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Daughter from Danang (documentary)

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“Daughter from Danang” asks a difficult question: Is the love between parent and child automatic?

This searing but sensitive documentary follows Heidi Bub, a Southern gal who spent the first seven years of her life as Mai Thi Hiep, daughter of an anonymous American soldier and a Vietnamese mother. She was taken to the United States in 1975 as part of Operation Babylift, a plan where “orphans” (or children with American fathers) were taken out of the squallor of Vietnam.

Now, 22 years later, she is actively seeking her birth mother, of whom she has but a few fast-fading memories. Her adoptive mother, Ann Neville, was unsupportive and unloving, which led to a falling out between the two. (The documentary’s one significant flaw is that it’s never explained, exactly, why Ann isn’t interviewed. One assumes she was contacted and refused, but it ought to be stated one way or the other — we’re dying to hear her point of view, and if there’s a reason it’s not there, we should know what it is.)

Heidi finds her mother and travels to Vietnam, where the reunion is sweet and tearful. But something is not quite right. With the aid of a translator, mother and daughter get reacquainted. After a few days, it all becomes too overwhelming for Heidi, who feels smothered by all the affection shown her.

Heidi — and the viewer — must consider what makes the mother/daughter bond special. Is it based on biology, or is it more than that? What obligations do we have to people simply because they’re related?

The story of Heidi and her mother is compelling, and the communication between the Americanized woman and her Vietnamese family is sometimes hard to watch. The emotions are raw and will strike a nerve with anyone who’s ever had family trauma. (And who hasn’t?) Directors Gail Dolgin and Vicente Franco know good drama when they see it, and it’s all here in “Daughter from Danang,” waiting to touch you.

Love in the Time of Money

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Perhaps the most entertaining moment in the largely non-entertaining “Love in the Time of Money” is when a character played by Steve Buscemi says, “Do I seem like a desperate psycho?”

The answer, of course, is yes. That’s what he’s famous for. I can’t tell whether it’s an inside joke, or whether that line would have been there regardless of who played the part.

Either way, this is a forgettable movie. It offers nothing new, has no insights on any of its subjects, and doesn’t have dialogue that is witty or snappy or anything else beyond the norm.

I suppose its writer/director, first-timer Peter Mattei, imagines its structure to be worth noting. So I will note it, with the caveat that it’s not worth noting. The film has several pairs of characters, each leading to the next. It starts with a hooker and a creepy john; then we see the john, who is a contractor, meeting with a potential client; then we see the client with her husband; then it’s the husband with a friend; and so on. Each vignette hands one of its major players off to the next, until we finally come around to the hooker again.

This is clever enough, and such a device is not done so often as to be commonplace. It is not, however, enough to base a movie on. Like so many new filmmakers, Mattei seems to think the structure IS the story, when that clearly is not the case. Remember the gimmick of “Memento,” how the film was told in reverse order? Now remember how that movie ALSO had a great story, great writing, great acting, etc., etc.? “Love in the Time of Money” has its cute format, and little else.

It does offer good acting; we’ll give it that. Buscemi, Rosario Dawson, Vera Farmiga, Michael Imperioli, Carol Kane, Adrian Grenier, Jill Hennessy, Malcolm Gets and Domenick Lombardozzi are the nine central characters, all sinking their teeth into the roles to the extent that it’s possible, given the limited screen time each has. Kane is loopy, as is her comfort zone; Imperioli plays a suicidal Wall Street wizard; Hennessy is especially sympathetic as a frustrated housewife.

All of the pairings deal with love and/or sex. But they speak in banalities and cliches. Buscemi and Gets have a marvelously funny scene together, and there are scattered laughs elsewhere. And then it’s dry and dull as far as the eye can see.

I Spy

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“I Spy” was a moderately popular, somewhat-fondly remembered series that ran only three seasons in the 1960s. It starred Robert Culp and Bill Cosby and is noteworthy now primarily as a footnote: It was the first non-comedy series to star an African-American actor. I have never seen the show, so I cannot say how the new film version compares. I would guess they are not even remotely similar, since Eddie Murphy and Owen Wilson were not acting yet then, and since both actors are playing the same characters they always play.

Murphy is an arrogant, fast-talking champion boxer named Kelly Robinson, the sort of guy who refers to himself in the third person and who talks so fast you sometimes can’t understand him.

He is scheduled to fight in Budapest, where by coincidence an evil billionaire madman (Malcolm McDowell) is holding a top-secret invisible airplane that he stole from the U.S. government. Robinson is enlisted to help the Bureau of National Security get the plane back, teaming up with bumbling agent Alexander Scott (Wilson).

Scott is busy competing with cocky fellow agent Carlos (Gary Cole) and seeking attention from pretty lady agent Rachel (Famke Janssen), all while trying to earn respect in the bureau. If he screws this job up, he’s history!!!! Or something.

If it sounds pretty formulaic, then I have described it accurately. Men from different walks of life who dislike each other and are of different ethnicities must work together, slowly becoming friends amidst all the verbal sparring. The only thing separating this from “Rush Hour,” “Shanghai Noon,” “Blue Streak” and dozens of others is that this one is based on a TV show. The car chases, explosions and one-liners spoken while being shot at are all the same.

Murphy continues his descent into oblivion with yet another phoned-in performance. Wilson does the same down-to-earth, wry-humor shtick that has worked numerous times before and almost works here.

There is a scene where Robinson coaches Scott, Cyrano-style, on wooing Rachel, using the lyrics to “Sexual Healing” as his ammunition. Perhaps it is no coincidence that this, the film’s one funny scene, is one where Murphy and Wilson are not even in the same room.

Know Thyself

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On “The Jerry Springer Show” last week, the featured guest was a trailer-trash woman who sported a Southern accent and whose hair had been teased to within an inch of its life. She was angry because her daughter, who looked like a slightly smaller version of herself, was dating a man who was not 100-percent Caucasian. The mother, whose name was Judy, was wearing tragic leather pants that fit her ample loins so tightly they were probably rubbing the ink off the tattoos that no doubt covered her lower back.

Judy was unable to coherently summarize her disapproval of her daughter’s boyfriend, other than that he came from non-Aryan stock. Why she should care so passionately about keeping her white-trash genes pure, I don’t know; if her wild, profanity-laden behavior on national television demonstrated anything, it was that her gene pool could use a good scrubbing.

But what amazed me most as I continued to watch this parade of horrors for an entire hour was the realization that while most people watch Jerry Springer and think, “Wow, what a bunch of freaks,” there are apparently some people who watch it and say, “Hey, WE should go on that show!”

How can you live in America, watch as much TV as these people apparently do, and NOT know that Jerry Springer guests are the butt of a thousand jokes? How do people not realize they’ve become living stereotypes?

I feel the same way about the people on Jay Leno’s “Jaywalking” feature. This is where Jay goes out on the street and asks common-knowledge questions of ordinary people, and by “ordinary” of course I mean “stupid.” You get exchanges like this:

JAY: What is the capital of the United States?
MORON: Chicken strips?

Jay puts the stupidest people on his show, to be mocked and derided by their peers, who deserve a little derision themselves for watching Jay Leno in the first place instead of the much funnier, much more original “TV That Has Been Turned Off.”

But again, my question is this: Why do people submit themselves to Jay’s questions? Surely they’ve seen “The Tonight Show” and are aware that if they give the wrong answers, they will be put on TV. Are they so confident in their intelligence that they’re SURE they’ll get everything right and thus avoid being fodder? If that’s the case, then Jay has produced an intriguing paradox: The people he features in “Jaywalking,” who are clearly the dumbest, are the people who actually believed themselves to be the smartest.

While your view of yourself is ultimately the most important thing, I believe it is also important to be aware of how others are seeing you. If you think you’re smart but everyone else thinks you’re dumb, there’s a good chance everyone else is right. (If you weren’t so dumb, you could see that.) Time magazine reports that 30.5 percent of Americans are obese, but that only 19.8 percent THINK they’re obese. Which means there’s 10.7 percent out there who are obese and don’t realize it, which explains why some of them dress the way they do.

Whose job is it to tell people that the public perceives them as buffoons? Nobody’s. Well, mine, maybe, but probably not. The fact is, they provide us entertainment. The procession of inbred screamers on Springer; the pitiful, knowledge-deficient troglodytes on Leno; the hapless plus-sizes who cram themselves into revealing and unbecoming clothing — these are our entertainment. They are what amuses us. Were it not for a modest dose of self-awareness and common sense, the rest of us would be like them.

(Oh, and it’s Washington, D.C.)

Ghost Ship

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Every Halloween, a bad horror film is released, makes a few dollars from thrill-seeking 20-year-olds, then disappears from our collective consciousness before the Thanksgiving turkeys have even been executed.

This year, it’s “Ghost Ship’s” turn to suck. Like its forgotten brethren before it, “Ghost Ship” thinks gore is the same thing as terror, and that making things lunge out at viewers is the same thing as scaring them.

In the Bering Sea is a salvage ship run by Capt. Murphy (Gabriel Byrne) and his hardy crew of maritime stock characters. One of them is played by Julianna Margulies, who gets top billing, which means she will probably survive. Another one is African-American, which means he could get killed — unless he’s the comic relief, in which case he’ll live — oh, but he mentioned he has a fiancée back home, which means he has to die.

At any rate, the crew is led by a helicopter pilot named Jack (Desmond Harrington) to a ghost ship, a floating wreck they recognize as a cruise ship that disappeared in 1962. Something dreadful happened on that boat 40 years ago, and we know part of the story courtesy of the film’s tastelessly horrific prologue, in which not a few passengers are cut in half.

Naturally, once our heroes have boarded the ghost ship, weird things will begin to happen. And of course they will ignore common sense, split up and get killed separately.

There is no suspense, because even if we haven’t guessed who will survive, we don’t care enough about any of them to be concerned for their safety.

There is no dread of the ghosts, because some of them turn out to be remarkably helpful and informative.

There is no hope of a good time, because this was directed by Steve Beck — the same man who gave us last year’s Halloween stinker, “Thirteen Ghosts.” The wooden acting and ludicrous dialogue that pervaded that film are present here, too. Even as lame horror flicks go, this is lame. Go watch “The Ring” instead.

