. And then, when Jessica in Rob’s body convinces her boyfriend (Matthew Lawrence) that it’s her inside there, and that if he truly loves her, it won’t matter what her body looks like, and then they almost kiss — DUDE, that’s two guys kissing! No way!

Nearly all of the humor in the film relies on characters behaving contrary to the way real people behave, which ruins the chances of it being funny. The fact that Jessica doesn’t even try to put on an act is severely limiting, and on that flimsy premise hangs the entire film.

Schneider is not an especially gifted comedian, though I enjoyed his last two films, “Deuce Bigalow” and “The Animal.” “The Hot Chick,” though, is a step backward, an uneven, unfunny, unenjoyable experience.

About Schmidt

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In “About Schmidt,” we finally see the mythical figure we have long suspected existed but never had proof of: Jack Nicholson as an Old Man.

After years (decades?) of cavorting with far-younger women, both on screen and off, Nicholson is given a wife his own age here.

He further skews his wolfish bad-boy image by appearing completely disheveled in some scenes, unflatteringly naked in another, and meekly non-confrontational throughout. Warren Schmidt, his character, suffers fools gladly — something I suspect Nicholson never does.

Going against audience expectations is not what makes “About Schmidt” such a thoroughly delightful film, but it is indicative of the filmmakers’ mischievous attitudes. The director is Alexander Payne; he co-wrote the script with Jim Taylor, and the two of them also gave us “Election,” that thrillingly subversive (and funny) 1999 film that helped a nation forgive Matthew Broderick for “Inspector Gadget.”

“About Schmidt” (only tangentially related to the Louis Begley novel of that name) gives us honest emotion when we least expect it, makes fun of characters who turn out to be legitimately affecting, and uses throw-away jokes to establish real themes. It is smart, but not in a highbrow way; if the opportunity arises for a laugh at the expense of a naked Kathy Bates, they will zealously pursue it.

Nicholson plays Warren Schmidt, a recently retired Omaha insurance man who, with no job to go to, has no idea what to do. His wife, Helen (June Squibb), runs the house and has no use for her jobless husband. Like many older couples, they hardly know each other anymore. (“Who is this old woman who lives in my house?” Warren asks us.)

With nothing else to do, Warren responds to one of those charity TV commercials and starts sponsoring a poor Tanzanian boy named Ndugu, going the extra mile and writing him letters. These are some of the film’s comedic highlights; Warren uses the letters as a form of therapy. I would like to see the look on Ndugu’s face when someone translates them for him and he learns that Helen never lets Warren urinate from a standing position.

Then Helen dies, and Warren is thrown into true upheavel. His daughter, Jeannie (Hope Davis), lives in Denver and is about to marry a loser named Randall (Dermot Mulroney). She doesn’t want her dad hanging around getting underfoot any more than necessary, though she’s glad to let him pay for the wedding.

Warren Schmidt is a man accustomed to doing what he’s told, an avoider of wave-making in the purest sense — but darned if Nicholson doesn’t make him, of all things, lovable, noble and decent. He’s told at his retirement dinner that the true mark of a man’s greatness is not how much insurance he sold, but how many lives he touched. Now, in his golden years, Schmidt is uncertain whether he’s actually done any good.

Nicholson’s performance through all of this is among his finest work of the past 20 years. He is completely immersed in Warren Schmidt, doggedly dealing with — and playing straight-man to — his shrewish daughter, Randall’s outrageous mother (Kathy Bates), and all manner of other nuisances with the perseverance of a saint. The more patient he is, the funnier the movie becomes.

Bates is marvelous as Randall’s mother, bringing unexpected life into the film’s third act. I was also tickled by Harry Groener (the evil mayor on TV’s “Buffy the Vampire Slayer”) as a nerdy Wisconsinite who uses nautical terms in discussing his mobile home.

The sharp comedy that occupies most of the film melts into a sentimental — but not syrupy — conclusion that is one of my favorite movie endings of the year. Beneath the dark sardonicism and aloofness of “About Schmidt” beats a beautiful, redemptive heart.

Russian Ark (Russian)

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The amazing gimmick behind “Russian Ark” is this: It is shot in one unbroken 90-minute take. Shooting on digital video made it technically possible, because DV cameras don’t have to be reloaded every 10 minutes the way film cameras do. Persuading the State Hermitage Museum in St. Petersburg, Russia, to close down for a day so director Aleksandr Sokurov could film there made it logistically possible.

Of course, just because a thing can be done doesn’t necessarily mean it ought to be done, or that the results will be worthwhile to an audience that doesn’t care HOW you made your movie. “Russian Ark” falls under the category of films you respect more than you enjoy. One can be awestruck at the feat Sokurov pulls off in capturing his story in one take, even while occasionally being bored by the story itself.

It’s more idea than story, but the idea is intriguing. A man through whose eyes we see everything awakens to find himself at the State Hermitage Museum in a former century. As he wanders from room to room, he encounters figures from Russian history such as Catherine the Great and Nicholas II, in addition to art spanning three centuries. Somehow, all these people and things that have been associated with the museum at some point have come to co-exist there now, allowing our narrator to see them all at once. It’s reminiscent of the way some people believe God sees time — not in chronological order, but all laid out before him at once.

Shooting the film meant coordinating several hundred actors, and Sokurov even captures a massive ballroom scene with an orchestra and dozens of dancers. (If you’re comparing, Hitchcock’s single-take film, “Rope,” had only nine characters and was set in a small apartment.) There is also the attraction of knowing the story is being staged not on a set, but in an actual place — that the action had to fit the museum, not the other way around. It’s so organic and basic, this idea of creating drama in the world around you, rather than constructing an artificial place to stage it.

The film hints at Russia’s extremely tragic 20th century, and is adamant about learning from history. “Everyone can see the future, but no one can see the past,” someone says. There we have what limits the film’s impact for an American audience: We know the basics of Russian history, but we do not have the same emotional connection to it that a Russian audience would. We see this merely as an impressively assembled film; a Russian would see it as a brilliant masterpiece of Russian thought.

Would the film work if it had been filmed conventionally? Probably not. What makes it work to the extent that it does is its fluidity, the sense that all of this is existing in one time and one place. That effect would be greatly reduced if there were editing or a compression of time. But that’s a moot point. The film WAS shot in one take, and it stands as an extraordinary technically achievement, if nothing else.

I Would Sit 500 Miles

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I’m a little bruised and sore, but I successfully baby-sat two toddlers for an evening. It makes me think I could handle being a father, provided it’s for no more than four hours at a time and the kids come out of the womb potty-trained.

The victims of the baby-sitting were Miles, human, age 4, and Owen, wild beast, age 2. They are the offspring of my friends Monty and Claire (names have been changed), who had a social engagement on Thanksgiving night. Like all legitimate social engagements, this one did not permit children; however, because of the holiday, all of the regular baby-sitters were unwilling or unable to help out.

Enter me. I like hanging out with Miles and Owen — they’re the only friends I have who don’t criticize me — and since their parents had invited me to their huge extended-family dinner earlier that day, I felt like I should reciprocate somehow. Besides, what else was I going to do on Thanksgiving night? My own family’s holiday festivities and their attendant trauma were hundreds of miles away. It was time to create my own tradition of trauma.

The boys were in fine spirits when Mom and Dad left. Miles, who is inquisitive and gentle, wanted to watch “Dinotopia,” a new ABC series about a world where bad actors live among, and are frequently eaten by, cartoons that sort of look like dinosaurs. Owen, who tears through life like a diaper-clad tornado, wanted to watch a video. Which video, exactly, changed every 10 minutes. Each time he would propose a new one, I would say, “We’ll watch that after ‘Dinotopia,'” and he would say, “‘Kay.” Children, I was pleased to realize, are easily manipulated and deceived.

Due to having the attention span of gnats, Miles and Owen would fill the time between cartoon-dinosaur attacks by jumping around the room. It was during one of these periods of monkeyism that I became, apparently, a jungle gym. As I lay on the floor, Miles would walk on me; he reported this to be fun because “you’re so squishy.” Owen, meanwhile, would stand on a chair and dive — I mean DIVE, head-first — onto me. I presume Owen has learned, no doubt by trial and error, that diving head-first onto the floor is unpleasurable. So what material does he believe my chest to be made of that would make it less painful to land on than the floor? At any rate, thus abused by the lads, I received two unfortunate pummelings in the crotchular region — you’d think Miles, being a boy, would know where not to stand on Uncle Eric — and a nasty blow to the mouth when I was unable to deflect kamikaze Owen before he could land, face-first, on my face.

In the past, I have joked about Owen’s demeanor, saying he has bees in his head and the bees are crazy. Baby-sitting him, I came to believe this is literally true. But also, I realized those bees are sharing space with an enormous set of saliva glands. If Owen were harnessed, I suspect he could single-mouthedly produce enough drool to engulf an entire village. (Why you would want to drown a village in drool, I don’t know. I’m just saying you COULD.)

I came away from the night with a greater appreciation for what parents cope with, especially stay-at-home mothers. Whenever I call Claire on the phone, she is out of breath. I could never figure out what, specifically, had been wearing her out, but now I can imagine it perfectly: Owen has been running around naked, refusing to be encumbered by diaper or pants. Or perhaps Miles is bouncing merrily on her midsection, scaling her as though she were a mountain. Maybe both boys, working in harmony, have assembled a nuclear warhead. Anything is possible when you’re dealing with little boys.

Empire

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“Empire” is in the tradition of films like “Scarface,” where crime pays for a while but then finally doesn’t, and a lot of people wind up with bulletholes.

John Leguizamo is typecast as a mouthy, obnoxious guy, this time a South Bronx drug distributor named Victor Rosa. He lives like a king with his girlfriend Carmen (Delilah Cotto), even though living like a king in the South Bronx is a bit of a contradiction in terms.

It’s that contradiction that becomes the issue, in fact, as an attempt is made on his life and he realizes Carmen (and their unborn child) need a safer place to live. (The irony that criminals like himself might be why the neighborhood is unsafe is lost on Victor.) Fortunately, he meets Jack Wimmer (Peter Sarsgaard), a millionaire investment banker who is the boyfriend of Trish (Denise Richards), one of Carmen’s college acquaintances.

Jack and Victor are kindred spirits. Both are businessmen and both often act outside the law, though admittedly Victor kills a lot more people than Jack does. Thanks to Jack, Victor and Carmen are able to move away from the Bronx, and to really live the way their income permits. But as the saying goes, you can take the boy out of the Bronx, but you can’t make Denise Richards act. Or something like that.

Writer/director Franc. Reyes has a heavy moralistic fable on his hands, and he puts it to good use. The direction is proficient and discreet, and Reyes doesn’t wallow in all the blood that’s spilled (and there’s a lot of it).

The film does, however, fall into complacency with the expected accusations of “you’ve changed” and “I don’t know you anymore.”

Isabella Rossellini, who plays Victor’s Colombian drug lord (drug lady?) is way over-the-top, and Denise Richards gets the best unintentional laugh near the end merely by being her usual trashy self. The rest of the performances are quite good, particularly from Leguizamo and Sarsgaard. Leguizamo is well on his way to earning some respect for his ability to breathe life into some pretty strange characters. This film doesn’t penetrate the heart, but it makes a little contact.

Analyze That

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It is time for Robert De Niro to stop doing self-parody and to start doing legitimate work again.

I don’t mean his unintentional self-parody, like “15 Minutes” (2001) and “City by the Sea” (2002), where he plays wan variations of the characters he’s famous for. Those films at least intended to let De Niro do his tough-guy thing, even if the screenplays didn’t let him live up to his dramatic potential.

I’m talking about the intentional self-parody he’s been doing the past few years. “Analyze This,” the 1999 hit that was his first major comedy role, succeeded in part because De Niro was skewing his public persona just enough to be surprising.