Jackass: The Movie

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“Jackass: The Movie” begins with the title characters barreling down a street in an over-sized shopping cart, punching each other as cannons shoot chunks of cinder blocks over their heads.

Being dragged behind them, oft-abused and finally defeated, is American culture. May she rest in peace.

“Jackass” is a movie only in the sense that it is projected against movie screens in movie theaters. It does not have a plot or script, and its characters are stuntmen and average Joes, not actors. Its cinematography is negligible, as much of its footage was shot with hidden cameras.

It’s difficult to review it, then, because most of the normal rules do not apply. Is it a “good” movie? Well, no. It’s crass, juvenile and pointless. But does it achieve what it sets out to do, which I assume is to entertain frat boys? Yes.

Johnny Knoxville and his energetic band of beer-fueled revelers use this film to embark on the same types of stunts and pranks that made their MTV series a hit. All that’s different is that the nudity is unblurred — for some reason, most of the stunts require the participants to wear only jockstraps — and the profanity is unbleeped. A good many of the stunts are poop-related, too, which may not have passed muster even with MTV’s lazy, dope-addled censors.

The Jackasses:

“Jackass: The Movie” (2002) B-
“Jackass: Number Two” (2006) B-
“Jackass 3D” (2010) B

Like “XXX” but without the plot, “Jackass” gives us plenty of explosions, destruction and absurdity. Men dressed in panda suits harass foreigners. Johnny and friends hide on a golf course and sound airhorns at the very moment a golfer takes his swing. Someone goes into a hardware store and, uh, “uses” one of the display toilets.

I have rarely laughed as hard as I did at this movie; however, I have also rarely been as ashamed of my laughter as I was here.

I suspect every viewer will be unable to watch at least one segment. For me, it was the one where Johnny gave himself paper cuts between his fingers and toes. Your mileage may vary.

The impression that many of the daring feats perpetrated in the film had beer behind them is no illusion: The Miller Brewing Co. is specially thanked in the closing credits.

The only way of reviewing this film is to say that if you enjoy the “Jackass” TV show, you will certainly enjoy the movie. It is, basically, the show, only bigger, longer and uncut. We will not address the ramifications of “Jackass” on Western civilization, as to do so would only depress us.

The Truth About Charlie

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We could spend hours bemoaning the tragedy of bad films made by talented people, but we’d be doing it just to hear ourselves talk.

It doesn’t matter that “The Truth About Charlie” has fine source material (it’s a remake of the 1963 Cary Grant/Audrey Hepburn film “Charade”). It’s irrelevant that the director, Jonathan Demme, also helmed the superlative “Philadelphia” and “The Silence of the Lambs.” The talents of stars Thandie Newton and Mark Wahlberg don’t matter, nor does Demme’s casually cool visual style, nor the way-hip Euro-pop musical score, nor the entertaining cameo by French singing legend Charles Aznavour.

What matters is that, regardless of the skill and potential went into it, “The Truth About Charlie” is flat, pointless and unexciting.

Set in Paris, it is a mystery-thriller about a woman (Newton) pursued by bad guys who believe she has access to $6 million her dead husband stole from a failed U.S. military action in Yugoslavia. Wahlberg plays the gallant American who tries to help her … or does he??????

What made for a cracking fine tale of espionage and double crosses in 1963 seems downright quaint now. It’s not that the twists are predictable; it’s that the audience doesn’t care.

Roger Dodger

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“Roger Dodger” is about a man who refuses to learn anything about himself because he thinks he already knows it. You could feel sad for him, if the movie weren’t so jarringly funny and if he weren’t so hilariously oblivious.

He is Roger Swanson (Campbell Scott), a Manhattan advertising copywriter who, he would have us believe, can talk a different woman into bed every night of the week, if he chooses. The film begins and ends with Roger doing what he does best — talking, endlessly, smartly, eloquently about the fairer sex.

His 16-year-old nephew, Nick (Jesse Eisenberg), in town to look at colleges, wants Uncle Roger to teach him the ways of the lothario, and the two embark on a night of on-the-job training in bars and clubs, all as Roger delivers such advice as, “Your first instinct will be to tell the truth. Fight it!”

Mixed with this are scenes from Roger’s ongoing, failing attempts to maintain a relationship with his boss, played by the radiant Isabella Rossellini. These are hints at the loser Roger really is; the question is whether he will realize it as clearly as the audience does.

Campbell Scott, whose last great performance was the lead in David Mamet’s “Spanish Prisoner” (1997), does bravura work here, in a movie whose dialogue is often as realistically stylish as the stuff Mamet writes. The movie doesn’t just rest on his character’s shoulders — it puts him under a microscope and lets us see every aspect of his personality. Scott is more than up to the task. One amazing scene follows him and Nick in one long take through a city street as he gives preliminary advice on girl-watching, speaking in tones that are so passionate they are nearly fierce. There is deep frustration underneath Roger’s cool exterior, and Scott plays it to the hilt.

Jesse Eisenberg is also quite good in his first major role (he’s the older brother of that cute little Pepsi-commercial girl). The women Roger and Nick hit on at a bar are played by Elizabeth “Showgirls” Berkly and Jennifer “Flashdance” Beals — but you’d never know it by the impressive, verbally nimble performances they give.

Dylan Kidd joins Burr Steers (“Igby Goes Down”) in the ranks of great first-time writer/directors of 2002. “Roger Dodger” does not break any new ground, but it treads over the old ground with gut-busting dark humor and mischievousness.

All or Nothing

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“All or Nothing” is about three lower-middle-class families who live in a slummy row of flats on the outskirts of London. Among their professions are taxi driver, supermarket checkout clerk and lazy teenage boy. There is a lot of yelling within the families but rarely between them.

In this compelling film by writer/director Mike Leigh (“Topsy-Turvy”), characters wander slowly into epiphanies about themselves, about their relationships, about the world. The people are sad and economically depressed, but they (and the film) ultimately rise above it –or at least see how rising above it is possible.

Phil (Timothy Spall) is a lackluster cabbie, sleeping late in the morning and missing the airport runs. He is flat broke, borrowing money from his kids and searching for change under couch cushions. He likes mumbling philosophically about fate and “kismet,” no doubt because leaving everything up to the cosmos exonerates him from having to do anything himself.

His wife, Penny (Lesley Manville), works at a grocery store and regards her husband with casual disdain: She hardly even seems to know him, and when their obese, insulting son Rory (James Corden) yells obscenities at her, she is only mildly hurt or surprised that Phil doesn’t defend her.

Across the way, Penny’s friend and co-worker Maureen (Ruth Sheen) earns a little extra on the side by doing people’s ironing. Maureen is cheerful, having learned to use humor to keep her spirits up. A single mom, she has a teenage daughter, Donna (Helen Coker), whose macho-weaselly boyfriend (Daniel Mays) has gotten her pregnant. Maureen’s defense of her daughter and reaction toward the lousy boyfriend is priceless.

The third family includes alcoholic Carol (Marion Bailey) and useless Ron (Paul Jesson), plus a daughter (Sally Hawkins) who is jealous of Donna’s apparent romantic success.

For a good little while, Leigh expertly navigates the three families’ individual dilemmas, switching back and forth enough to maintain interest in all of them, letting them feed off each other thematically. Then, curiously, he spends the last 30 minutes of the film focusing on just one, resolving their issues but leaving many other threads dangling. Why introduce the other groups at all if the focus would turn out to be on just one?

But the film is too good to be discounted because of a flaw in the structure. The characters consistently behave so believably that you forget you’re watching actors. Their experiences are familiar to us, and the performances are insightful. Some of the events are unpleasant, but we are glad to accompany these people, who seem like our friends, through them.

Derrida (documentary)

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Jacques Derrida is a well-known French philosopher — well-known as philosophers go, anyway, meaning your average guy on the street probably doesn’t know anything about him. Which is fine, because the documentary “Derrida” summarizes his thoughts for you, while also biographing the man and even analyzing the very nature of documentary filmmaking.

Directors Kirby Dick and Amy Ziering Kofman could have put together a decent-enough film just focusing on the man’s work, which includes the founding of modern deconstructionism. Derrida is a fascinating figure, with a large shock of white hair and a joking personality. His thoughts are deep, and when excerpts are quoted, viewers are liable to be momentarily lost. But the man himself is down-to-earth and relatively “normal,” and the scenes showing him being himself are charming.

In the process of interviewing him, the filmmakers found him doing what he does best: deconstructing. In particular, he deconstructs the way documentaries are made, demonstrating the impossibility of presenting a completely accurate picture, because the very presence of a camera ruins any chance of that. He points out that normally when he’s home all day, he doesn’t get out of his pajamas. But today, with the film crew following him around, he made a point of getting dressed. Ergo, the film cannot be an accurate depiction of his everyday life. This is, in short a documentary that deconstructs documentaries — an exciting idea and one executed nearly to perfection.

A few fascinating moments show Derrida watching footage of interviews already shot: Derrida on film, watching Derrida on film. His contradictions are captured as well. He refuses to get very personal with his answers, and later wonders why philosophers never get personal. When he elucidates on particular topics — love and forgiveness being two of them — it’s philosophy everyone can appreciate and ponder, offering us a glimpse of the man and his thoughts.

Dick and Kofman could have been more concise in their storytelling; footage of Derrida visiting and speaking in South Africa is rather unnecessary, for example. But this biography, dissertation and analysis rises above that quibble, vividly achieving new ground in documentaries and introducing us to a brilliant man, besides.

Blind and Def

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Because I am 75 years old and we are sitting around the dinner table, I am going to tell you about my recent health problems.

The eye situation arose first. The doctor said it was conjunctivitis, commonly known as “pinkeye,” which is a term I usually associate with children whose families live in trailers. (Also: “ringworm.”) It knocked me down a peg to discover I had it, and I had to re-examine some of my closely held generalizations, though I could not examine them very closely, what with the pinkeye and all.

The pinkeye should have gone away within 10 days, but it persisted, and a new symptom was suddenly introduced one day: extreme sensitivity to light. Ordinary sunlight was so bright, I could not keep my eyes open, which made driving very, very exciting. (Something for Utah drivers to think about: Even in my blinded state, I still managed to use my turn signal.) (Though occasionally what I was turning toward was an open trench or a store window.)