But since then, he has skewed his image in “The Adventures of Rocky & Bullwinkle” (2000), “Meet the Parents” (2000) and “Showtime” (2002), and now the element of surprise is gone.

“Analyze That,” the sequel to “Analyze This,” suffers from an even more damaging fact: Since the first film was released, “The Sopranos” has become a cultural phenomenon. (“Analyze This” was actually released two months after the first episode of “The Sopranos” aired, but no one was paying attention yet then.) Both films and the HBO series are about ruthless Mafia bosses who see psyhiatrists to help them sort out their feelings, particularly their parental issues. After 52 episodes of James Gandolfini going head-to-head with Lorraine Bracco, what can 95 minutes with De Niro and Billy Crystal show us that we haven’t already seen? The joke is old now.

(It does not help that “Analyze That” begins with a half-hearted parody of “The Sopranos.” A movie that is derivative should not remind the audience what it’s derivative of.)

De Niro’s character, New York mobster Paul Vitti, is in prison when “Analyze That” begins, but after a breakdown that manifests itself in Paul dancing around singing songs from “West Side Story,” he is released to the custody of his old shrink, Ben Sobol (Crystal). Ben has 30 days to get Paul competent enough to attend his parole hearing; otherwise, for reasons I don’t exactly understand, Ben will lose his license to practice psychiatry.

It’s a bad time for Paul to be out, though, because the two major crime families are feuding and each one wants him on their side. Paul, meanwhile, has to figure out who’s been trying to kill him, all while getting a non-Mafia job — he tries selling cars, which seems about right for a former goodfella — and staying out of trouble.

Crystal is doing his regular ol’ Billy Crystal shtick, which is either amusing or tired, depending on your perspective. (“I’m taking gingko beloba. It helps with my memory and I forget what else.”) The script, by Peter Steinfeld, Peter Tolan and Harold Ramis (who also directed), makes a lame stab at personal crisis for Ben, where the death of his father causes him to wonder if psychiatry is what he really wants to do with his life, but that thread is abandoned.

De Niro makes the worst mistake in trying too hard to be funny. The guy has a talent for comedy, but it needs to be a certain type; slapstick and goofiness are not his thing. If you’ll recall, the funniest role he’s played so far — the protective father in “Meet the Parents” — was funny mostly in his reaction to the lunacy around him, not by putting on a clown nose and doing pratfalls. De Niro the comedian needs to be a foil for the other characters. He should not be the headlining act.

“Analyze That” is not gross or annoying; it is simply bland. It ambles onto the screen and just sits there for 95 minutes, occasionally earning a laugh but mostly just sitting there.

Adaptation

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The only confusing thing about “Adaptation” is trying to explain it. Watching it, it’s never unclear what’s going on. But look how bizarre things get as I try to give a plot summary:

In 1998, Susan Orlean wrote “The Orchid Thief,” about a Florida man who was arrested for taking the exotic flowers out of a preserve. Then, Hollywood screenwriter Charlie Kaufman (“Being John Malkovich”) was hired to adapt the book into a film. The book, however, is 1) non-fiction and 2) about flowers, so a screen adaptation was an uphill battle.

And so Kaufman gave up on the normal adaptation process and wrote “Adaptation,” which is the story of Kaufman trying to adapt “The Orchid Thief.” It is a movie about someone trying to write a movie — and the movie we’re watching is the movie he’s trying to write.

However, it’s also a rather legitimate adaptation of “The Orchid Thief,” with Susan Orlean interviewing the man who was arrested, and developing a friendship with him, all of which makes it into the book. The book was as much about Orlean’s process of reporting on the man as it was about the man himself — which means “Adaptation” is a movie about someone writing a movie that is based on a book about someone writing a book. And it’s also about flowers.

See what I mean?

The genius of this remarkably clever and funny film is how non-confusing it is to watch. The director is Spike Jonze, who directed Kaufman’s “Being John Malkovich” and produced his “Human Nature”; he knows how Kaufman’s mind works, and more importantly, he knows how to transfer that mind to the screen.

Kaufman, played in the movie by Nicolas Cage, is a thoroughly neurotic, balding man with a bad case of writer’s block. His twin brother, Donald — who does not exist in real life but is surely the onscreen manifestation of Kaufman’s id — is carefree, getting a lot more women than Charlie does despite having the same shlumpy physical appearance and bad hair.

Charlie is paralyzingly stressed and sweaty at the prospect of adapting “The Orchid Thief”; Donald, meanwhile, is excited about his own screenwriting project, a by-the-numbers serial-killer story with a twist ending that sounds like it will be truly awful when it hits the screen, which of course means it is destined to make $100 million.

Intercut with all of this are flashbacks to a few years earlier, when Orlean (played by Meryl Streep) was writing “The Orchid Thief.” She is amazed by her subject, John Laroche (Chris Cooper), a toothless redneck who, for all his obvious defects, knows his horticulture and is passionate enough about it to wade through dangerous swamps just to steal a flower.

That passion is what fascinates Orlean, an ordinary middle-aged writer whose own life is rather dull. “I want to know what it feels like to care about something passionately,” she says in her book.

In a sense, “Adaptation” is about the writing process, which makes it a sure hit among creative types. One of the funniest sequences has Charlie attending a screenwriting seminar by Robert McKee, who really does give seminars in real life, but who is fictionally, vulgarly portrayed here by Brian Cox. McKee is spouting all these “principles” on screenwriting that, in Charlie’s mind, will do nothing but make his screenplay generic and Hollywood-ized. That “Adaptation” eventually succumbs to those very tactics, bringing in car chases, guns and last-minute epiphanies, is either its greatest joke or its greatest downfall. (Is it OK to use cliches as long as you acknowledge you’re using them?)

But in another way, the film is about human adaptation, learning how to thrive in a world that is often unkind and unhelpful. Charlie sees this in Donald; Susan sees it in John Laroche; these are both characters whom Charlie and Susan would otherwise view as inferior in many ways. Yet they’ve clearly learned how to adapt, which Charlie and Susan have not.

Nicolas Cage is fantastic as the Kaufman brothers; amazingly, his best scenes are with himself, the twins’ rapport bouncing around like the best of the dumb guy/smart guy comedy teams of yesteryear. Meryl Streep is fine, as always, shining in Susan’s few showcase scenes (especially one where she’s a bit high and talking on the phone).

I see the film’s final 30 minutes as a derailing, albeit an intentional one. It’s bold to perpetrate a joke your audience may not get, and I admire the risk involved, though I don’t necessarily enjoy it. I get the joke; I just don’t know how funny I think it is.

But that may be beside the point. The very fact that “Adaptation” can show how a writer begins as an innovator and eventually become commonplace makes it an innovative film itself: Most movies simply start out ordinary and stay that way; this one has the guts to intentionally knock itself off the tracks. Laugh-out-loud funny and endlessly imaginative, it’s a treat for viewers who are tired of the same old thing.

Joyful Noise

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In 1998, Tim Slover’s* brilliant new play “Joyful Noise” was so well-received that BYU staged two sell-out productions of it within the same calendar year.

Now, a scant four years later, a perfectly good production of it languishes at Orem’s Center Street Theatre, unseen by more than a handful of people at a time.

I hope this can be ascribed to the theater being too new for Utah Valley to know about it; this is only its second production, after all, and the first one was “My Turn on Earth.” If the sparse attendance for “Joyful Noise” is due to the public having forgotten how wonderful, how exuberantly uplifting, this play is, then consider this the reminder.

It is the true story of how George Frederick Handel came to write “The Messiah,” the oratorio without which, for many people, Christmas would not be Christmas. Though it seems absurd now, he faced opposition from religious leaders of the day who felt it was blasphemous to set scriptural language to “popular” music. (Bishop Henry Egerton, the character who represents this opposition, decries it as “the pernicious practice of turning the Bible into entertainment” — a description that produces knowing smiles in Utah, where “Joseph and the Amazing Technicolor Dreamcoat” is the most popular musical.)

Intertwined with Handel’s story is that of his soprano, Susannah Cibber, a once-successful actress whose life has been ruined by a sex scandal and an illegitimate pregnancy. The clergy opposes Handel; haughty actress Kitty Clive opposes Susannah; and King George II is caught between following the Bishop’s advice to stop Handel and offending the spirit of his late wife, who loved the composer’s work.

The script is brimming with fantastic dramatic conflict, but it also is so rife with great lines that it is nearly Oscar Wildean. The richly drawn characters speak in ordered, perfectly nuanced sentences; each of the four times I have seen this play since 1998, I have come away with a new favorite line. (Currently, it is this, spoken by Handel’s chief admirer: “My perpetual ravishment has been at the hands of the master — I speak musically, of course.”)

The script is so good, in fact, that all it needs is a competent director and a half-decent cast, and the beauty of it will shine through. At the Center Street Theatre, the director, Christopher Clark, is more than competent, and the cast is better than half-decent.

Clark uses the theater’s intimate setting to his advantage. The scaled-down set design and simple costumes let the characters be the main attraction. This also allows the play’s many scene changes and transitions to occur seamlessly, giving the story a fresh pace.

C. Heywood Bagley is a fine Handel, large and lovably cantankerous, and eminently German. His entertaining rampages against the fickle audiences of London are cleverly balanced by his even-tempered assistant, John Smith, played with subtlety by Joel R. Wallin.

Even more spectacular, though, is Hailey Smith as Susannah Cibber. I applaud the casting: It is the first time that the description of Susannah given within the play — “the voice of an angel” — has been accurate. The character does not have to sing very much — this is a play ABOUT music, not a musical — but her audition scene for Handel should be powerful. Smith’s is extraordinary. Throughout the show, she continually breaks your heart. I say it is one of the best non-professional performances of the year.

Thom Duncan is by turns amusing and touching as King George II, still grieving for his beloved wife, and Robert Johansen is effectively authoritative as the Bishop.

We also must mention Mary Atkin’s gloriously catty Kitty Clive, and Celeste Barrand, whose fawning Handel devotee Mary Pendarves strikes just the right balance between zeal and daftness.

There is roughness around some of the edges of some of the performances, but by the time “Messiah” is given its London premiere and every character’s heartache is redeemed, you will not notice or care. Wit, emotion and loveliness abound in this stellar production; I hope you do not miss it.

*Tim Slover was pressured to resign from BYU after having an affair with a fellow professor’s wife, an affair with a student, and at least one attempted affair with a student that was rebuffed and reported. The BYU Theatre Department shamefully kept all of this quiet and allowed false alternate explanations for Slover’s departure to spread. Slover never suffered professional consequences for his actions and continued to teach at the university level for many years.  

A Plazable Solution

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The LDS Church is taking its case regarding the Main Street Plaza all the way to the U.S. Supreme Court, and the battle lines have been drawn: People who think everything the LDS Church does is OK think what they’ve done with the plaza is OK, and people who don’t like anything the LDS Church does don’t like this, either. The only description of controversies in Utah more appropriate than “abundant” is “predictable.”

Perhaps a little history of the controversy is in order. In April 1999, The Church of Jesus Christ of Latter-day Saints purchased a block of Main Street from Salt Lake City for $8.1 million. (Apparently, if you had $8.1 million, you could do this, too.) The block is adjacent to Temple Square, and the church intended to turn it into a lovely plaza, saying it would be “a little bit of Paris,” though presumably with less dog crap and fewer Frenchmen.

Also, while the plaza would be open to the public, the church planned not to allow disruptive behavior, wanting it to be a quiet place of reflection, not a grounds for protesters or people who set themselves on fire. (How come demonstrators never do that anymore? I miss it.)

The negotiations for the sale took place either in meetings completely open to the public, or else in dark, secret caverns hidden from view, depending on whether you read the Deseret News or the Salt Lake Tribune.