Unable to go out in the light, I wondered if I was becoming a zombie or vampire. Also, since every ailment I have causes me to believe I am dying — I never get a headache without thinking I might have brain cancer, and I’m not joking about that — I wondered if I was going blind. It caused a good deal of introspection on my part, and my conclusion was that I would be the grumpiest blind person ever. I wouldn’t even learn Braille. I would just make people read to me. I would be a total jerk, like this blind kid named Jason who was in my first grade class. He was nice enough, as long as you were catering to his every whim and giving him 100 percent special treatment because he was blind. Otherwise, he would throw tantrums and scream a lot. One time in class we were learning about worms, and the teacher said that worms don’t have eyes; instead, they feel their way around with their heads. And this girl named Melissa who I had a huge crush on said, “Just like Jason!” And everyone laughed, and Jason cried this big, fake cry, like he wasn’t even particularly offended by the joke, but he figured if he cried he’d get some special attention from the teacher. In my current line of work, I encounter a lot of people who go around looking for reasons to be offended, and they always remind me of Jason the Blind Crybaby from first grade.

Anyway, half-blind and doddering, I went back to the doctor, and he decided it must be “allergic conjunctivitis,” or pinkeye caused not by trailer people, but by allergies. The only known allergies I have are cats and algebra, and I’ve successfully avoided both for a long time, so what caused the allergic conjunctivitis was a mystery. Nonetheless, the doctor prescribed some drops that did wonders for alleviating the pinkeye symptoms, but which also made my vision blurry. So I could go outside without squinting, but everything I saw was fuzzy. I considered this an improvement, especially when I had to watch “Knockaround Guys.”

The next day, my ear began hurting, and fluids I shan’t describe began issuing from it. One night the ear throbbed as I tried to sleep, and it throbbed in such a rhythmic fashion that I wondered if I had killed an old man and buried him beneath the floorboards and was now feeling guilty about it. Except that beneath my floorboards is another condo unit, and surely the residents there would have noticed if I’d dropped an old man’s body into their living room.

So it was back to the doctor, who looked in my ear and said, “Huh. Wow. Huh. Wow.” I felt satisfaction at having impressed the doctor. It was an ear infection, we decided — which, coupled with the pinkeye, meant all I needed was chicken pox to complete the Diseases of 3-Year-Olds Trifecta.

After a lot of eye drops, ear drops and mouth pills, my senses were restored to their original functionality. Now I can relax, spend time with my grandchildren, and enjoy my golden years.

Children on Their Birthdays

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The actors in “Children on Their Birthdays” seem to have been given one instruction: Be genteel.

And so every genteel bit of dialogue from Douglas Sloan’s genteel script (based on Truman Capote’s genteel short story) is pronounced with massive, saccharine Southern gentility. I do not doubt that people in a small Alabama town just after World War II spoke like this; what I doubt is whether gentility is, in itself, enough to base a movie on.

Yet here is “Children on Their Birthdays,” a slice-of-life picture where the life is uneventful and the slice missed all the good chunks. It has several tiny bits that could have been turned into good films, but each of them is abandoned so that half-hearted attention can be paid to some other bit, which in turn is abandoned for something else, and so on.

In the idyllic post-war town of Medda, Ala., we meet Billy Bob Murphy (Joe Pichler), who is just turning 13 and who spends his summer days hanging out with his Huck Finn-ish friend Preacher (Jesse Plemons). The boys do what you’d expect: They listen to baseball games on the radio, run through fields, hatch schemes in a treehouse, and avoid doing any serious work. Billy Bob’s mother (Sheryl Lee) seems to have lost her husband in the war, and there seems to have been, at one point, a romantic connection between her and Speedy Thorne (Christopher McDonald), now the town’s auto mechanic and sheriff.

Everyone’s world gets jumbled a bit when a 13-year-old girl named Lilly Jane Bobbitt (Tania Raymonde) moves into the boarding house across the street with her mute mother (Phyllis Frelich). She’s like a miniature Scarlett O’Hara, Lilly Jane is, complete with a parasol and a manner of speaking that is unfailingly polite and verbose. Billy Bob and Preacher are both taken with her — Billy Bob in his well-bred, mannerly way, and Preacher in his grunting, throw-rocks-at-girls fashion.

What happens beyond that is of little import. There’s a tiny conflict within the town (thanks to an outsider played by Tom Arnold), a tiny resolution of that conflict, and a tiny denouement. What little crises do emerge over the course of the story are handled speedily and effortlessly, as if the movie thought it would be impolite to let conflicts intrude upon the plot.

I would like to mention that the town holds a talent show at which Lilly Jane sings (well, lip-synchs) a song that sounds like an ’80s pop-inspirational ballad, a la “The Greatest Love of All.” Lilly Jane claims to have written this song herself, which means she was truly ahead of her time, back there in the late ’40s in Alabama.

First-time director Mark Medoff seems to have had little idea what point, if any, he was trying to make. Creating a snapshot of American life from yesteryear may be a worthwhile goal, but it will require far better acting than he gets from any of his subjects here. Oh, the boys are good enough, and I suppose Sheryl Lee and Christopher McDonald don’t hurt anything. But Tom Arnold — Tom Arnold, for crying out loud! — is embarrassing. And Tania Raymonde as Lilly Jane Bobbitt demonstrates why you should ask potential actors whether they can do the accent BEFORE casting them, not after. It is hideous and funny, the way she speaks; the fact that she speaks SO MUCH pushes it over the line into the realm of irritation. This young actress is good — she played Malcolm’s girlfriend on “Malcolm in the Middle” a couple times — but this was not the role for her.

Nor is this the movie for us. Its old-fashioned values and family-appropriate content are admirable, but sitting through a movie shouldn’t be a chore, and “Children on Their Birthdays” feels like 102 minutes of taking out the garbage.

The Ring

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Within five minutes of “The Ring” beginning, one teen-age girls say to another, “Have you heard about this videotape that kills you when you watch it?” I admire a film that gets right to the point, and efficiency is just one of “The Ring’s” many virtues. It is also the scariest film of the year (so far), weaving suspense and horror through a clever story that keeps you guessing right up to the end.

Like most truly scary movies, “The Ring” has almost no onscreen violence and very little gore. The terror is in the ideas. And some of its ideas are genuinely startling.

There is a videotape full of surreal, seemingly random images circulating in Seattle. According to the legend, after you watch it you immediately receive a phone call in which an ominous voice says, “Seven days.” Then, exactly one week later, you die.

Investigative journalist Rachel Keller (Naomi Watts, far hotter than any reporter I’ve ever seen in real life) hears of the videotape after her niece apparently falls victim to it. She and three of her friends watched it together, and now they’re dead, in separate incidents. A surviving friend, who luckily was not invited to the party that night, tells the tale. Rachel locates the tape, watches it, and sure enough, gets the phone call. The clock is ticking. What is the tape, and how does one stop it from carrying out its plan?

Rachel enlists the help of her friend Noah (Martin Henderson), and the film becomes a good old-fashioned mystery, complete with red-herring characters and missing puzzle pieces. The images on the tape turn out to be not as random as they seemed, and the evil inherent in a murderous videotape has reasoning behind it, too. Stopping it becomes the issue, and that task makes up the bulk of the film. (We arrive at Day 7 with half the running time remaining.)

Director Gore Verbinski has previously given us the children’s film “Mouse Hunt,” as well as last year’s goofy “The Mexican.” “The Ring” (a remake of a Japanese film) is his first attempt at horror, and he does a masterful job with it. He uses — but doesn’t abuse — the tricks of the trade, employing jarring sound effects, creepy children and anxious pauses to great effect. One is reminded of “The Sixth Sense” and “The Others,” particularly in the sense that, like those films, “The Ring” always seems to have more on its mind than its surface-level ghost story. It’s not profound, especially, but it’s more than rampant, senseless evil.

The answer to the question, “Why is it called ‘The Ring’ instead of ‘The Tape’?” is particularly chilling.

Very few of the elements are completely original, and I can’t say every aspect of it makes sense in the end, but the movie as a whole has a fresh, exciting air about it. It maintains a palpable feeling of dread and tension primarily by implication and some carefully chosen eerie images: drowned horses here, weird little girl there, and so on. There is a point where it crosses over from giddy-suspenseful to flat-out wet-your-pants scary, which is something few films in recent years have managed.

Auto Focus

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What can be said of “Auto Focus” is what can be said of many film biographies: There are some great performances here, but why is this story being told?

Biopics are often labors of love for their writers and directors, and too often, because of their passion for the subject, filmmakers assume the audience will be as interested in the people being biographed as they are.

Usually, however, audiences have only a passing knowledge of the subject and must be enticed with a good story, just like with any other film.

“Auto Focus,” directed by Paul Schrader, has an interesting story. The subject is Bob Crane, the star of “Hogan’s Heroes” who became addicted to sex and home-made pornography and was found murdered in a hotel room in 1978. The murder was never solved.

That’s a fine starting point, but there must be more. If Crane’s slip from a serene, square life to one of depravity is a cautionary tale, who is being cautioned? The film makes no attempt to show how or why Crane was led to that life; merely that he WAS. But good films must do more than present a litany of historical details. They need to infuse them with life, purpose and reason. All “Auto Focus” does is offer up this lame platitude as its moral: “Men gotta have fun.” Well, duh.

Willem Dafoe is strong as Crane’s oily cohort John Carpenter, and the re-creations of “Hogan’s Heroes” moments are flawless and impeccable.

Greg Kinnear is nearly perfect as Crane. Going beyond a mere impersonation of the man’s voice and mannerisms, he presents Crane as a real, live person. If only the movie were as fleshed out (and not just full of flesh) as its lead performance.

Real Women Have Curves

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The best scene in “Real Women Have Curves” — the one most likely to uplift its female audience and get some respect from its male audience, if it exists — comes in the third act, when four Mexican-American women of varying sizes strip down to their underwear and compare stretch marks. That accomplished, they remain undressed and get back to work in the sweatshop that employs them, happier now that they’ve liberated themselves both literally and figuratively.

I don’t know whether such a thing is likely to occur in real life, at least not in a manner that is quite so dramatically perfect, but I do know that it defines the film. “Real Women Have Curves” is a female empowerment movie, but not a militant, angry one. Instead, it feels pleasant and authentic; it’s easy to see why it was voted audience favorite at the 2002 Sundance Film Festival.