At any rate, the city council approved the sale and in October 2000, the new plaza was opened and dedicated. Smoking, sunbathing and protesting were not permitted, and since the church owned the property, they had the right to throw out anyone they wanted to.

Or did they? See, there’s also a public easement through the plaza, allowing anyone, anytime, to walk through it unhindered. Some say this makes the plaza public, like a city park or a sidewalk. And if it’s public, then people should be allowed to do anything guaranteed by the Constitution. If you want to peaceably assemble, or petition the government for a redress of grievances, or have a speedy and public trial by an impartial jury on the plaza, hey, go for it.

So that is the issue. The church bought the land and prettied it up; shouldn’t it be allowed to do whatever it wants with it? Or does that public easement mean there can be no restrictions on speech or behavior?

The 10th U.S. Circuit Court of Appeals — pardon me for speaking in such legal jargon; I will make another poop joke shortly — ruled against the church. The moment this decision was made, full-grown adults began to assemble on the plaza and do the things the church had previously forbidden — smoking, playing loud music and protesting, mainly — simply because now they could. Never mind that it’s a lousy spot for demonstrations because it’s off the main thoroughfare, and never mind that no decent person would intentionally disrupt a peaceful place just for the sake of disrupting it, and never mind that only stupid people smoke. The 10th U.S. Circuit Court of Appeals said we can do this, so we’re gonna do it! In your face, church!

Now, I hate to introduce rationality and logic into a Utah controversy, but I think both sides are a little off. First, to hear the church tell it, if the plaza is made fully public, there will be loud protesters there 24 hours a day, seven days a week. I simply don’t see this happening. The only reason someone would protest in that plaza, instead of at a busy intersection or a park, would be if they were protesting the LDS Church specifically. That does occur, of course — twice a year, when the church has its general conference. The rest of the time, the anti-Mormons hibernate, living off nutrients provided by blind hate. So what’s the big deal? Let people protest there if they want to. Most people don’t want to.

As for the other side, I keep hearing people say that yelling angry things at Mormons exiting the temple onto the plaza is no more discourteous or disruptive than when those Mormon missionaries come knocking on their doors. There’s no public easement from the street to my doorbell, so you Mormons have no right to enter it! However, I think that if someone knocking on your door — which you don’t have to answer, by the way — is as distressing to you as being yelled at after attending a worship service, then your problems need to be addressed by a qualified medical professional, not by the 10th U.S. Circuit Court of Appeals.

I visited the plaza last week to see what it’s like. First of all, there were no protesters. There was a scruffy man with a backpack and a dog who asked me for money — I mean the man asked, not the dog — but he didn’t seem to be protesting anything, except, maybe, by implication, poverty. There were about a million weddings taking place that day; it was a Thursday in November, which is traditionally when … wait, what? No, I don’t know why there were so many weddings. But there were, and the friends and relatives of the couples were milling around Temple Square and the plaza, and many of the brides were being photographed on the plaza itself. Some of them were probably being asked for money, too, since all I had to give the guy was 70 cents.

It occurred to me that Temple Square is already a beautiful, peaceful place that is open to the public. Those grounds are completely owned by the LDS Church, with no dispute over its right to preserve the quiet atmosphere by whatever means it sees fit.

So why not let Temple Square be the place for quiet reflection, the little bit of Paris, and let the plaza be a nice place that happens to be next to it? The church should rescind its restrictions on the plaza. The fact is, if you stop forbidding misbehavior, you take the fun out of misbehaving. Ninety-nine percent of the people who visit it will behave just fine. And if they do want to yell at temple-going Mormons, so what? They’re already free to do that around the rest of the perimeter of Temple Square; what’s one more block?

Of course, I realize this solution would mean the Mormons and non-Mormons had reached a compromise, which may herald the end of the world, but hey, the world had to end sometime.

Rabbit-Proof Fence

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I have often criticized fact-based films for seeming to believe that because they sprang from true stories, that relieved them of all responsibility to tell the stories in an interesting, engaging manner. Too often, filmmakers fall into that trap: It’s true, so it must be interesting automatically.

“Rabbit-Proof Fence” is that rare film whose real-life basis is, in fact, so interesting that no embellishment is needed. No cinematic tricks or narrative alterations are necessary to make it into a riveting motion picture, because what happened is already so powerful that the facts speak for themselves.

It is set in 1931 in Australia, where the government has just begun a shameful policy that would last for 40 years. Under the law, “half-caste” children — fathered by white men but born to aborigine mothers — can be taken by the government and “civilized” in camps, where they are taught the skills necessary to become maids and servants.

Three children — Molly (Everlyn Sampi), her sister Daisy (Tianna Sansbury) and their cousin Gracie (Laura Monaghan) — are thus taken, forcibly and despite the sobs of their grief-stricken mother and aunt (Ningali Lawford). They are removed to a camp 1,200 miles to the south, where they live in barracks with other children similarly kidnapped, all of whom seem, by now, resigned to their fate. “Nobody here has any mothers,” one of them says. “We do,” is Molly’s reply, unable to fathom, in her 14-year-old innocence, how such a thing could be said.

And so Molly, Daisy and Gracie sneak out of the camp and head for home — on foot, following the 1,500-mile-long fence that keeps the rabbits from destroying the farmland on the western part of Australia. They are pursued by a tracker named Moodoo (David Gulpilil) whose record at recovering runaways is flawless but who has his own drama to contend with: His indentured servitude is over, but if he leaves his job at the camp, he will not be able to take his daughter with him.

The journey of the three girls is incredible to contemplate, but throughout it, a nagging question persists in the back of the viewer’s mind: Even if they make it back to Jigalong, won’t the government just come take them away again? The end of the story is joyous, tragic and overwhelming, all at once, and is accompanied by shots of the real Molly and Daisy, now well into their 80s and still living in Australia.

Director Phillip Noyce (“The Bone Collector,” “Clear and Present Danger”) has a brilliant piece of work on his hands here. The cinematography, by Christopher Doyle (an Australian who has done mostly Chinese films so far), is nothing less than beautiful, capturing the natural beauty of the Outback with breathtaking skill.

Few of the actors are even actors; most have never appeared on films before. Only Kenneth Branagh as the benighted government head who enforces the Aborigines Act is recognizable. The non-professional girls who play the central characters have a naturalness about them that probably could not have been faked. The give very simple performances that, in this very simple film, contribute to emotions that are anything but simple.

They

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The full title of this film is “Wes Craven Presents: They.” However, Wes Craven, creator of the “Nightmare on Elm Street” series and director of the “Scream” films, did not write, produce or direct “They.” He merely “presents” it, whatever that means. I half-expected him to be at the theater, saying, “Here’s the movie. I hope you like it.”

No such luck, though, and Craven’s creative genius is sorely missed in this atmospheric, sloppy horror film whose goal is to prey on our childhood fears of the dark and things that lurk in our closets.

The prologue, set 19 years ago on a dark and stormy night, is actually rather scary, as a young boy insists to his mother that “they come for me when it’s dark.” Sure enough, once Mom has left the room, “they” come and drag the boy, screaming, under the bed.

Flash-forward to today, when the young boy, Billy, is no longer our main character. Now it’s Julia (Laura Regan), an ostrich-necked psychology grad student with a jocky boyfriend named Paul (Marc Blucas). Julia and Billy are life-long friends, which Paul doesn’t feel threatened by — except one night when he and Julia are gettin’ it on and they’re interrupted by a desperate phone call from a near-insane Billy.

Seems Billy and Julia have both been tormented by night terrors all their lives. Billy was apparently dragged off by “them” for an undisclosed length of time as a child, and now he fears they’re coming back for him. To avoid that, he kills himself, right there in a diner, which seems inconsiderate to me.

Anyway, Julia then meets two of the late Billy’s associates, Sam (Ethan Embry) and Terry (Dagmara Dominczyk), both of whom suffered the same night terrors. Whether these terrors represent the same abduction Billy experienced, or are merely harbingers of future abductions, is not explained. If any of them were hauled off as youngsters, they have blocked it out now.

But the night terrors are back, and they frequently occur in the daytime and while the victims are awake, which violates both of the major stipulations of what constitutes a “night terror.” At any rate, Julia begins to fear “they” really are coming for her, and so the question is how to stop them.

Director Robert Harmon, who has also directed an installment in Steven Spielberg’s “Taken” mini-series, gets a few things right. First, we never get a good look at “they.” Second, there’s a certain amount of intriguing psychology among the major characters — far more than one expects in a film like this.

We’ll credit screenwriter Brendan Hood for giving his characters some personality, but he must also take the blame for much of the film’s incoherence. Shall we make a list of the loose ends it leaves?

— Paul tries to drug a hysterical Julia one night, a move that comes from out of nowhere and would seem to indicate a sinister side to Paul, but it is never developed.

— “They” apparently leave tracking devices in people, but they are located in various parts of the body and don’t seem to be important anyway, since one character is still found by “they” even after removing the device.

— That Billy is the same person as the little boy in the prologue is something we assume, not that the movie tells us, and his having been abducted and then returned is implied only by a brief look at his bedroom wall, which is covered with newspaper clippings discussing the event. (One of the headlines is “Kinda Weird, Said Locals,” which, even considering that movies are never good at imitating newspaper headlines, is a bad headline.)

OK, but is it scary? Not especially. Most of the “scares” occur because something has jumped out suddenly, accompanied by loud noises on the film’s soundtrack. There is very little dread or apprehension, and though I like the creepy ideas suggested by the ending, they are not executed with anything more than perfunctory skill.

And with Julia being haunted by strange phone calls and viewing a videotape of her childhood therapy sessions, you’re apt to be reminded of “The Ring” — a far superior horror film that actually knew how to create suspense.

Eight Crazy Nights

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Film comedies are subjective, perhaps the most subjective of any genre. What one person finds funny may be entirely different from what someone else finds funny. Your background, personal experiences, education — basically your entire life up to the minute you hear a joke determines whether you laugh at it.

So all a film critic can do is say whether he laughed at the film, and then try to explain what sort of humor the film employs, to help the reader ascertain whether he will agree or disagree with the critic’s assessment.

Adam Sandler’s “Eight Crazy Nights” made me laugh about four times. It strikes me as an excessively gross, dull film, an animated hybrid of “Jackass” and “South Park,” but lacking the originality or wit of either of those sophomoric TV series.

Sandler provides the voice for Davey Stone, who looks and acts a good deal like Sandler, which I don’t necessarily mean as a compliment. Davey is the terror of the town of Dukesberry, constantly engaging in acts of public vandalism and mayhem, especially around the holidays. To keep from being put in prison after the latest stunt — he destroyed the town’s Hanukkah/Christmas ice sculpture — he is put in the custody of Whitey (voice of Sandler again), an old man who referees youth basketball. Whitey and his twin sister, Eleanore (Sandler again), then have the task of reforming Davey, melting his heart, and so on.

Whitey is a sweet, likable character; naturally, he is perpetually abused by the cruel, psychotic Davey. Davey is our protagonist, remember, and he’s thoroughly unsympathetic. In most of Sandler’s films, as irritating as he can be, at least he’s a somewhat likable Everyman figure. Not so here. Here, he locks Whitey in a porta-potty and pushes it down a hill. Whitey emerges, covered in excrement, which Davey sprays with water, turning Whitey into a poop-sicle. Then a herd of deer come and lick Whitey clean. Then the deer’s poop-covered teeth are shown in close-up. You are more than welcome to find this funny if you so choose; I did not.

In terms of creative quality, it is low. The story is certainly nothing new, and the songs — yes, it’s a musical — are simplistic and derivative. The animation is Saturday-morning-caliber. The narration is redundant. The voice work is adequate, provided mostly by Sandler and his friends. It is one of the worst films Sandler has ever appeared in. I doubt whether even “Waterboy” and “Mr. Deeds” fans will find much to laugh at.