Directed by Patricia Cardoso and based on Josefina Lopez’s play (she and George LaVoo wrote the screenplay), “Real Women Have Curves” focuses on Ana Garcia (America Ferrera), a Los Angeles-born girl who is at odds with her Mexican heritage. Her mother, Carmen (Lupe Ontiveros), is over-protective and traditional. We never hear her tell Ana she can’t date boys, but Ana seems to know it instinctively, sneaking around with a polite, gentle lad from school named Jimmy (Brian Sites) rather than asking if it’s OK.

Carmen and and Ana’s father (Jorge Cervera Jr.) insist that rather than go to college upon graduation, Ana should stay in town and work for her sister Estela (Ingrid Oliu) at her dress-making shop. Family is more important than education, and if anything’s more important than family, it’s getting married to a good man, and soon. (Estela, at 30, is already considered a lost cause in that department.)

Ana carries a few extra pounds, but is certainly not “fat,” though her mother seems to have picked up the American belief that any woman more than 5 pounds overweight is a whale. She points out Ana’s “problem” frequently. But isn’t Carmen overweight, too? “Yes,” she answers. “But I already HAVE a husband.”

If you have ever been to the parts of Los Angeles depicted here, you will immediately recognize that “Real Women Have Curves” was filmed on location. The film breathes with Hispanic culture, and the dialogue is a perfectly authentic mix of English and Spanish, as befitting the characters.

The Latino culture has been captured with all its spice and flavor, aided immeasurably by the honest, non-showy performances. The Sundance jury made up a special prize for the acting in this film, specifically for Ferrera and Ontiveros, and it was well-deserved. The love, conflict and jealousy that exists between mothers and daughters is present in these portrayals. It’s often comic and often dramatic, but always believable.

Handcart

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“Handcart” is the seventh entry in the 2 1/2-year-old Mormon cinema genre that began with “God’s Army,” and it is the most ambitious in terms of scope and subject matter.

It is also, sadly, one of the worst.

I can think of few films that were made by nicer people, and with nobler intentions, than this one. The story of the Mormon pioneers has great dramatic potential, but it is squandered here with a rickety script and some terrible acting.

Writer/director Kels Goodman sets his film within the ill-fated Martin handcart company that left too late in the season in 1856 and subsequently lost 150 of its 500 members to cold and starvation.

But first we meet Sam Hunter (Jaelan Petrie), a 20-ish man in Iowa City who has been taught to hate the Mormons by his snively shopowner uncle (Johnny Biscuit, delivering perhaps the worst performance of the year).

Fate intervenes, however, and Sam falls in love with Abigail (Stephanie Albach), a British immigrant and new Mormon convert who has stopped in town with her fellow saints before heading to Salt Lake City.

Sam is baptized a Mormon — not because he believes it, he assures his uncle, but because he wants to get close enough to Abigail to convince her Mormonism is false.

Why someone who has joined a church solely to expose its fraudulency would then follow that church across harsh terrain toward Utah is beyond me — it seems like a lot of work just to prove a point — but that’s what Sam does. Along the way, he apparently becomes truly converted, but darned if we’re shown why, how or by whom.

There is more than sufficient tragedy on the trek — by the end, people are literally tripping over dead bodies — but only in the sense of “tragedy” that includes all deaths of all nice people. Even when major characters die, it is hard to feel more than mild sadness, because even the major characters are dull ciphers. Almost without exception, the acting is flat and unconvincing. You rarely believe any of these folks are 19th-century pioneers instead of 21st-century amateur actors in uncomfortable costumes. (The all-you-can-eat buffet of bad accents doesn’t help, either.)

Among the decent performances are: Chris Kendrick as “Moose,” a rough-and-tumble figure with a heart of gold, or something like that; Gretchen Condie as Abigail’s younger sister Sarah; and Joel Bishop as company leader Edward Martin.

Among the bad performances are: just about everyone else, though some of them, like Jaelan Petrie as Sam and Lincoln Hoppe as his brother, seem to be good actors trapped in underwritten roles.

But the film’s most egregious sin is that it’s boring. The character arcs, when they exist, don’t flow; characters just wind up different, with no examination of what caused the change. The film asks excellent questions about faith — like why God would drop a snowstorm on a group of people who were only trying to do his will — but doesn’t answer them. The survivors seem to emerge with stronger faith, but again, the movie doesn’t show us why or how. The film is unsure what it wants to say, and what it does say, it does it clumsily.

Swept Away

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It’s a shame what a bad woman can do to a good man.

Guy Ritchie showed such promise with “Lock, Stock and Two Smoking Barrels” and “Snatch,” with an exciting visual style and wicked sense of humor. At some point in all that, he married Madonna, whose own sense of glamour and originality waned with the 1980s and who has clung tenaciously to our collective consciousness like a frequently made-over barnacle.

Perhaps Ritchie’s marriage to the Material Girl is immaterial, but it seems like a good enough explanation for why “Swept Away,” his latest film, sucks so bad. Madonna stars in it, and if she has ever acted with any believability or depth, it must have occurred at a time when cameras were not rolling. She plays Amber Leighton, an Uber-rich Uber-bitch taking a yacht tour in the neighborhood of Greece and Italy with her long-suffering husband Anthony (Bruce Greenwood) and two other couples.

While onboard, Amber abuses the hired help with great ferocity, in particular a hapless fellow named Giuseppe “Peppe” Esposito (Adriano Giannini, whose father played the role in the 1974 film this is a remake of). Then Amber and Peppe wind up on a desert island together, where his survival skills make him the master and her the servant, which leads to a good deal of unsettling sado-masochism, which eventually melts into what the movie would have us believe is love but which is really an outrageous plot device that would be laughable if it weren’t so creepy.

Ritchie (who wrote the screenplay in addition to directing) manages what I would have thought was impossible. Here is Madonna, who I already don’t like and who isn’t winning any points with her flat, ridiculous performance. Her character is a complete jerk who deserves anything bad that should happen to her. And yet, when Peppe began abusing her on the island, I actually couldn’t root for it. In theory, yes, bad characters deserve come-uppance. But in practice, you don’t torture or strike women in a situation like this, no matter how awful they’ve been. Ritchie manages to make us dislike both main characters, which is a dubious achievement indeed.

Gone are Ritchie’s style and wit. Gone is the mischievous sense of fun that pervaded his other films. Here instead are drudgery and inanity. It is too tempting to say “Swept Away” is a shipwreck, so we will leave that to the reader, who surely has already made the comparison.

The Transporter

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The title character in “The Transporter” is an unflappable, endlessly resourceful mercenary whose persona is somewhere between James Bond and Jackie Chan. He can maneuver out of any difficult situation, even those involving speeding cars and exploding fireballs. And in hand-to-hand combat, he’s not averse to taking off his shirt and using it as a weapon against three opponents at once.

Frank Martin (Jason Statham) is the Transporter, an ex-military loner who uses his fantastic BMW and expert driving ability to make a tidy living in the more picturesque parts of France. Need a getaway car for your bank heist, or transport for some illegal goods? No problem, as long as you can pay for the service. Frank doesn’t ask questions, and he never looks in the bag to see what he’s carrying. He’s discreet and professional, so much that when on one occasion the canvas bag seems to have something alive inside of it, he barely bats an eye before tossing it in the trunk like any other cargo.

But his human side gets the best of him and he opens the bag. Inside is a gorgeous Chinese woman, Lai (Qi Shu), with whom he winds up running after the job goes awry. There are sinister plots such as those typically found in these kinds of movies, most of them centering around a bad guy known as Wall Street (Matt Schulze).

We will have to overlook the laughably forced romance between Frank and Lai, and the police inspector (Francois Berleand) whose French accent is nearly indecipherable. It is not to the movie’s credit that the protagonist keeps his cargo bound and gagged for as long as he does, either; Frank teeters dangerously on the edge of becoming unsympathetic.

In all, though, this is an exciting bit of Euro-fluff co-written by Luc Besson, who gave us “Kiss of the Dragon” and “The Fifth Element,” and Robert Mark Kamen, who co-scripted those movies and also wrote “The Karate Kid.” So you get the idea, story-wise, where things are going.

It’s the contributions of director Corey Yuen, who has made a good many Hong Kong fight flicks, that makes “The Transporter” worth noting. Between him and first-time editor Nicolas Trembasiewicz, the film’s frenetic, stylish pace is altogether refreshing and exhilarating. The medium-tempo techno music on the soundtrack, the wry humor employed by the dryly charismatic Jason Statham, the increasingly outrageous stunt pieces — this is cool, slick stuff, ready to quench the thirst of an audience that misses the summer blockbusters.

Brown Sugar

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“Brown Sugar” is one of those romantic comedies where two people who obviously belong together are kept apart for most of the running time before they finally realize what has been obvious to the rest of us from the beginning.

It is unfair to criticize such a film for being predictable, therefore, for surprises are not endemic to the genre. A more appropriate criterion is: While waiting for the inevitable conclusion, are we charmed, entertained or amused by what happens in the meantime?

In the case of “Brown Sugar,” the answer is no. This is cookie-cutter stuff, noteworthy for having an African-American cast — black romantic comedies are still rare — but for little else. Taye Diggs and Sanaa Lathan are suave, but they’re no, say, Tom Hanks and Meg Ryan.

Lathan plays Sidney, a music-magazine editor whose best friend Dre (Diggs) is a hip-hop record producer. Hip-hop has been their common theme since childhood; Sidney, in narration, uses her love for the music as a metaphor for her love for Dre. (The film begins with an interminable montage of real music stars talking about their love affair with hip-hop.)

Dre is about to marry the lovely Reese (Nicole Ari Parker) when Sidney almost confesses her love. It is obvious they’re right for each other: At Reese’s bridal shower, Sidney knows all the answers in the Dre trivia game. The wedding occurs, much to the consternation of Sidney’s no-nonsense girlfriend Francine (Queen Latifah, breathing some much-needed fresh air into the film), and then Sidney takes up with the hunky Kelby (Boris Kodjoe), even as she and Dre continue to share everything like the best friends they are.

Instead of nestling into the groove of a time-honored formula, I found myself wishing they would just get on with it. I knew where this was going, and the scenery along the way was pretty bland.

Part of the problem is that Dre and Sidney are too slick, so cool they’re cold. You admire them as people, but their aloofness doesn’t invite warmth or compassion.

The director and co-writer (with Michael Elliot) is Rick Famuyiwa, whose “The Wood” (1999) inspired similar feelings of indifference. I love the idea of an African-American urban romantic comedy, but being black does not automatically make the characters interesting or the story original.

White Oleander

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“White Oleander” subscribes to the philosophy that if your central character suffers a lot and lives to tell about it, it is therefore an inspiring movie. “See how she didn’t kill herself?” we’re supposed to say. “Wow, that gives me a reason to live, too.”

What is lacking in the film, from TV director Peter Kosminsky and based on Janet Fitch’s Oprah-endorsed novel, is an explanation of why the teen-age protagonist is put through so much turmoil. It makes her stronger, yes — but what does it do to the audience?

The resilient central figure is Astrid (Alison Lohman), who is bounced from one foster home to another after her flighty artist mother (Michelle Pfeiffer) is imprisoned for killing a man.

One foster mom is a paranoid Jesus freak with a live-in boyfriend; one’s a depressed failed actress; one’s a Russian immigrant who steals trash and sells it at swap meets. These are played with reasonable flair and personality by Robin Wright Penn, Renee Zellweger and Svetlana Efremova, respectively, and my only question is why the film didn’t focus more on the horrendously lackluster foster-parent screening process that apparently exists in California.

The film supposes that merely watching someone triumph over adversity is the same thing as receiving renewed strength to triumph over adversity yourself. But the “triumph” in the film is only after so much drudgery that it would be impossible for the post-trauma high to match the mid-trauma low. We’re never as uplifted as we are depressed, in other words.

Alison Lohman’s performance is admirable, and Michelle Pfeiffer is once again beautifully tough as the hardened prison babe. I just wish they were performing somewhere other than in a morose, dour drama like this one.

The Rules of Attraction

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If it is possible, “The Rules of Attraction” actually isn’t trashy enough to do justice to its source material.

That would be Bret Easton Ellis’ 1986 novel, a scathing satire of debauchery among college students in the mid-80s. The book is fueled by cocaine, beer-drinking and wanton sexual promiscuity, highlighting how some people reacted to the general economic prosperity of the Reagan Era.

The movie, adapted and directed by “Pulp Fiction” co-writer Roger Avary, retains only some of the bacchanalia that pervades the novel. A worse misstep, however, is in moving the setting from 1985 to approximately 2002, without altering anything else. The ideals are mid-’80s, as is the drug of choice (cocaine). Even the soundtrack is full of Depeche Mode and George Michael. Avary has put the clothes and hairstyles into a new decade, but left the movie’s soul back in the ’80s. Put simply, “The Rules of Attraction” doesn’t work in a 2002 setting. That’s not to say college students don’t still party 24 hours a day; it’s just that the partying is different, and it’s no longer a reflection of America in general.

That is how the movie does not live up to the book. How the movie lives up to itself is the real issue, though, and taken on its own merits, it’s a technically proficient, well-acted bit of unimportance. Few films have worked harder to accomplish such nothingness.

In an extended opening sequence set at a party, we meet the principal figures, all students at a New England liberal arts college. There is Lauren (Shannon Sossamon), who pines for her boyfriend Victor (Kip Pardue), who is gallivanting in Europe. There is also Paul (Ian Somerhalder), her bisexual — but mostly gay — ex-boyfriend, who develops a crush on the mostly straight Sean (James Van Der Beek). There is also a large supporting cast of revelers and sexual predators; one gets the sense that attending this particular college requires having a substantial tolerance for sleep deprivation and beer.

Through various characters’ points of view, we see every angle of the party and its follow-up parties. The film is about truth being relative, and things not being what they appear to be, and Avary adapts Easton’s multi-narrator novel with infectious enthusiasm. Things occur, and then the film reverses itself, moving the characters back to the starting point so we can observe everything again from a different perspective. It is vastly entertaining to watch.

Avary takes delight in breaking down expectations. Witness the casting of squeaky-clean TV heartthrob James Van Der Beek in a role fraught with sexuality and obscenity. Former child star Fred Savage also appears in the film as a doped-up acquaintance of Paul’s.

For his part, Van Der Beek plays Sean with a combination of frustration, lust and rage that is altogether appropriate. Sean seems unsure where to put all of these sharp emotions; Van Der Beek is only slightly more sure, as if his performance is just barely under control.

Brilliantly decadent in their one scene are Faye Dunaway and Swoosie Kurtz as the socialite mothers of Paul and Paul’s friend Richard, respectively. Richard is played with fiendish, drunken abandon by newcomer Russell Sams.

There is a divine scene where the screen is split down the middle, one half following Sean and the other half on Lauren. They eventually meet in a hallway, each half of the screen giving us a close-up of the character speaking to the camera, which represents the other person. Then, in a moment that gives movie nerds like me goosebumps, each camera pivots, bringing the two halves together seamlessly into one shot. I doubt it symbolizes anything, but the coolness of it makes it worth the effort.

Another tragic, darkly funny scene has a girl committing suicide while Harry Nilsson’s “Without You” plays on the soundtrack. That black, caustic sense of humor is the film’s best attribute, though it virtually guarantees its mostly likely audience — teenagers — will not enjoy it.

So there is much to admire here, but what does it all add up to? Alas, the danger of dealing with characters who go nowhere and do nothing is that the film may turn out to go nowhere and do nothing right along with them. “The Rules of Attraction” falls into that trap, recounting the death of romance so effectively that, sure enough, the movie is devoid of feeling. Overall, it is like the one-night stands its characters constantly undertake: fun while it lasts, but ultimately unsatisfying.

Below

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Much of “Below” is spent keeping the characters in the dark, often literally, about what’s going on. This is an admirable manifestation of the law in movies that the less we see of the monster/ghost/maniac, the scarier it is.

Eventually, however, you do need to show us something. “Below” procrastinates that moment for too long, and when we finally do discover what’s happening, the answer is rather disappointing. It’s a case of the symptoms — the weird noises, the creepy phenomena — being more interesting than the disease.

Those symptoms, though, are fantastically creepy, and “Below” is an excellent ride until its finale. It is set in 1943 on a submarine — an ideally claustrophobic place for a horror film, you’ll agree; there is literally no place anyone can run to, and director David Twohy (“Pitch Black”) exploits that fully. The tight corridors and small round windows, the eerie silence outside, the lack of contact with the rest of the world — if there’s a killer among you, this is the last place you want to be.

The American crew of this sub picks up the three survivors of a hospital ship that was attacked, unprovoked. They are a German, a British man and a British nurse, Claire (Olivia Williams), who doesn’t divulge the German’s Germanness until it is too late and his actions become suspect.

We slowly learn of what has previously taken place aboard the U.S.S. Tiger Shark. It has only recently come under the stern leadership of the weathered Lt. Brice (Bruce Greenwood), the previous skipper having died in an accident. Capt. O’Dell (Matthew Davis), fresh-faced and eager, doesn’t trust the new commander, nor agree with most of his actions regarding the new arrivals.

But the below-deck politics are secondary to the phenomena that begin to occur, involving ethereal voices and ghostly images. Something or someone appears to be targeting the sub; the question is whether the forces at work are supernatural or caused by man — and, more to the point, what do they WANT?

The uncertainty of what we’re looking for gives the film a great advantage. In most horror films, we know approximately what the villain is — at least whether it’s a ghost, a person or a monster — but here we are struck with the dark realization that it could be ANYTHING. (I am particularly impressed with one hair-raising scene involving a mirror and a transient reflection.) Some seamen repairing an outer part of the submarine are harassed by a school of barracudas — irrelevant, maybe, but valuable in establishing the general dangers that face these men even without deliberate mayhem being caused by unseen forces.

The acting is heightened, with characters barking a lot of things at each other without a lot of regard for nuance. The dialogue, by Twohy, Darren Aronofsky and newcomer Lucas Sussman, is not as good as it ought to be, given Aronofsky’s resume (“Requiem for a Dream”). But maybe it does make sense, given Twohy’s past work (“Waterworld,” “G.I. Jane”).

At any rate, the atmosphere is effectively tense and forbidding for most of the film. The ending may not satisfy you, but you’ll have enjoyed most of the proceedings to that point. And if by chance you work on a submarine, you will probably have a hard time reporting to work Monday.

Knockaround Guys

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After being pushed back for 2 1/2 years, this ridiculous little gangster film is finally being released by New Line. If you’re going to see it, you’ve probably got about a week to do so.

The release is most likely to cash in on the current popularity of Vin Diesel, who co-stars with Barry Pepper as sons of Brooklyn Mafia figures. A third friend, played by Seth Green, botches a job and loses a satchel full of cash in rural Montana, leading Diesel, Pepper and yet another friend (Andrew Davoli, the only one of the lot who passes for Italian-American) to fly out and try to save the day, all to avoid angering their underworld parents and uncles (among whom are John Malkovich and Dennis Hopper).

Co-directed and co-written by Brian Koppelman and David Levien (the team who gave us “Rounders”), “Knockaround Guys” has a few amusing moments but mostly takes itself too seriously — a shame, since the dialogue and acting are laughable. It is essentially a parade of actors like John Malkovich and Seth Green trying to convince us they’re mobsters, and I, for one, ain’t buyin’ it. Even the stalest “Sopranos” episode is better than this.

Tuck Everlasting

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“Tuck Everlasting” is uncommon for a live-action Disney film. It has no flatulence jokes, for one thing, and it ruminates elegantly on matters of mortality and death far more than is typical of any family film.

It is directed by Jay Russell, whose “My Dog Skip” also dealt with innocence and the surprising depth that can be found in the emotions of children. “Tuck Everlasting,” adapted by Jeffrey Lieber and James V. Hart, is faithful to the poignant story and gentle spirit of Natalie Babbitt’s novel, though some of the impact gets lost in the translation.

The time is 100 years ago, when the rough-and-tumble spirit of the American west was beginning to clash with the stiff manners of the elegant life some Americans sought to cultivate. Teen-ager Winnie Foster (Alexis Bledel) is the daughter of wealthy, formal parents (Amy Irving and Victor Garber) who don’t allow her to do anything frivolous. Then she meets the Tucks, a curious family for whom time seems to be no object, who seem to live life in a carefree manner — except for some secret burden that weighs them down heavily.