Treasure Planet

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“Treasure Planet” is the Disney animation department at its palest imitation of itself. It uses nearly every element of every animated Disney film since “The Little Mermaid,” but still comes up short. It’s a photocopy of a photocopy of a photocopy.

Here’s what’s familiar:

— It’s based on a classic story: “Treasure Island,” re-set in space. (See also: “Beauty and the Beast,” “The Little Mermaid,” “Aladdin,” etc.)

— It has a misfit hero who comes from a one-parent family: Jim (voice of Joseph Gordon-Levitt), a troubled teen whose mom (Laurie Metcalf, who was also the single mom in the “Toy Story” movies) runs a restaurant on the outskirts of the galaxy. (See also: Pretty much every other Disney cartoon.)

— The hero yearns for something more, to be part of your world, to find more than this provincial life, to be out there, to see a whole new world. (See also: Pretty much every other Disney cartoon.)

— There is a cute-ish non-human sidekick: Morph, an amorphous blob who can adopt any shape and mimic people’s voices. (See also: Apu and the magic carpet in “Aladdin,” the lizard in “Mulan,” the gargoyles in “Hunchback of Notre Dame,” and so on.)

— A comic-relief character is voiced by a successful and popular comic: Martin Short as the bumbling, forgetful robot B.E.N. (See also Robin Williams, Eddie Murphy, Jason Alexander.)

— There’s another character who is nerdy, flustered and nervous: The doggish Dr. Doppler (David Hyde Pierce). (See also: Cogsworth in “Beauty and the Beast,” Zazu in “The Lion King.”)

Our hero, Jim, winds up working on a spaceship searching for legendary pirate gold. While aboard, he runs afoul of John Silver (Brian Murray), a cyborg modeled after your traditional pirate; the two forge an unlikely and difficult friendship.

The voice work, of course, is exceptional. Brian Murray is particularly impressive as Silver, doing character work so rich, we don’t even need to see the character to know exactly what he looks like. It is nice to hear Emma Thompson as the ship’s captain, too.

Where “Treasure Planet” goes wrong is in focusing on adventure and neglecting humor. Even last year’s action-heavy “Atlantis” managed some laugh-out-loud supporting characters. Here, the jokes are predictable and average; the closest thing we get to the madcap style of some of the previous films is an alien who speaks Flatula, a language whose sound adolescent boys will find especially amusing.

Without the humor — which often leads to the heart — we’re left with a satisfactory but undistinguished action story. It’ll thrill the kids, sure, and is praiseworthy for that. But it’s light years from the pantheon of the Disney classics, despite trying to copy them in almost every way.

Solaris

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Steven Soderbergh may not create a masterpiece every time he directs, but give him credit for trying a variety of styles.

In the past four years alone, we’ve had amusingly twisty (“Out of Sight”), dark revenge (“The Limey”), peppy determinism (“Erin Brockovich”), gritty realism (“Traffic”) caper comedy (“Ocean’s Eleven”) and improvised tedium (“Full Frontal”).

Now there is “Solaris,” a ponderous sci-fi film with a trance-like, dreamy tone. There is very little background music and very little action. It is not boring, exactly — which is to the credit of Soderbergh and his cast — but neither does it engage the senses the way good movies do. It tells its story in a flat manner and leaves you with the impression that you should have gotten more out of it than you did.

George Clooney plays Chris Kelvin, a psychologist who, despite living in the future, has not found a psychological cure for loneliness. His past is revealed to us in bits and pieces, and we understand he used to have a wife but no longer does, and that he works long hours with his patients. His home life is silent and solitary.

Then he is summoned to a space station near the planet Solaris. Apparently, he is the world’s best psychologist; the man doing the summoning indicates no one other than Kelvin would be qualified to deal with what’s going on here.

Upon arrival, Kelvin finds only two crew members remaining. One of them, a young technician named Snow (Jeremy Davies), seems to be mad, of the stark raving variety. The other, Dr. Gordon (Viola Davis), wants off this space station immediately, if not sooner.

Kelvin is soon visited by his wife, Rheya (Natascha McElhone), which seems unlikely, considering she is dead. He realizes she must be a specter of some kind, though she is made of flesh and bone. Snow and Gordon admit to having been visited by lost loved ones themselves, a fact which no doubt contributed to Snow’s craziness and Gordon’s irritability. The question now becomes what to do with the visitors: attempt to destroy them, or take them back to Earth.

George Clooney continues to establish himself as a proficient, if not overly accomplished, actor. His performance is strong and likable; it’s the material (written by Soderbergh and based on Stanislaw Lem’s novel) that seems lifeless.

Extreme Ops

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“Extreme Ops” is about snowboarders who run afoul of an evil Serbian terrorist and subsequently use their extreme-sporting skills to save the day. Yes, it’s as stupid as it sounds.

The only interesting thing about the film is the misleading way it’s been advertised. Commercials for it talk about how the snowboarding crew has 24 hours to warn the world about this terrorist’s plot. This dire pronouncement is accompanied by images of American cities being targeted.

The thing is, none of that is in the movie. First of all, our heroes — a film crew shooting an extreme commercial in the Austrian Alps — don’t even encounter the bad guy until the film is an hour old, with only 33 minutes to go. More importantly, though, there is no indication what the terrorist’s plan is. We only know he has faked his own death so he can continue his evil deeds in secret, from the remote mountain location where the snowboarders stumble across him. What those evil deeds are, we have no idea. There’s certainly no mention of a 24-hour deadline, much less a target city. The commercial for this film is far more interesting than the film itself.

Far shorter, too, which is a plus. As mentioned, the plot doesn’t enter the picture until the film is two-thirds over. So what happens in the meantime? Well, lots of snowboarding. Also, plenty of flirting among the members of the crew, and an abundance of juvenile horseplay and tomfoolery. (While the crew takes a train through Europe, two of the members tether their snowboards to the back of the locomotive and snow-surf behind it.)

These are grossly uncompelling characters, written without regard for believability or intelligence. They would be at home in a typical action flick — but typical action flicks don’t waste 60 minutes of their running time before introducing the plot.

Let’s see, the commercial director is Ian (Rufus Sewell), a Brit who’s always arguing on his cellphone with an unseen girlfriend. He’s been forced to take a medal-winning downhill skier as a cast member on the shoot; she is played by Bridgette Wilson, who is married to Pete Sampras, which I guess gets her acting jobs despite her being neither talented nor attractive.

There’s also a scruffy cameraman played by a very chubby Devon Sawa, as well as a few other guys who sort of blend together in my memory; I am not even certain whether there were two or three of them. Oh, and another girl, a very hard-core riotous gal who sings in a hard-rock band and goes snowboarding at 3 a.m. One assumes she smokes pot, but it is not shown.

These bland, forgettable people hang around, play in the snow, and engage in mediocre banter until the bad guy shows up and raises the stakes. Mainly, he introduces what the film really needed: funny accents. The terrorist (Klaus Lowitsch) and his crew are very entertaining to listen to, though I suspect that was not the intent.

The scenes of snowboarding and other extreme-sports behavior do have a certain thrill to them. But even that gets repetitive. I would say three scenes of people fleeing from avalanches is too many for one film, unless the film is ABOUT people who flee from avalanches. But what do I know? I don’t even know what “extreme ops” are.

An Embarrassment of Richard’s

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When you think of stores that sell pornography, probably the first name that springs to mind is Deseret Book. But those purveyors of smut are finally cleaning up their act, starting with a refusal to sell Mormon author Richard Paul Evans’ trashy new novel, “LaVonda Does LaVerkin.”

No, I am kidding about the title. It is called “The Last Promise.” It is about an American woman living in Italy with her Italian husband, and this Italian husband is emotionally abusive, and later physically abusive, too. So the woman develops a friendship with another man, and they share some hugs and kisses (but no sex), and she realizes she should dump her worthless spouse for this other guy if she ever wants to be happy.

I read this book very quickly, the way you would wolf down an intestine sandwich if you were compelled to eat one. I can say that it (the book, not the sandwich) is better than Evans’ “The Christmas Box,” though that is not much of a compliment, since the Hanta virus is also better than “The Christmas Box.”

But my point is, “The Last Promise” is a fairly good book, as far as romance novels go. Deseret Book hasn’t pulled it from its shelves due to a lack of quality. If quality were part of the criteria, they wouldn’t persist in selling things like “The Book of Mormon Sleuth.” (Actual description from the back cover of this teen novel: “Whether it’s how to solve everyday problems, escape from the clutches of a demented thief, or solve the mystery of Aunt Ella’s cellar, Brandon’s scriptures never fail him.”)

The decision on “The Last Promise” stemmed from the content of the book: Though there is no sex, the woman in the story does have an emotionally intimate relationship with a man who is not her husband. This can be viewed as a form of adultery, which is a no-no among most of your major religions. One of those religions is The Church of Jesus Christ of Latter-day Saints, which owns Deseret Book and whose members make up, I don’t know, about 100 percent of Deseret Book’s clientele.

Now, I could go down to Deseret Book and make a list of other books they sell that have content far more objectionable than what’s in “The Last Promise.” That seems like something I would do, and it would get me out of the office for a few hours, because I would probably go to the movies, too. But Deseret Book has beaten me to it. They have announced that they are systematically going through all the titles they sell and removing the ones that don’t match their customers’ “core values,” as Deseret Book president Sheri Dew put it.

You are already thinking that the Bible contains some very graphic sex and violence, yet Deseret Book has no problem selling it. That is another matter, though: The Bible, while depicting sinfulness, also generally depicts the woeful effects of sinning. “The Last Promise” shows no long-term ill effects of the woman’s relationship; in fact, it’s not even portrayed as sinful.

I think the woman probably makes some mistakes along the way, but I also think she ultimately does what’s best for her. Why stay in a loveless relationship? Because you need help with the rent money? There are a lot of gray areas in life, and this book explores one of them. In the world of Deseret Book, however, there is no gray, only black and white (mostly white). DB apparently doesn’t want to burden its customers by making them think about the gray areas, the parts where divorce is sometimes the best option and where a close friendship is more valuable than a dead marriage.

There is a stifling air of perfectionism in the magical world of Deseret Book. Things are very cut-and-dried in the books they sell there. If you say your prayers, read your scriptures and go to church, life will be fantastic. Sure, there will be bumps along the way. But they will be temporary, and easily overcome by praying, reading and going. If you find yourself stuck in a life that is somehow more difficult than that, then it is surely because you have failed to repent of some sin along the way — it is your fault, in other words.

I hope Deseret Book is wrong about what its customers want to see. I hope people can read a story about someone who makes a difficult decision and, whether they agree with the decision or not, find some good in the story. I hope people can see that some situations are multi-faceted, with no clear-cut right answer.

But mostly, I hope Brandon can solve the mystery of Aunt Ella’s cellar. Because seriously, what’s DOWN there?

Personal Velocity

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Rebecca Miller is the daughter of playwright Arthur Miller, and she inherited some of her dad’s gift for narrative. She can turn a phrase and evoke an image like nobody’s business — in her writing. When it comes to adapting her own book and directing her own movie, which she did with “Personal Velocity,” she falters. The best part of the film, in fact, is the parts read by an unseen narrator — words directly from the narration of the book.

The title comes from this statement, made in the film: “Everyone has their own personal velocity.” We all know what we need to do to get our lives together, but we all move at a different pace when it comes to doing it. “Personal Velocity” is a triptych of three women’s stories, each of them attempting to break free of unhealthy patterns in their lives, patterns set by various males.

First is Delia (Kyra Sedgwick), who leaves her abusive husband. Next is Greta (Parker Posey), an insanely ambitious career woman whose husband is great but unnecessary. Finally is Paula (Fairuza Balk), a rebellious youth who ran away from home and, having barely escaped death in a freak car accident, now sees a chance for a better attitude.

The acting from all three actresses in these unrelated stories is extremely good. The middle one is the lightest of the three, which might make it most enjoyable; however, Fairuza Balk’s work in the concluding segment is riveting enough to make it the most memorable.

Miller used digital video instead of film, which gives it a sense of realism. Still, it doesn’t add up to much. I haven’t read the book, but I suspect some of the themes play out better on the page than on the screen. The narrator can only tell us so much; the rest is up to the actresses, who perform with great conviction but who can’t breathe much life into a screenplay that obfuscates some of its ideas while battering others into the ground.

Die Another Day

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“Die Another Day” comes at a time when the marketplace is already full of action-heavy spy movies, some of which out-Bond James Bond.

“XXX” was worthless popcorn entertainment, but it was HONEST worthless popcorn entertainment, fully embracing its reliance on outrageous stunts and making no apologies for its absurdity.

“The Transporter” was smart, fast, thrilling stuff, featuring a hero who served only his own interests but still managed to save the day — all in 92 minutes.

“Die Another Day,” on the other hand, assumes viewers will be supportive simply because it’s A James Bond Movie. What occurs here is no more exciting, interesting or entertaining than what went on in either of the two films just named; in fact, “Die Another Day” seems stodgy and staid by comparison.

It also seems long, which bespeaks a certain level of self-importance. If most mindless action flicks can tell their stories in 100 minutes, why does this one need 132? To make room for all the double-entendres and bad puns?

The 20th Bond installment finds the ageless British spy in a sorry state. He has spent 14 months in a Korean prison camp, having been ratted out by some unknown compatriot, and his own government has given up on him. He is a rogue now, looking for both his betrayer and a Korean bad guy named Zao (Rick Yune).

This takes him, naturally, to Cuba (?), and eventually to Iceland (??). A billionaire named Gustav Graves (Toby Stephens) becomes involved, and you can tell he’s a Bond villain because he has an odd physical trait: He never sleeps. I eagerly await the Bond villain who has two heads.

Bond also interacts (and I think you know what THAT means) with Gustav’s assisant, the aptly named Miranda Frost (Rosamund Pike); and with a buxom gal named Jinx (Halle Berry), an American who seems to be some kind of secret agent, too.

Q (John Cleese) has one hilarious scene, M (Judi Dench) is classy as always, Miss Moneypenny (Samantha Bond) is nearly forgotten — they all seem like afterthoughts, used only because Bond films require them, not because this specific movie needed them.

As James Bond, Pierce Brosnan is as blandly suave as ever. It’s a little hard to take him seriously, though: When there is a character named Mr. Kil, and Bond replies, “That’s a name to die for,” you wonder not only who writes this crap, but why you’re even putting up with it.

Who writes this crap, by the way, are Neal Purvis and Robert Wade, the same duo that gave us “The World Is not Enough,” which had the sense to winkingly acknowledge Bond’s status as a dinosaur in the modern world. “Die Another Day,” on the other hand, pretends it has never seen the Austin Powers movies, which effectively ridiculed most of the things that happen in “Die Another Day.”

Ah, but what can you do? “Die Another Day” has Bond driving an invisible car. You heard me, an INVISIBLE CAR. What’s cooler than that? The opening sequence is promising, as the stakes seem to be raised a bit for the usually unflappable Bond, but it quickly becomes ordinary after that: Bond sleeps around, a lot of people die, and plenty of stuff blows up. It is business as usual — and business as usual now seems lifeless and tiresome.

Friday After Next

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The danger of being rich and powerful is that you are able to do huge, stupid things, and no one can stop you. If you want to build the world’s largest airplane and call it the Spruce Goose, fine, Howard Hughes. If you want to let E! follow you around with a camera and make a TV show of your life, go ahead, Anna Nicole Smith. If you want to make a second sequel to a movie no one remembers in the first place, that’s your prerogative, Ice Cube. It’s your money.

“Friday After Next” is Mr. Cube and friends’ latest attempt at comedy, though it is a stretch to call it that when the only people laughing are, in fact, Mr. Cube and friends. Like so many films by so many “Saturday Night Live” alumni, the “Friday” movies seem like 90-minute inside jokes, full of things that were probably hysterical if you were there, and if you were high.

The latest film takes place on a Friday, natch, and on Christmas Eve. (For you fans of the calendar, this means the film takes place either in 1999 or 2004.) A burglar dressed like Santa Claus has robbed the apartment of Craig (Ice Cube) and Day-Day (Mike Epps), cousins who are the heroes of these movies, heroism being measured in terms of how much pot a character smokes. (I.e., these two smoke more than anyone else in the film; ergo, they are the heroes.)

Craig and Day-Day must shake of the embarrassment of being robbed by Kris Kringle, however, as today is their first day on the job as security guards at a local strip mall. In this strip mall is a barbecue restaurant owned by their fathers, twitchy Willie (John Witherspoon) and his argumentative brother Elroy (Don “D.C.” Curry). This convenience of location will figure heavily into the plot later, or at least it would if there were a plot for it to figure into.

Also, there’s a neighbor named Damon who just got out of prison, and who turned gay while he was there. This, along with Willie’s gastro-intestinal problems, is endlessly funny/disgusting, depending on your point of view.

Watching “Friday After Next” is like watching a minstrel show, but without the dignity. Most of the characters are broad, jittery personages who shuck and jive like figures in a comedy sketch. But when Ice Cube wrote the script, he neglected to include any actual comedy for them to perform. What surfaces instead are lame, ludicrous attempts that annoy more than they entertain. Nothing is sadder than a clown with nothing funny to do, and this movie is full of them.

The Emperor’s Club

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Here is what I said to “The Emperor’s Club” while I watched it: “OK, movie, that’s fine. What you’re doing here is very nice. But I hope you don’t think we haven’t seen this before!”

Is a club for an emperor all that different from a society for dead poets?

One has difficulty believing the men behind “The Emperor’s Club” have not seen “Dead Poets Society,” or “Mr. Holland’s Opus,” or “Finding Forrester,” or any of the other earnestly inspiring but unmemorable student-mentor movies it resembles.

But it is equally difficult to believe that someone could make “The Emperor’s Club” without knowing they were treading a path that had already been worn from overuse.

This is the story of a passionate, beloved teacher at a private school who, yes, learns from his students as much as they learn from him. Does he inspire the youth? Heavens, yes. Does he spout an endless procession of platitudes like “A man’s character is his fate” and “The end depends upon the beginning”? Again, yes.

The teacher is William Hundert, played by a prim, precise Kevin Kline. Set at a boys’ school in the 1970s — there’s an all-girls school across the lake, of course — the story centers on Mr. Hundert’s attempts to maintain order in a classroom dominated by slacker Sedgewick Bell (Emile Hirsch), the undermotivated, over-wealthy son of a senator.

Bell becomes a leader among students, who have been repressed into horrific nerdery by the school’s strictness and are glad to have an Id figure to guide them in the paths of teenage frivolity.

Hundert, meanwhile, is aghast at Bell’s waste of his potential and at how he influences the other students. But how to reach such a seemingly unreachable lad?

The director, Michael Hoffman, has worked with Kline twice before (“Soapdish” and “A Midsummer Night’s Dream”), and “Emperor’s Club’s” glossy aura suits both men well. Kline, a gifted comedian, is allowed several laughs, and Hoffman has enough affection for his trite story to devote all his talents to it. It is just a heavy-handed lesson in integrity, but it’s certainly a colorful, shiny one.

However, the story also forces Hundert into an obligatory romance subplot, with an underused Embeth Davidtz. It is puzzling, almost funny, how unnecessary this storyline is.

What redeems the film are its irresistible performances — all the young actors are above-average — and its dignified, charming demeanor. The lesson being taught in the film is older than dirt, but having a new teacher refreshes it a little.

Talk to Her (Spanish)

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Pedro Almodovar has directed a couple dozen films in his native Spain, but the two most familiar to American viewers are “Tie Me Up! Tie Me Down!” (1990) and “All About My Mother” (1999). The latter won the Oscar for best foreign-language film, but it’s the former — about bondage — that is closest in spirit to Almodóvar’s latest effort, “Talk to Her,” a rumination on love that becomes more twisted as it goes.

It seems benign to begin with, albeit non-traditional. Benigno (Javier Cámara) is a nurse whose primary concern is Alicia (Leonor Watling), a pretty young woman who has been in a coma for four years. Benigno is dedicated and professional, caring for Alicia as if she were awake and could appreciate it. He talks to her, takes her on the hospital balcony for fresh air, and tries to preserve her dignity: In an early scene, he makes sure she is not exposed when he and another nurse change her bedclothes.

Meanwhile, there is Marco (Darío Grandinetti), a magazine writer pursuing as a subject (and perhaps as a love interest) Lydia (Rosario Flores), a lady bullfighter. Soon, however, she is in a coma, too, and Marco and Benigno — who encountered each other briefly at the theater some months ago — have occasion to be introduced formally.
With our heroines in comas, much of the story is told in flashbacks. We see the twists and turns of Marco and Lydia’s relationship, and learn the origin and full extent of Benigno’s devotion to Alicia.

Benigno, who looks innocent and perhaps even mildly retarded, insists to Marco that speaking to a coma patient is not fruitless. “A woman’s brain is a mystery, and in this state, even more so,” he says, recalling “All About My Mother,” which also sought to plumb the depths of the female mind (though those females tended to be conscious).

Though “Talk to Her” is about communication at first, it slowly becomes a story of loneliness and desperation, of devastating sadness that some people will do anything to avoid. There is a jaw-droppingly outrageous black-and-white sequence — Benigno’s account of a sexually explicit silent film he watched — that is the turning point for “Talk to Her,” the moment when it becomes fundamentally bizarre. And yet it remains sweet in its way, playful and creative in the way it examines our relationships, making the point that ALL human interaction is at least a little bit strange.

The Quiet American

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As a title, “The Quiet American” becomes more ironic as the film progresses. It is about America’s involvement in Vietnam in the 1950s, involvement that ultimately led to our fighting the Vietnam War, which I don’t have to tell you was an extremely unfortunate turn of events.

It is 1952 and the Yankee in question, Alden Pyle (Brendan Fraser), is a humanitarian worker in Saigon, assisting villagers who are being harmed by the ongoing fighting between the French and the communists.

At the film’s outset, however, he is dead. His friend, jaded journalist Thomas Fowler (Michael Caine), tells us in flashback how they met and what led to Pyle’s death. Pyle was idealistic and young; Fowler didn’t get involved, didn’t form opinions. He merely reported what happened, cabling his stories back to England, where most of his readers didn’t care what went on half a world away in Southeast Asia.

As told in flashback, Fowler has a wife in London who won’t grant him a divorce; as a result, he cannot marry Phuong (Do Thi Hai Yen), the alluring Vietnamese woman he has lived with for years. Pyle enters their lives, enthusiastic and youthful, eager to learn from Fowler, and a little too eager to become acquainted with Phuong.

Thus begins a romantic triangle that is curiously genteel, at least on the surface. (At one point, Pyle proposes marriage to Phuong right in front of Fowler.) Underneath, it is a jagged metaphor for American involvement in Vietnam, and the transformations of the characters from good to bad symbolize the same thing. America, Vietnam — everything’s corruptible.

Caine’s performance is vivid and expressive, by turns stoic and emotional. Fraser, the quintessential all-American guy, is well-cast as Pyle, a man who, like everyone else in the film, is more than what he seems.

Directed by Australian filmmaker Phillip Noyce (“Rabbit-Proof Fence,” “Clear and Present Danger”), it’s a skeptical film, one that asks what we — as a nation, and as individuals — are willing to do to get what we want. Through the gritty drama of the film comes the unsettling suggestion that the answer might be, “Anything.”