Jesse (Jonathan Jackson), the younger son, is smitten with Winnie. His older brother, Miles (Scott Bairstow), is far more serious and somber. Their parents, the kindly Mae (Sissy Spacek) and Angus (William Hurt), are generous but sad. Something is not right with this family, but Winnie is drawn to them.

The acting throughout is restrained and respectable, particularly from Sissy Spacek, whose lines often border on the poetic, and from the fresh-faced Alexis Bledel. Her romance with Jonathan Jackson, sure to have teens swooning, conveys much of the giddy recklessness of young love.

The one exception in the acting department is Ben Kingsley, who is too over-the-top and sinister as the mysterious Man in the Yellow Suit. I believe he belongs in a different movie, one where villains have curly mustaches and sneer at the heroines.

Russell’s hand is even and his tone is kind; he knows he is making a decent, good-hearted film, not a braying crowd-pleaser. There is much to admire in costume and scenic design, and in the general feeling of sweetness that pervades the film.

If you could live forever, would you? That’s the question at hand, but the film does not address it as completely as it should. The audience who will appreciate the young romance probably will not appreciate the film’s ending, which may be too mature and unromantic for their tastes. Where the book spent many paragraphs debating the ethics of the “Would you live forever?” quandary, the movie gives only some cursory philosophical declarations before moving on to the conclusion. It’s a good destination, but the road to it needs more clarification.

Comedian (documentary)

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Though his onstage demeanor suggests a casual, nonchalant attitude toward life, Jerry Seinfeld actually has an amazingly strong work ethic.

This is the man who took his eponymous sitcom off the air in 1998, at the height of its popularity, to keep it from overstaying its welcome.

Later that year, he retired all his old material, vowing never to do it again and to come up with a new act from scratch.

“Seinfeld” could still be producing new episodes today. Jerry could do his old jokes for another 20 years. But the man has a thing for quality that is admirable and, to be frank, somewhat rare in the modern entertainment era. (Admit it: You’d do any kind of TV show for $1 million an episode, even a bad one.)

“Comedian” is an entertaining new documentary that shows how Seinfeld is working to create that new batch of jokes. Stand-up comedy is designed to look effortless; what Seinfeld and his cohorts will have you know is that it’s grueling, agonizing work, fine-tuning jokes so that every word is perfectly chosen.

Seinfeld went back to the seedy comedy clubs of his early career, and the camera follows him. His pal Colin Quinn observes that Seinfeld’s fame can only get him so far: “You get a little bit of a break up front,” he says. “Then you still gotta be funny.”

Indeed, the standing ovations and wild cheers that greet Seinfeld can turn to cold silence if he stumbles in the joke-telling. One harrowing scene shows Seinfeld completely losing his train of thought in the middle of his act. The audience is forgiving, until someone hollers, “Is this your first gig?” You’d think watching a multi-millionaire squirm would be more enjoyable, but Seinfeld is such a beloved figure that it’s hard to see him suffer.

Fortunately, most of “Comedian” is filled with better moments, offering true insight into the nature of comedy and how it comes to be.

Contrasting with Seinfeld’s coolness and likability is a young comedian named Orny Adams, a whiny, abrasive comic who wants so desperately to be famous that he blows off constructive criticism and obsesses over everything to the point of being permanently unhappy. Seeing his career charted alongside Seinfeld’s just makes Jerry all the more endearing.

Not only is our Mr. Seinfeld funny; he’s also, by all appearances, a great guy. For his fans, nothing could be better than seeing how it all comes together.

Bowling for Columbine (documentary)

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Michael Moore’s approach in his new documentary “Bowling for Columbine” is that of an investigative journalist, right down to being snarky and badly dressed.

His subject matter is guns in America, but he doesn’t start out with a particular point to prove, other than what we already know: Too many people in this country are killed by guns. The film is a record of his attempt to find answers. He methodically tries one line of thought, which leads to new ways of thinking, and he tries those, too. We see the whole process. If Moore were writing a thesis paper, this extraordinary film would serve as his research notes.

Moore’s politics do come through, but they’re balanced. He grew up in hunting-happy Michigan and is a member of the NRA, but doesn’t seem opposed to the idea of reasonable gun control. Mostly, he is perplexed: Canada has 7 million guns in 10 million homes — a very high per-capita rate of gun ownership — yet only a couple hundred gun-related deaths per year. In the United States, there are 11,000 gun deaths every year. What is so different about America that makes us kill each other?

And so “Bowling for Columbine,” while focusing on guns, really comes to be about fear. People are afraid of their cities, afraid of people who have guns, afraid not to have guns themselves. Moore explores possible causes like racial tension, violent music and the media, occasionally with humor, often with brash, ambush-journalism techniques, always with an unquenchable curiosity.

We meet Oklahoma City bomber Terry Nichols’ brother James, who was briefly a suspect, too. James Nichols is clearly an arms fanatic, and a stereotpyical one, railing against the “guvment”; he is probably even an embarrassment to the NRA. At the other end of the spectrum, we meet an alarmingly lucid and thoughtful Marilyn Manson, whose music was blamed for the Columbine shootings.

Somewhere in the middle of that spectrum, Moore actually nails an interview with NRA president Charlton Heston. (He does it by walking up to Heston’s house, ringing the bell, and requesting an interview.) The NRA held a convention in Denver just 10 days after Columbine, and made another stop in Flint, Mich., just after a 6-year-old girl there had the distinction of becoming the youngest school-shooting victim in American history. Moore asks Heston about these moves; the entire interview is riveting and squirm-inducing.

There is also a moving sequence in which Moore takes two Columbine survivors to K-Mart headquarters, to protest the chain’s selling of the 17-cent bullets that almost killed them and that still reside in their bodies.

Moore’s work as a documentarian is impressive. There is a sequence in which we see footage from the Columbine surveillance cameras during the attack, accompanied by 911 recordings. There is no other narration. Moore lets the words and images speak for themselves. The impact is startling. Three-and-a-half years later, and even after another, more destructive national tragedy, Columbine is still a vivid, horrific nightmare in the national consciousness.

Someone observes that when kids can get guns and commit that sort of mass murder, something is clearly wrong. The question, then, is what that something is. Just having the guns apparently doesn’t lead to wanton killing; look at Canada.

I said “Bowling for Columbine” is a record of Moore’s attempt to find answers. What’s scary is that there don’t seem to be any. As a documentary of a man’s search for clarity, and regardless of one’s own politics, “Bowling for Columbine” is a powerful piece of work.

Punch-Drunk Love

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Adam Sandler gives a performance in “Punch-Drunk Love” that is nearly Oscar-worthy. That sound you hear is the Four Horsemen of the Apocalypse galloping through Hollywood.

What writer/director Paul Thomas Anderson — of “Boogie Nights” and “Magnolia” fame — saw in the infantile Sandler, I don’t know. But be grateful he cast him, and let us not doubt Mr. Anderson again. At this point, he has engendered so much good will with “Punch-Drunk Love” that he could cast Pauly Shore as George Washington and critics wouldn’t bat an eye.

In retrospect, it makes sense. (Casting Sandler in this film, I mean.) Sandler’s characters are usually misfits, loners or psychos. They generally erupt into violent rages at some point. When they’re not raving, they tend to be laid-back and understated.

All of these elements are manifest, albeit in less comedic tones, in Barry Egan, the man Sandler plays in “Punch-Drunk.” Barry owns a business that sells novelty plungers, and he suffers from unexplained fits of rage and depression. He is manipulated and belittled by his seven sisters. He is devastatingly unhappy.

Into this life come four disparate new factors. First, a harmonium is mysteriously dropped into the street outside Barry’s warehouse. Second, Barry hits on a way to earn a billion frequent-flyer miles through a Healthy Choice foods promotion, due to a loophole in the rules. Third, he is harassed by a Provo, Utah-based phone-sex operator who has obtained his credit card information. And fourth, he meets Lena Leonard (Emily Watson), a quiet, lovely woman who is smitten with him.

Barry muddles through each of these situations with alternating degrees of apprehension and obsession. Sandler plays him as vulnerable and sweet, often with uncontrollable, heartbreaking emotion.

Watson plays her part nicely as well, giving Lena the right strengths to offset Barry’s weaknesses. What makes this such a grand romance film — and that’s ultimately what it is — is how genuinely suited the characters are for each other. They don’t fit because they’re Hollywood-style gorgeous, which is why people in movies are often expected to wind up together. It’s because they need each other — possibly the most sublime reason a movie could give.

As is occasionally the case with Anderson, particularly in “Magnolia,” some of the random, unexplained events of “Punch-Drunk Love” border on the pretentious. The harmonium fits into that category; where did it come from, and what does it mean? Anderson has a nice story and a couple of fantastic characters to work with, making superfluous weirdness unnecessary.

But such stylistic matters don’t detract from the central performances, which are beautifully done. It’s a lovely film, and that’s something I never thought I’d say about anything Adam Sandler had touched.

Les Is More

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On a recent airline flight, I was seated next to two lesbians. Actually, I only have evidence that one of them was a lesbian, because she had her hand placed lovingly on the other’s leg for the entire flight. If the second woman was straight, she was pretty lazy about defending her heterosexuality.

Of course, women can get away with a lot more physical contact than men can without necessarily being gay. Two women could kiss and and still be considered “straight,” while a man is assumed gay if he so much as doesn’t have a girlfriend.

But my point is, there are lesbians afoot, both in Utah and in the real world. Even Utah County has lesbians — two of them, to be exact. Their names are Wendy Weaver and Rachael Smith, and they are partners. And I don’t mean business partners. (I mean lesbian partners.) They have been in the news periodically over the past five years because some parents want Weaver dismissed from her teaching position at Spanish Fork High School on the grounds that her sexual orientation makes her unfit to teach.

This is a thorny issue, and we will attempt to deal with it here in a manner that is fair, even-handed and containing a lot of lesbian jokes. We will also try to use the word “lesbian” as often as possible.

First of all, what subject does Weaver teach? If it is something like hair styling or fashion design, I can see why a lesbian would not be right for the job. You wouldn’t want a gay man teaching auto repair, either, and most straight men could not handle women’s studies. But Weaver teaches psychology, which means she might as well teach the history of long division for as much as students will be paying attention.