Killing Me Badly

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It has been a bad month for wife-killing in the state of Utah, particularly in the sense that the people doing it aren’t very good at it.

I should indicate up front that I do not advocate any sort of killing, and that within the field of killing, wife-killing is one of my least favorite varieties. So please do not think that my making fun of the wife-killers somehow, in some perverse way, means I support them.

I have been following the trial of James Bottarini, an Illinois man who is accused of pushing his wife off a cliff in Zion National Park five years ago, claiming she fell accidentally, and collecting the insurance money.

(The money amounted to $1.25 million. I say beware of men who take out $1.25 million insurance policies on their spouses.)

I have also taken note of the Provo man, Paul William Turner, who has recently confessed to trying three different times to kill his wife, each time unsuccessfully.

Basically, it would seem that half the men in Utah are trying to marry multiple wives, and the other half are trying to kill the ones they’ve got.

What amazes me is how poorly each of these men set about his respective work. Bottarini, the cliff-pusher, has not yet been found guilty in a court of law, but he has been condemned in the court of public opinion, which is more important anyway.

The evidence is against him. According to the Associated Press, there were drag marks on the ground leading up to the point where the woman fell; witnesses below heard voices and scuffling just seconds before the fall; and when authorities responded to the scene, Bottarini seemed “emotionally separated” from what was going on.

In other words, as is often the case with evil men, Bottarini had a grand scheme and then botched it when it came time for action. Satan is a wuss, and so are his minions.

Meanwhile, Turner’s story is far more amusing. First he gave his wife cookies laced with rat poison; it had no effect. Then he gave her what he thought were poisonous mushrooms but which turned out to be harmless. Then he put hydrochloric acid in a syringe she used to administer prescription medication to herself; it, too, did not harm her.

Turner, whom we are going to call Wile E. Coyote from now on, turned himself in on the advice of his LDS bishop. Apparently, he did not seek advice on whether he should kill his wife in the first place, only on what he should do after he failed. According to police, Coyote wanted to get rid of his wife because he was addicted to pornography, and because his wife wouldn’t let him live the sexual lifestyle he wanted. (The police did not elaborate on that last point, and I’m glad.)

Mrs. Coyote said she didn’t know about the pornography thing until Wile E. was arrested, nor did she know he was trying to kill her. I believe the very height of incompetence among murderers would have to be when your intended victim doesn’t even know she’s being killed.

Where the story turns especially outrageous is in the revelation that Coyote cannot be convicted on the strength of his confession alone: Prosecutors must find actual evidence of the crimes, too.

Never mind that the man turned himself in without ever being accused, or indeed without his victim even knowing she was a victim. Due to a legal requirement known as “corpus delicti” (“delicious corpse”), there must be evidence that the confessor actually committed the crimes. My friend Mike the Lawyer tells me this is partially to prevent crazy people from making up crimes, but more importantly to keep rich people from paying poor people to confess for them.

This seems wrong. If Coyote says he tried to kill his wife, let’s take his word for it. He’s obviously capable of at least thinking very hard about it, which alone makes it a good idea to lock him up. I don’t think attempted murderers should have to save their receipts in order to prove they’re attempted murderers.

Furthermore, I think one of the perks of being rich should be that you can hire people to confess to your crimes for you. If I don’t have that to look forward to, then what’s the point of my getting rich?

Half Past Dead

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No, I don’t know why Steven Seagal is considered a star, nor why he keeps being cast in action films when none of them are ever any good or make any money. But like it or not, here he is, and we’ve got to deal with him.

The putty-faced, Baldwin-brother-looking, ponytailed non-actor stars in the new “Half Past Dead,” which despite having the best title in the history of film, is an inexcusably loud, chaotic and stupid movie about terrorists who take a prison hostage in order to 1) make a political statement about the death penalty and 2) find out where a soon-to-be-executed convict hid the $200 million pile of gold he stole.

Seagal plays Sascha Petrosevitch, who happens to be IN the prison at the time, and not as a visitor. (Well, he “plays” him in the sense that Seagal “plays” any role; more precisely, his character is named Sascha, and Seagal mumbles most of Sascha’s lines coherently.)

Sascha states in definite terms that he is Russian, yet he does not have an accent. I would love to have heard Seagal’s attempt at a Russian accent, but I guess then I probably would have just made fun of it.

Anyway, he helps the feds fight the terrorists, who are led by Morris Chestnut (“The Best Man,” “Like Mike”), who is too friendly to be effectively cast as a bad guy. (You may recall that he co-starred with Seagal in “Under Siege 2,” where they were on the same side of the law.)

While all the hostage stuff is going on, there’s a group of dumb convicts screwing around, basically having the run of the place while the warden and guards are held prisoner. Some of these cons are played by people with names like Ja Rule and Kurupt.

Writer/director Don Michael Paul — making his big-screen debut — obeys all the laws established by the Matrix Accord, including having people in black clothes perform wire-facilitated acts of martial artistry while techno music plays in the background. (You will remember that laws were passed after “The Matrix” was released, mandating that all action films use these elements.)

Seagal has slowed down a bit in his old age and is not nearly the exciting, taciturn hero he allegedly once was. Even if he had superhuman strength and agility, though, this film would still be a hopeless, derivative wreck, unoriginal down to its last character and plot detail.

Harry Potter and the Chamber of Secrets

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The film version of “Harry Potter and the Chamber of Secrets” has a distinct been-there, done-that feel about it.

The first film vividly depicted the magical world of wizard-in-training Harry Potter, and it was a delight to see the richly detailed narrative of the book brought to life.

But we’ve seen it. Now, in the second movie, we need to see them DO something with it.

Unfortunately, “Chamber of Secrets” is the least interesting of the four novels. The first book had the novelty of Hogwarts and its inhabitants going for it, and books three and four (and presumably the eagerly anticipated five through seven) grow successively darker and more intricate. “Chamber of Secrets” is somewhere in between, past the exposition but not quite to the real heart of the series yet.

With “Chamber of Secrets” being secondary in quality to its brethren, it is no surprise that the film version seems like a bit of fluff that we munch on while waiting for the good stuff to arrive.

Even within the film, we have to wait. Director Chris Columbus and screenwriter Steve Kloves are as slavishly devoted to the text as they were in the first film. This means 30 minutes of movie time before Harry even gets to Hogwarts, and another 15 minutes after that before the first hint of the film’s plot. Forty-five minutes is a lot of time to waste, especially when your movie runs for another two hours beyond that.

The reason, of course, is that fans who have memorized the books will riot if anything is omitted from them. So even though it is unwise, from a storytelling standpoint, to include the unnecessary and lengthy flying-car sequence — not to mention the bit where Harry upsets his aunt and uncle yet again, and the traveling-by-flue-powder, and so on — well, here they are anyway.

The film’s real story, once we get to it, has to do with Harry (Daniel Radcliffe) hearing mysterious voices, and a series of students being petrified by some unseen menace. It falls on Harry, flanked by pals Ron (Rupert Grint) and Hermione (Emma Watson), to solve the mystery and save Hogwarts, while staying clear of archenemy Draco Malfoy (Tom Felton) and his cold-hearted father (Jason Isaacs).

The acting is improved this time around, particularly among the three young leads. Their chemistry together as friends is more evident, and as the story starts to hint at deeper themes of destiny and loyalty, the kids’ acting moves with it.

It is a pleasure to see the recently departed Richard Harris once again as headmaster Dumbledore, along with Maggie Smith, Alan Rickman and Robbie Coltrane as McGonagall, Snape and Hagrid, respectively — though it’s unfortunate their roles couldn’t all be larger.

Kenneth Branagh is a fantastic addition as the smarmy Gilderoy Lockhart, the dashing figure called in as the new Defense Against the Dark Arts instructor.

Dobby the house elf (voiced by Toby Jones) is a computer-animated figure who warns Harry of danger and frequently hurts himself as punishment for being a bad house elf. I never believed he and Harry were actually in the same room together. “Who Framed Roger Rabbit” came out 14 years ago, but its humans and cartoons interacted a lot more believably than they do here.

As a whole, the film is too slow-paced to stand up on its own merits. Several mini-adventures, like Harry and Ron being chased by a swarm of huge spiders, seem like sidetracks rather than parts of a greater adventure. Where “Chamber of Secrets” will be viewed a success is in accurately, and occasionally imaginatively, bringing the book to life. As a movie, judged on its own merits, it’s too long, too slow and too unfocused.

Standing in the Shadows of Motown (documentary)

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Q: Which musicians appeared on more No. 1 hits than the Beach Boys, the Rolling Stones, Elvis Presley and the Beatles combined?

A: The Funk Brothers.

Follow-up Q: Who?

“Standing in the Shadows of Motown” is one of those documentaries that make you appreciate someone you never even knew existed. (I loved “Mr. Death” for the same reason, because prior to that, I had no idea who the nation’s foremost expert on death-penalty equipment was.) In this case, it’s the Funk Brothers, the 14 studio and concert musicians responsible for the “Motown sound” that distinguished that genre of rock ‘n’ roll from all others in the 1960s.

Their names are largely unknown even to music aficionados, yet their impact is immeasurable. The film subtly makes the case that, never mind who the singers were, it was the music — the funky guitars, the wicked bass lines, the exultant horns — that made Motown what it was. Personally, I question whether “Respect” would have sounded anywhere near as great without Aretha Franklin’s attitude, but it’s a subject worth talking about, anyway. Certainly the Funk Brothers are to be praised for their prolific output and their atonishing musicianship.

Made by rock-film maker Paul Justman, “Standing in the Shadows of Motown” lets the surviving Funk Brothers tell their own story. They were underappreciated at the time, and they knew it, but they loved playing together. Now, decades later, they seem to enjoy swapping stories and sharing memories, quietly revelling in the idea that someone is finally giving them their due. It is always inspiring to see hard work rewarded, but especially when the workers haven’t sought the spotlight.

The film is less effective when it recreates key moments in Funk Brother history; surely letting the men simply tell the story would have been better than staging it for cameras.

The Funk Brothers were reunited for a concert a couple years ago, and footage of it is interspersed with interviews in this unfailingly upbeat documentary. The purpose of the film is to celebrate the music as much as to tell the story behind it, and fans of all types of popular music will find it irreplaceable.

The Way Home

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There are two stars in the South Korean film “The Way Home,” neither of whom has acted in movies before but both of whom have screen presence that belies their experience.

First is Seung-ho Yu, who plays 7-year-old Sang-woo, who is possibly the world’s worst child. Whiny and undisciplined, he exasperates his destitute mother (Hyo-hee Dong), who leaves him with his grandmother — whom he has never met — while she searches for work.

Eul-boon Kim is the other lead, and she has said that, prior to filming “The Way Home,” she had never even SEEN a movie. She plays Grandmother, comically stooped over and incapable of speech. She is not mentally disabled, but she is surely simple-minded. Her grandson, who has respect for no one and nothing, treats her with derision. While she labors to carry water to the hillside shack they share in a remote village, he plays video games. When the batteries wear out, he steals her hairpin while she sleeps and attempts to trade it for fresh ones.

Grandmother’s reaction to Sang-woo intrigues me. Many films – American films, in particular – would give her a steely determination at winning Sang-woo over, improving him, earning his love. She would stay strong until the climax of the film, when she would throw her hands in the air and give up – at which point he would finally see the light and end his reign of brattiness.

That’s not what happens here. Grandmother does gradually change Sang-woo, but not because she has set out to do it. She merely does what comes naturally, obeying her maternal instincts and giving Sang-woo the love he requires, even if she never consciously realizes that’s what she’s doing, and even if he never seems to want it.

Writer/director Jeong-hyang Lee, in only her second feature, establishes a situation rife with gentle humor and honest, unaffected love. Sang-woo behaves so badly for so much of the film that I began to feel his rehabilitation could never be enough, that no matter how much he changed, it would not outweigh his prior boorishness. Turns out I was wrong. When it happens, it is sweet and sincere. The lesson, perhaps, is that pure love makes it never too late to have a change of heart.

Cover Up

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At the checkout stand at Albertson’s, my eye was caught by a magazine whose cover was blocked by a black card. It was Vanity Fair, a magazine that I had never paid any attention to before. Obviously, Albertson’s was trying to get me to buy this magazine, or else they wouldn’t have drawn my attention to it by covering it up.

For a couple years now, some Utah Valley supermarkets have covered up magazines that have potentially offensive covers. Of course, everything is “potentially offensive” to someone, especially in Utah Valley, where getting offended is so popular that the Boy Scouts offer a merit badge in it. So how do stores decide what to cover up?

The Vanity Fair issue in question had a picture of Madonna. (Note: I mean the pop singer Madonna, not the Catholic icon Madonna.) (Although I could see her being covered up in Utah Valley, too.) There was a day when Madonna was so trashy she would make Christina Aguilera look like Laura Ingalls Wilder, but this photo was very chaste. The neckline came all the way up to her neck, her skirt was knee-length, and her sleeves went nearly to the elbow.

Elsewhere on the cover were nine headlines, not one of which used the word “sex” or anything else filthy or shameful.

So why cover up the magazine? Looking around, I realized a lot of magazines were covered up, apparently at random. Among those covered: Redbook (“5 Sex Moves All Men Absolutely Love”) and Glamour (“How to Have Insanely Good Sex”). Also covered, though, were several magazines with absolutely nothing objectionable on their covers, including: Seventeen, GQ, YM, In Touch, Marie Claire and Self. The Globe (“TV Bachelor is a Jerk!”) was covered, while the National Enquirer (“Snipers: Their Secret Gay Life”) was left visible.

Over at the magazine rack, nothing is covered up. This includes the Sports Illustrated “Ultimate Swimsuit 1964-2002” issue, complete with a somewhat naked woman on the cover; several muscle magazines that feature nearly-nude, extremely oily men; and Woman’s Own, whose main cover headlines I will now recite for you: “Reaching the 5 Top Sex Highs”; “15 Make-Him-Sweat Moves from a Lap-Dancing Lolita”; “We Test Sex Toys for Money: 4 Women Share Their Favorites”; “You Love Him, but Your Sex Styles Differ”; and “5 Kinky Places to Make Love … at Home!” (Of all places!)

Local Albertson’s stores — this was the north Orem location, but I called some others, too — won’t comment on the policy, referring media types to corporate headquarters. However, corporate headquarters did not respond to repeated requests for comment. So I am left to my own devices at determining why the covering-up seems to be practiced in such a slap-dash manner. My guess: monkeys. Monkeys are turned loose in the store with black cards, and wherever they put them, that’s what gets covered. Maybe sometimes it’s a box of cereal; maybe it’s a piece of ham. Pause for a moment with me and picture the process of monkey-facilitated censorship.

OK, that was fun. The Smith’s stores follow the same practice (of covering magazines, I mean; I don’t know whether monkeys are involved). According to spokesperson Marsha Gilford, Smith’s’s parent company, Kroger, asked all its stores nationwide to cover up Cosmopolitan “because they felt that cover was consistently more explicit than most.” (Two of this month’s headlines: “40 Sex Secrets of Women Who Are Great in the Sack” and “Read His Dirty Mind: The naughty wishes ALL men have.”)

Beyond Cosmo, it’s up to the individual stores, case-by-case. Currently, at the Provo store, Cosmo is the only magazine covered. Uncovered are the aforementioned Redbook and Glamour, and O: The Oprah Magazine (“Girls & Sex: You won’t believe what’s going on”).

Away from the checkstand, in the magazine department, we have the beery men’s magazines like Maxim (“7 Kinds of Sex”), Stuff (a picture of Holly Marie Combs topless, her breasts covered only with her long hair) and Blender (a picture of LeAnn Rimes topless, covering her breasts with her arms, her popularity and dignity lying neglected in a ditch somewhere), along with the muscle magazines, the Sports Illustrated swimsuit issue, and that filthy, filthy Woman’s Own. All of these are in plain view.

My issue with covering the magazines is that it’s done so haphazardly. If a magazine’s cover is consistently offensive to a lot of customers, then stop selling it. If it sells well despite offending some people, then just sell it without acting ashamed of it. Don’t straddle the fence, in other words (“6 Ways to Straddle the Fence”).

But if you’re going to cover up offensive magazines, then cover up ALL the offensive magazines. Of course, that’s a slippery slope; as mentioned, everything is offensive to someone. Madonna offends me, for example, because doesn’t she realize she is so OVER?

8 Mile

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You approach “8 Mile” apprehensively. This must be a stunt, you think. Here’s Eminem, the most popular rap star of the day, starring in a film about a poor kid who wants to become a rap star. This could be self-serving, embarrassing and hackish. This could be Mariah Carey’s “Glitter.”

But we are rescued from mediocrity by a strong script by Scott Silver (“The Mod Squad,” but forgive him), strong direction by Curtis Hanson (“Wonder Boys,” “L.A. Confidental”), and yes, strong acting by the famous Mr. Em.

Eminem (real name Marshall Mathers) plays Bunny Rabbit (real name Jimmy Smith, Jr.) a pensive, troubled kid who lives in a trailer in Detroit with his trashy mother Stephanie (Kim Basinger). His pal Future (Mekhi Phifer) runs occasional rapping competitions at the local hip-hop club, and Rabbit displays a talent for it.

Except that when the film opens, Rabbit has vomit-oriented pre-performance jitters and subsequently freezes up completely onstage. He is the only white rapper in a sea of established black artists, and he is keenly aware of the racial and cultural gap between him and his competitors. Ultimately, his only hope of success comes in embracing the differences, acknowledging his own flaws and — if you’ll excuse the time-worn movie cliche — believing in himself.

It is interesting that even by that description, the movie sounds self-serving, like it’s Eminem’s attempt to justify his existence in a market that has traditionally shunned white performers. But in fact, “8 Mile” is by turns funny and gritty, and always sincere. It has a good story to tell and it found as its star someone who happens to be a rapper in real life, that’s all.

There must be a girl, and she is Alex, a rough gal played by Brittany Murphy. When all is said and done, what purpose she serves is not entirely clear, but she is played with spunk and charisma.

I have long maintained that no film has ever been improved by the presence of a rapper. Some are not hindered, maybe, but they are never helped. I will have to modify that belief, because “8 Mile” is boosted tremendously by the talents of Eminem. He gives Rabbit a sense of dolefulness and uncertainty, like this kid is completely lost in his own world. I suspect even people who despise Eminem’s music or ideals will find his character likable. If he is playing himself, it’s a years-ago version, before he was famous, before he was hated by millions. This is the young, earnest urchin who just wants to make something of himself.

There is a quietude to the film, even though it is punctuated by a lot of music and even more yelling. Its mood is soft and even humble. It’s level-headed, not given to histrionics or cheap tricks. And it all culminates in a rap-off in the tradition of the great sports showdowns — I kept thinking of “The Karate Kid” — that could convert a few of hip-hop’s detractors.

Far From Heaven

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For his latest project, maverick writer/director Todd Haynes (“Velvet Goldmine”) has chosen to create a film in the style of a weepy 1950s melodrama. He has done it elegantly, effectively duplicating a mostly abandoned style of filmmaking while simultaneously telling a heartfelt, emotional story. Either trick would have been neat, and he’s done them both.

He has particularly followed the example of director Douglas Sirk, whose films “All That Heaven Allows” (1955) and “Imitation of Life” (1959) served as prototypes for “Far From Heaven.” For viewers unfamiliar with Sirk’s work, know that they had a lush artificiality about them, were shot on studio backlots rather than on location, and were vivid, colorful films to look at. Tragic romance was a recurring theme.

“Far From Heaven” is set in 1957 in upscale Hartford, Conn. Cathy Whitaker (Julianne Moore) is a faithful, doting housewife and part-time socialite with a successful businessman husband, Frank (Dennis Quaid), and two energetic children. Her life is the version of perfection we see in movies and TV shows from the 1950s.

Frank, however, is a closeted homosexual who begins acting on his impulses. On top of that, Cathy develops a friendship with their gardener, Raymond Deagan (Dennis Haysbert), who is black — a fact that doesn’t sit well, even in a progressive Northern town like Hartford.

Neither of those issues — homosexuality or interracial romances — were explored with much sensitivity or detail in the 1950s, and part of what makes “Far From Heaven” so brilliant is that it completely buys into its premise: This is a ’50s film, dealing with things the way they WOULD have been dealt with in those days, had they been dealt with at all.

When Frank visits a doctor (James Rebhorn) who promises to help him “cure” his homosexuality using a “modern, scientific approach,” we know the approach is probably actually barbaric and ineffective. We smile a little at the naivete of the 1950s — and then immediately are engrossed again by the characters and their plights. The tone is not ironic; it is sincere.

It would be easy for the tragedy of the story to be lost in the stylized acting — for the film to turn into a soulless gimmick — but Haynes’ top-notch cast avoids that pitfall gracefully. Julianne Moore plays her leading lady so beautifully, with such honest, heart-wrenching emotion, that it seems impossible not to nominate her for an Oscar. Dennis Haysbert — the president on TV’s “24” — is powerfully dignified as Raymond, and though Frank’s homosexuality is pushed to the background of the film for a while, Dennis Quaid’s performance is quite moving.

The details of the film are equally delightful, from the pitch-perfect dialogue — it may not be how real people spoke in the ’50s, but it’s certainly how movie characters spoke — to Cathy’s cadre of gossiping-housewife friends, to the flowery fonts used in the opening title sequence.

Edward Lachman’s vibrant cinematography adds to the film’s dewey tone, but has some subtlety, too. Most of Cathy and Frank’s conversations take place in darkened rooms, in stark contrast to the bright color that pervades the rest of the film, which looks for all the world like it was shot in 1957.

What is most important, however, is the story, which is rooted in the attitudes of the 1950s but which resonates today. Haynes has tapped into that most tragic of ideas — forbidden love — and mined some excellent melodrama from it. This is one of the year’s best films.

Almost Perfect

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“Almost Perfect” is a rare thing: A bad show that makes it easy to tell where it went wrong.

Let us trace the trajectory of this new musical comedy, written by Doug Stewart (“Saturday’s Warrior”) with music by Merrill Jenson (“Legacy”).

The trouble is not in the production. The sets are high-schoolish, yes, but bad sets do not make a bad show. The live orchestra, conducted by Sean Jackson, sounds fine. Most of the singing voices are good enough. The performances are adequate.

Nor is the trouble with the direction, necessarily. James Arrington keeps the pace up as much as he can — a near-impossibility considering how many extraneous numbers bog down the show.

The trouble with “Almost Perfect” is in its initial concept: It doesn’t have one. There is no story here. It borrows heavily from “Guys and Dolls” and “The Music Man” specifically, but more to the point, it borrows from every major musical theater work of the past 65 years, including a “dream ballet” that serves no purpose other than establishing that the authors have seen “Oklahoma!” Nothing in it is original or new, and that goes for Jenson’s perfunctory Generic Musical score, too.

Set in 1941 in a watered-down version of the watered-down version of New York found in “Guys and Dolls,” the show focuses on Jack Riley (Jeff McLean), whom we are told is a con man. His new idea is to marry rich LaRue Canfield (Allison Hawks) and take over her father’s gun-manufacturing business. He will then install co-conspirator Eddy Schumacher (Kimball Wirig) as business manager, skim off the top, and make a fortune before the company knows what hit it.