She used to coach girls’ volleyball, too, but was fired from that position when she refused to sign a statement saying she would not discuss her sexual orientation with students. I find it difficult to believe a girls’ volleyball coach would actually have to come out and SAY she’s a lesbian for students to think she is, but whatever. I don’t think any teacher, gay or straight, ought to be discussing his or her sexual orientation with students. My primary reason for this is: Ewww. Who wants to hear high school teachers talk about sex?

Homosexuality is a hot topic in Utah. Most people are “against” it, which can mean anything from having a live-and-let-live attitude, to wishing fiery, painful death upon all practicers. And of course being against homosexuality means you have to talk about it all the time. Only in San Francisco is homosexuality discussed more than in Utah.

Homosexuality is such a big deal here that in 1998, when the Daily Herald ran a front-page story about Wendy Weaver and Rachael Smith, including a photo of the two hugging in a very non-suggestive, casual, we’re-just-friends sort of way, at least 50 people canceled their subscriptions. (I am guessing they found another way to glean daily information about news events in Utah County, perhaps by hanging out at Floyd’s Barbershop, or by talking to people who still read the Daily Herald.) The picture itself was harmless and said very little. But when filtered through readers’ knowledge of the accompanying story, it became pornographic and lewd.

And so in this environment comes the current controversy, over whether a homosexual is fit to teach high school. I say the same standards should be applied to all teachers, carbonated and non-carbonated: Don’t talk about your personal sex life with students. Don’t make sexual advances toward your students. Don’t harm your students in any way, and that includes assigning homework over the weekend.

Regardless of my opinions on homosexuality, which you’ll notice I have not expressed, I admire Mrs. and Mrs. Weaver for standing up for what they believe in. But I also question their sanity a little: Why would any homosexual choose to be out of the closet in Utah, where the level of compassion for people who are “different” is lower than a BYU hemline? If Wendy Weaver is unfit to teach, it’s for being a glutton for punishment, not for being gay.

A Novel Concept

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Until about a year ago, I rarely read novels. I had myself convinced they were too long and that my attention span was too short. Then I realized that was absurd, that surely I could focus my mind on something long enough to — look, a shiny thing!

Sorry, where was I? Yes, I was talking about food. At Red Rock Brewery in Salt Lake, they have an appetizer called “warm goat cheese.” When a friend urged me to try it, I told him I don’t want anything warm that came from a goat. I thought that was pretty funny.

Books. I was talking about books.

I finally buckled down and began reading novels and was surprised to learn how fast I can get through them. Of course, like an illiterate man who has recently learned to read, or a foreigner just learning the language, I started with young adult fiction. Am I embarrassed to be seen in public reading something written from the point of view of a 14-year-old British girl and called “Knocked out by My Nunga-Nungas”? Yes, but not as embarrassed as I was checking it out from the library.

Speaking of being embarrassed at the library, I was recently embarrassed on behalf of the 50-ish gal who trundled up to the information desk and said, loudly, “I’m looking for ‘Less Miserables,'” pronounced exactly as I just wrote it: “less miserables.” I wondered whether she wanted to read a translation, or if perhaps her interests were more scholarly and she planned to hunker down and scour the original French text of “Less Miserables.”

Anyway, once I’d been through the young adult fiction, I began to desire a true challenge. I debated whether to read “Atlas Shrugged” by Ayn Rand. This is a massive, heavy book with a lot of words and very, very few cartoon illustrations. It is not a pop-up book, nor does it contain a great deal of rhyming. It has been recommended to me by friends. But I thought: Do I want to be the sort of person who reads “Atlas Shrugged”? Next thing you know, I’m growing a goatee and hanging out in coffee shops and, worse, telling people about how great “Atlas Shrugged” is.

Instead, I picked up a magazine called True Experiences. It was the “Collectors’ Keepsake Anniversary Issue!,” not to mention “A Treasury Of The Best Stories Ever!” On the cover was a vaguely pretty blond woman who was smiling for the camera as if her family were being held hostage and she was being ordered at gunpoint to smile for the camera. She had a look about her that suggested she was a Kansas girl who had just gotten off the bus in Hollywood and would be working in the porn industry within three days; her smile had a porny air about it. Around her picture were the titles of the various “true experiences” being retold in this issue, including: “If You Ever Leave Me, I’ll Kill You!”; “She Killed My Baby, Now I’m Taking Hers”; and “Only Six Months to Live: I’m Not Ready to Die!”

Obviously, it would have been impossible for me not to buy this magazine.

The stories are written anonymously and almost certainly do not have a grain of truth in them. They’re also rather boring, surprisingly enough. It’s the titles that are titillating: “Desperate for Illicit Sex” is one, followed by this summary: “Stolen moments of secret sin were what I lived for. Still, I couldn’t tame my married lover’s wild heart.” Instantly, you know what this story is about, and you know you probably don’t actually want to read it, now that you think about it. It’s trash — pure, unadulterated, adultery-related trash.

So I turned from that unfulfilling dreck back to the more respectable American novel, in this case “Catcher in the Rye.” It’s barely less salacious than True Experiences, but at least it has the distinction of having been banned by some high schools. Books are fun, and they — ooh, a butterfly!

Moonlight Mile

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You need only observe the brief moment when a dog vomits during a wake to understand that “Moonlight Mile,” while preoccupied with the aftermath of a tragic death, is not going to be unreasonably melancholy.

This is especially reassuring when one sees it was written and directed by Brad Silberling, whose “City of Angels” (1998) was more brooding and somber than many viewers could handle.

Silberling has based this film on his own experience with the parents of actress Rebecca Shaeffer, whom he was dating when she was killed in 1989. The film is touching and thoughtful, but also extremely funny, which in itself is one of the film’s points: Life can be funny, even when you are grieving.

Prior to the film’s beginning, circa 1970, a young woman named Diana has died. She was shot by a madman who entered a diner to kill his waitress wife; Diana, unfortunately, was sitting in his line of fire.

She has left behind a fiancé, Joe (Jake Gyllenhaal), who had moved to her Cape Cod home to prepare for their life together. He’s been staying with her parents, Ben (Dustin Hoffman) and JoJo (Susan Sarandon), and now the stay is to last indefinitely. If Joe has parents of his own, they are never mentioned. He had plans to become a partner in Ben’s small commercial real estate business, and those plans continue now because … well, because Joe can’t think of anything better to do.

(When it comes to films whose post-adolescent protagonists are uncertain about the future, “The Graduate” is the prototype. Note that “The Graduate” starred Dustin Hoffman as a character named Ben, just as “Moonlight Mile” has a supporting character played by Dustin Hoffman and named Ben.)

Ben and JoJo grieve without really grieving. Ben throws himself into his work — a cliché among grieving movie characters, perhaps, but I admire Dustin Hoffman for finding new life in it. And JoJo, a blunt, honest writer, finds release by making sarcastic comments about the friends who came to the funeral, and also by throwing “helpful” books with titles like “These Things Happen” and “Grieving for Grownups” into the fireplace.

Joe meets a local mail carrier named Bertie (a feisty Ellen Pompeo) who has lost someone, too. By night, Bertie helps run a bar that sits on the block of Main Street that Joe, Ben and an aging developer named Mulcahey (Dabney Coleman) want to take over.

Joe’s dilemma over whether to help his would-be father-in-law put the bar out of business is a disappointingly conventional plot device for a film that is otherwise so fresh. Ditto a courtroom scene near the end: Beware of courtroom scenes in movies that are not, overall, court-centered movies. It’s a screenwriter’s lazy way of forcing his characters to say what’s on their minds, under oath, in a neat, tidy little speech.

But anyway. Twenty-two-year-old Jake Gyllenhaal continues to establish himself as one of his generation’s best actors with his heartbreakingly sympathetic performance as Joe. The suddenness with which he can go from passivity to great emotion is startling; it perfectly mirrors the real-life roller coaster of the grieving process. And the manner in which he plays a darkly comic scene with Mulcahey’s family is nothing short of genius.

As JoJo, Susan Sarandon is worthy of an Oscar nomination. What first appears to be a cynical defense mechanism slowly reveals itself to be, simply, the way she is. She is splendidly vulnerable, as is Hoffman, who is such a brilliant, diverse actor that things like this look easy when he does them.

It is also nice to see Dabney Coleman as a wannabe-ruthless, it’s-a-new-world land developer. (“Mom and Pop have gone to sleep with the gas on,” he says of old-fashioned markets and shops. “They’re history.”) Holly Hunter is good in a few scenes as Ben and JoJo’s sympathetic, feisty attorney.

Silberling has found that the most effective way to help an audience feel something is not to beat them over the head with it. At its heart, this is every bit as melancholy and sad as its subject matter suggests, but Silberling’s style allows for humor and hope, joy and optimism. In the end, we feel we’ve been on the same search for meaning that Joe has, and that the journey has enriched us the way it has him.

Red Dragon

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1986’s “Manhunter” was a competent but unremarkable adaptation of Thomas Harris’ 1981 novel “Red Dragon” — itself a competent but unremarkable psychological thriller that introduced the world to Hannibal Lecter.

Lecter had a small part in the book, and in Michael Mann’s film, where he was chillingly portrayed by Brian Cox (recently of “Super Troopers” and “The Rookie”). Lecter resonated, though, and Harris’ sequel, “The Silence of the Lambs,” gave him a meatier (sorry) role, even though he was serving essentially the same function of helping the FBI catch a killer while messing with an agent’s mind.

The film “Silence of the Lambs” (1991) won Anthony Hopkins an Oscar and made Hannibal Lecter a cultural icon, soon to be parodied and imitated by countless other films. That response prompted Harris to write a third book, this time called “Hannibal” and focusing a great deal on its title character.

That book, like the 2001 film that followed it, made the mistake of assuming that because we enjoy a villain in occasional glimpses means we’d like to see him as the main player. In fact, Lecter was better as a small, key figure. He is a cannibal, after all, a distinction that becomes garishly funny rather than scary when administered in large doses.

Which brings us to “Red Dragon,” the new film that could be called a remake of “Manhunter” but that is more accurately simply a new adaptation of the original novel.

It is also a prequel to the “Silence of the Lambs” film, casting Hopkins in what has become his signature role, all due respect to Brian Cox (who was offered the part in the 1991 film but turned it down).

It seems neat and orderly to remake “Red Dragon” with Hopkins. It was messy to have to name two actors who had played Lecter; now we can say it’s Hopkins’ role and let “Manhunter” and Brian Cox become footnotes.