Alas, immediately upon seeing Canfield employee Anna Caruso (Andrea Ingles), Jack falls in love. Somehow, he plans to woo Anna, not marry LaRue, and yet still get all the money. (He wants Eddy to marry LaRue instead, which means Eddy will have plenty of dough; I guess Jack expects him to share.)

The conflicts are all standard musical-theater fare, as are their resolutions. What’s stunning is how little effort is put into conveying them. For example, I knew LaRue and Eddy would wind up together — they’re both secondary characters, played mostly for laughs; that’s what happens to characters like that — I just assumed the show would have it make sense somehow. But no, LaRue randomly decides, not two minutes after screaming about her undying love for Jack, that she’s REALLY in love with Eddy.

Doug Stewart knew he had to get LaRue off Jack’s case so Jack would be free to marry Anna. All I can think is that Stewart couldn’t think of a way to make that happen logically, so he gave up trying. Explaining what occurs in this show is like explaining a dream: “So LaRue’s totally in love with Jack, but then she’s in love with Eddy instead” makes as much sense as, “So I’m in my house, but then it’s not my house anymore, it’s an IHOP.”

Jack’s a jerk, too, which is a hindrance. “Bad” guys who need to reform are one thing. Lying, conniving, manipulating, dishonest jackasses are something else. How is the audience expected to stay with the show when the lead character is so unlikable?

Another character, Claudio (Clay Elder), is in love with Anna, which could make for a love triangle — except that he’s given an unnecessary character twist that removes any possible suspense over whom Anna will choose.

I get the sense that everyone was doing the best with what they were given. Show up with bland dialogue, bland music and bland lyrics and yeah, you’re going to get a bland show.

Femme Fatale

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I am assuming Rebecca Romijn-Stamos was so delighted at the prospect of STARRING in a movie — leading lady, appearing in almost every scene, and so forth — that she didn’t care what the movie was about, or how trashy it was, or whether she would ever get to wear any clothes during the filming of it.

“Femme Fatale” is not the sort of movie that appears to have been carefully considered by its stars beforehand. It’s everything you expect in a Brian DePalma film (he wrote and directed it), and more: gratuitous nudity, random gory violence, plenty of style and very little substance. By any other director, it would be dismissed as pure trash. By DePalma, it requires we pay attention to it, and THEN dismiss it as pure trash.

It’s enjoyable trash, though, at least for a while. It begins with a lusty lesbian scene in a bathroom stall at the Cannes Film Festival. One of the maker-outers is Laura Ash, played by Romijn-Stamos, who then absconds with stolen jewelry and other expensive designer-wear, at which point she apparently double-crosses her fence and makes off the loot on her own.

I say “apparently” because much of what occurs in the film is not what it appears to be. It appears that Laura becomes the wife of a diplomat (Peter Coyote), who takes her back to France, which is dangerous, since that’s where she’s a wanted woman. And it appears her cover may be blown when a paparazzi photographer named Nicolas Bardo (Antonio Banderas) snaps a shot of the diplomat’s reclusive wife and publishes it for all the world (well, all of France) to see. And it appears that things get messy from there. (Actually, that part is definitely true: Things do get messy.)

I suspect even DePalma would admit the plot is hardly relevant. What’s important here are the scenes of Rebecca Romijn-Stamos being naked or partly naked. Goodnes knows we shouldn’t pay attention to the parts where she’s acting!

We’re also meant to see, notice and admire DePalma’s visual style, which involves letting the camera lurk, loom and prowl. Taking into account the film’s final twist, which I won’t spoil, the camerawork actually makes sense and fits into a greater theme. A few other subtle details may also make the film worth a second viewing.

Except that, even as trash, it gets old. It feels longer than it is, like the whole thing is too fascinated with itself. DePalma refuses to ever completely cut loose and JUST make some trash; he tries to pretty it up and dignify it with artsy stylistic maneuvers and the occasional clever trick.

Don’t be fooled, though. This is worthless, sugary stuff — fine for the occasional filthy night out, but hardly the sort of thing you want to make a major staple in your diet.

Deathtrap

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Provo Theatre Company’s production of “Deathtrap” walks the fine line between building suspense and dragging its feet. I fear it may fall too often on the wrong side of that line, but when it’s in gear, it’s a crackerjack of a thriller.

The 1978 play by Ira Levin — which was made into a 1982 film starring Michael Caine and Christopher Reeve — is ABOUT thrillers as much as it IS a thriller, with a witty script that seems to be writing itself as it goes.

Wrap your mind around this: “Deathtrap” is a play about a playwright who comes across a new play called “Deathtrap.” As the play progresses (the play we’re watching, not the play he’s reading), the characters realize that what’s happening to them would, in fact, make for a great play. And so they wind up writing something that closely resembles what we’re watching, except they don’t have an ending for it, because, well, it hasn’t ended yet.

I may have confused you, but the play won’t. Directed by J. Scott Bronson and smartly acted by a tight five-person ensemble, “Deathtrap” falters only in its pacing. The second act is not nearly as thrilling as the first — a fact one character acknowledges — and is way too talky. Tension between the remaining central characters doesn’t build the way it ought to, and so dialogue that might have been ominous now sounds like filler.

Rick Macy is cool and sophisticated as the playwright, Sidney Bruhl, with a great sonorous voice that lends an air of dread to the proceedings. As his wife, Ann Bosler is perhaps too high-strung and fluttery to be believable; their scenes together are off-kilter, like they’re operating on entirely different speeds.

Elwon Bakly plays Clifford Anderson, the clever young playwright with whom Bruhl has an interest in collaborating, and he brings a nice energy to the role. (As a minor criticism, let me observe that Clifford wears sweaters that are far too modern for a play supposedly set before the era of home computers.) Kathryn Little brings comic relief as neighborhood psychic Helga Ten Dorp, and Mark Parmley is suitably repressed as Bruhl’s uptight lawyer.

The play’s best moments are extremely suspenseful and surprising. The theater’s intimate setting that worked so well in “Wait Until Dark” last year succeeds again in bringing the audience into the terror of the situation; surely a vast hall could never communicate such intensity.

But its less-impressive moments unfortunately make up a large chunk of the play, as we drift along, waiting to find out what will happen. It is worth watching, but you’ll be nestled back comfortably in your seat, rather than on the edge of it.

You’re Driving Me Mentally Illnessed!

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When the ATM at my bank runs out of paper, it flashes a message that says, “It’s been crazy today. Do you mind not getting a receipt?” What I wonder is if this offends crazy people, who might object to craziness being applied to such mundane things as a busy day at the bank.

The reason I wonder about this is not that I am concerned about political correctness, because of course that isn’t the case. It’s that there exists an organization dedicated to stopping insensitive references to mental illness, and their fussiness and humorlessness is of near-PETA proportions.

The organization is the National Alliance for the Mentally Ill, and they actually do a lot of good in helping improve the lives of the mentally ill through legislation, public awareness and the manufacture of soft, silky straitjackets.

I am kidding on the last one, but NAMI really is a very fine organization with good intentions. However, they also have a division called StigmaBusters whose mission, according to the Web site (www.nami.org), is “fighting the pervasive and hurtful prejudice and discrimination that exists toward persons with mental illness.” This translates into writing angry letters anytime someone uses the word “crazy” to describe people with mental illnesses, which means I guess I can expect one.

An example of StigmaBusters’ extreme touchiness: A commercial for Miracle Whip had a guy with a plate of hamburgers but no Miracle Whip available. This put him over the edge, as you can well imagine, and he wound up in a padded cell. The StigmaBusters complained that the commercial trivialized mental illness, and Kraft Foods pulled the ad. (“It’s still hard to believe that someone actually was paid to script it in the first place,” says the StigmaBuster site. However, this is true of most TV commercials, some of which are scripted not by professional writers but by hens pecking randomly at computer keyboards.)

Also: Magazine ads touting owners’ devotion and care for their Nissan Altimas said, “Known to Cause Obsessive Compulsive Disorder.” StigmaBusters swung into action, decrying the “hurtful” ad, and Nissan pulled it, which probably bothered any obsessive-compulsive people who worked at Nissan’s ad agency, who no doubt expected it to run a certain number of times before stopping.

Also: The New York Times has repeatedly offended StigmaBusters — you will observe that offending StigmaBusters is not hard — with its insensitive crossword puzzles. Often, “loony” is used as a clue for “nuts,” or “wacko” for “crazy.” This hurts the feelings of the actual loonies, nuts, wackos and crazies, apparently, and StigmaBusters complains on their behalf.

As you might suspect, Halloween is not a happy time for StigmaBusters, because exaggerations of mental illness often play a part in Halloween festivities and costumes. This year, StigmaBusters was upset with Disguise Inc., a company which manufactures a “Mental Patient” costume that consists of one (1) straitjacket. I am appalled by this, too: One straitjacket, and you think that’s a costume? Ooh, look, I put on a backpack, now I’m a student!

Anyway, one of Disguise Inc.’s major retail outlets is Spencer Gifts, a chain of mall stores specializing in unusual (i.e., tasteless) merchandise. Spencer classifies the “Mental Patient” thing as a “teen costume,” prompting StigmaBusters to observe that items making light of mental illness should not be targeted at teens, especially when teen suicide (often the result of mental disorders) is so high. “Is Spencer Gifts really trying to become known as a merchant of death?” they ask.

Spencer’s official response is, uh, no, we’re not; would you like to buy a filthy greeting card? For myself, I would like to add that this world needs a lot more of getting over it and a lot less of looking for things to be offended by. I am reminded of the words of Brigham Young, who said, “Anyone who gets offended when no offense was intended is a complete nimrod,” or words to that effect. Of course, then he was vilified by the powerful Nimrod Anti-Defamation League, but what can you do?

The Santa Clause 2

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Sigh. Halloween is over, so yeah, it must be Christmastime. It’s a little hard to get into the spirit when it’s barely November, but “The Santa Clause 2” is as cheery and festive as a movie can be, a rather tolerable little jaunt that aims at families and should do a fair job entertaining them.

It is a sequel to the 1994 hit film in which Tim Allen played an ordinary man who inherited the office of Santa. Now, it is eight years later, and Scott (for that was his pre-Kringle name) is widely considered the best Santa ever. But at the film’s outset, his elves discover an overlooked requirement: Santa must be married. Due to an arbitrary deadline — no doubt set by the same unidentified governing body that created the arbitrary Santa rules in the first place — Scott must find a Mrs. Claus by Christmas Eve, or he will lose his Santa powers and Christmas will cease to be. (Yes, apparently if Santa stops coming, Jesus won’t have been born.)

Here is a movie that tells you up front how it’s going to end. With the deadline in place, we know Scott will find a wife by the final reel. And since the only attractive woman in the film other than his ex-wife is his son’s principal Carol (Elizabeth Mitchell), it should not be a surprise who the lucky girl turns out to be.

The screenplay, written by a gaggle of scribes six members deep, is tidy and efficient. It’s the sort of script whose first 20 minutes are a foreshadowing of the last 20: If someone is good at rappelling in the first act, those skills will be used in the finale; a rambunctious young reindeer who gets laughs early on will surely prove useful in the later stages. You have to admire that kind of neatness.

The film is a bit plodding at times, dragging its feet rather than working toward its inevitable conclusion. It also sets up too many plots for itself. Not only must Scott find a wife, but he must also reconcile with his rebellious son (Eric Lloyd) AND rescue the North Pole from the life-sized toy version of himself that he left in charge while he went wife-hunting. (It is amusing that the plastic Santa becomes a ruthless dictator, by the way.)

But stick with it, and overlook the obligatory flatulence joke — no live-action family film is complete without one! — and see if the proceedings don’t produce a warmth in the general vicinity of your heart. This is sturdy, decent fare, and not overly sentimental. And if you put off seeing it until it’s ACTUALLY Christmastime, well, even better.