But “Red Dragon,” directed by Brett Ratner ( “Rush Hour”), is more than an obsessive-compulsive completion of a set. It is, in its own right, a thrilling and compelling film, meeting the dual goals of telling a good story and satisfying the morbid cravings of an audience dying to see more of Hannibal Lecter.

Lecter, whom Hopkins still plays with unblinking maniacal glee, is given more to do than the novel gave him, but not so much that he becomes gratuitous.

Taken on their own, Lecter’s contributions to this film would be creepy but not extraordinary. “Red Dragon” works best as a prequel — a film that takes place before, but was made after, the others. We are given goosebumps by him mostly because of his reputation, even though the events that earned it for him have not, technically, happened yet.

In a fantastic prologue that reads like the climax of a different movie — may I suggest another prequel? — we meet both Lecter and FBI agent Will Graham (Edward Norton). Graham, injured by Lecter in his capture of him, retires from the force and adopts a passive lifestyle in Florida, fixing boats and lazing about with his wife Molly (Mary-Louise Parker) and son Josh (Tyler Patrick Jones).

His ability to understand the thought processes of psychopaths, which made him a legend in law enforcement, was a burden, too. He is glad to let it lie dormant.

It is with reluctance, then, that he accepts the call of FBI buddy Jack Crawford (Harvey Keitel) to help catch a new killer. He has murdered two families on successive full moons; it seems likely he will strike again. There are few clues. Graham’s expertise — and his unsettling rapport with evil genius Lecter, now imprisoned — are needed.

Old wounds are reopened. Graham has to face Lecter again; he is once more hounded by sleazy tabloidist Freddy Lounds (Philip Seymour Hoffman, once again brilliant as a mealy-mouthed loser); and his unique “gift” for thinking like a murderer returns.

Not much time is lost before we meet our maniac of the month. He is Francis Dolarhyde, a cleft-palated loner who works at a film-developing plant. He is played with subtle, crafty schizophrenia by Ralph Fiennes, whose steely blue stare matches Hopkins’ and whose performance also recalls that of another Anthony — Perkins, in “Psycho.” (Norman Bates and Francis Dolarhyde share a few maternal issues, too.)

Both Edward Norton and his character seem overwhelmed by their portentous surroundings, lost amid the shrieking musical score and more interesting performances. Norton is fine, but he looks too young and frail. When it’s over, you may have forgotten he was in the film.

The screenplay is by Ted Tally, who won an Oscar for his “Silence of the Lambs” adaptation. He has masterfully streamlined and focused Harris’ novel, cutting out the extraneous parts and altering the ending just enough to give it a clever twist without changing the outcome (and it’s still more faithful to the book than “Manhunter” was).

He has also added a postscript that eerily sets up “Silence of the Lambs.” George Lucas can only dream of creating a prequel as organic, effective and ominous as this one.

24 Hour Party People

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“24 Hour Party People” is the true story of Factory Records, the label at the front of the ’70s and ’80s New Wave movement in pop music. If you remember Joy Division, you know what the movie is talking about. If you LOVED Joy Division, the movie is your dream come true.

Casual observers of the Manchester music scene will find less to enjoy in the film, as it makes little effort to tell the story in a compelling or exciting manner. There are interesting storytelling methods, but the story itself is rather straightforward and ordinary.

Those methods save the film, though. There are more details of general interest about the movie than there are within it.

It is in the style of a documentary, directed by Michael Winterbottom and written by Frank Cottrell Boyce (this is their fifth collaboration). The look is authentic. Were it not for the film’s self-referential attitude, you could believe it was an actual documentary.

The central figure, Factory head Tony Wilson, is played by British comic actor Steve Coogan, whose most famous character is a guy called Alan Partridge, which apparently was based on Tony Wilson.

Tony is an amusingly casual narrator, often stopping the action to tell us what’s about to happen, or even to warn us about a scene that was cut but that will surely be on the DVD. Several of the people the movie is about appear in it, not as themselves, but in small roles on the periphery. Tony points them out to us, too. At one point, he berates himself for not having told us sooner that he had children with his second wife. As deliberately messy as the film is, and as chaotic as the music scene was, Tony’s style fits right in. (Also somehow appropriate are the often indecipherable Manchester accents. Subtitles would not have been amiss.)

As the New Wave movement progresses, we are subjected to the standard scenes of decadence and drug use, and the usual cautionary tales about how what goes up must come down. Fans of that period of music should see the film post-haste; others may enjoy it purely from a filmmaking perspective, in which category it succeeds pretty well.

Bloody Sunday

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I hoped “Bloody Sunday” would end with the U2 song of that name playing over the closing credits. I was not disappointed in that regard, nor, for the most part, with the film itself. A dreadful day in Irish history is given passionate, if somewhat flawed, treatment.

Bloody Sunday — Jan. 30, 1972 — was the start of the modern “troubles” in Ireland. Politician Ivan Cooper tried to lead a peaceful march through the city of Derry, protesting the strict manner in which Britain was governing Ireland. During the march, British troops fired at unarmed citizens, killing 13 of them. A half-hearted investigation was made, and those responsible were never punished.

Writer/director/cinematographer Paul Greengrass confines his film to the day itself. Whatever background is needed is given as we go; the consequences of what happened that day are left for other historians to tell. Greengrass employs a striking documentary style, which, combined with dead-accurate hairstyles and clothes, makes it so you’d never know the film wasn’t 30 years old, shot the day of the march. There isn’t even a musical score. Only the presence of some recognizable actors prevents this from looking like a very well edited home movie.

The idealistic Ivan Cooper is played with earnestness and conviction by James Nesbitt. Other figures include a young Catholic rebel named Gerry, and various military personnel. The cast, composed entirely of British actors, is huge; one senses they knew they were re-creating an important moment of history and sought to enact it with intelligence and grace.

It is hard to imagine staying with the film through its long pre-shooting stretches if one didn’t know the eventual outcome. There is a great deal of confusion — Greengrass forgets it’s possible to DEPICT chaos (which viewers like) without BEING chaotic (which turns viewers off). The ultra-thick accents are often difficult for American ears to decipher; here, the realistic style — which means not everyone has a microphone right next to his face — backfires a little.

But when the action truly starts, and innocent people are gunned down, it is horrifying. No question, Greengrass is on the side of the Irish. If the British troops had any reason for believing what they did was right, that point of view is not expressed here.

It is like a war movie, and also a bit like a disaster movie, where characters are introduced, trouble happens, and we see who lives and who dies. That it’s based on actual events and is a faithful retelling of them makes it all the more resonant.

The Man from Elysian Fields

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Where “The Man from Elysian Fields” rises from the level of ordinary to excellent is in the details — specifically, in what director George Hickenlooper smartly chooses not to show us.

There is an old man in it, a gregarious old coot of a novelist played by James Coburn, who is dying. We are spared a deathbed scene, and the scenes of him suffering and wheezing that many lesser films would have felt obligated to show are not present, either.

Two of the principal characters have sex, but it is implied more than shown. Again, we get the idea.

As a young would-be novelist, played by Andy Garcia, writes about migrant workers, we see the vast amount of research he undertakes all in one shot. The camera slowly pans across a desk covered with books whose titles indicate their subject matter, and we understand that he is doing research. That’s it; message conveyed; we move on.

If there were deathbed scenes, or explicit sexuality, or sequences of Andy Garcia conversing breathlessly with his wife about Cesar Chavez, “The Man from Elysian Fields” would quickly become commonplace, the sort of movie that does things by rote. Instead, it strikes me as a literate, respectable film that explores familiar themes in a new way.

Garcia plays Byron Tiller, a Pasadena man whose first novel, a thriller called “Hitler’s Son,” failed to set the literary world on fire. As a result, he cannot find a publisher for his new book, the one about migrant workers. He fears his devoted, intelligent wife Dena (Julianna Margulies) cannot bear to know her husband’s a failure — their version of foreplay is to quote glowing reviews of “Hitler’s Son” to each other — so he tells her the book will be published as planned.

In the meantime, he becomes increasingly desperate to make money to support his family (he has a young son, too). Enter Luther Fox (Mick Jagger), a well-dressed, impossibly thin man whose first name makes you think of Lucifer and whose last name suggests craftiness. This is not a man you would want to strike up a business deal with; the fact that he is played by Mick Jagger makes associations with him seems all the more unwise. But our hero is in dire straits, and what Luther is offering seems reasonable.

Luther runs Elysian Fields, a classy escort service. They provide handsome, charming men, mostly to old ladies who need an arm to lean on at the opera and a companion for dinner. Sex is not necessarily required; Byron hopes it won’t be. Just going out with a woman will involve lying to Dena, but it doesn’t have to mean cheating on her.

His first client is Andrea Alcott (Olivia Williams), a gorgeous young woman whose husband is the aforementioned dying novelist, Tobias Alcott, a fraction of whose genius Byron would love to get his hands on. Tobias approves of his wife’s behavior; he knows he isn’t much good to her now and wants her to be happy, even if it means seeing other men. Tobias and Byron become friends. Surely this arrangement cannot end well.

I am impressed with Phillip Jayson Lasker’s script, which allows the characters to be themselves and not just pawns of the plot — that is, the characters and their behavior drive the plot, not the other way around.

Andy Garcia gives Byron a quiet gravity that is very effective. As he becomes increasingly involved with the Alcotts, we get a palpable sense of how it must feel to be in such a predicament, a happy relationship that is nonetheless wrong, a situation that becomes more out-of-control the longer it goes on.

James Coburn, in one of his last film roles, is fantastic as the garrulous old author. A posthumous Oscar nomination might not be amiss — not because he’s dead, but because it’s a great supporting performance, offering the right blend of humor and pathos (which is an apt description of the entire movie, actually).

And in the wreckage of Mick Jagger can be found the remains of a handsome man, the sort of aging lothario you can see running an escort service. He has a couple of scenes with one of his own clients, played by Anjelica Huston, and the emotions he uses are sublime.

Is pain required to write great fiction? Must we always be held accountable for our sins? These are among the questions addressed in this very good, very insightful, very enjoyable film.

You Have the Right to Remain Fat

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I had no idea Utah County’s jail was in a remote part of Spanish Fork until I had to go there over the weekend to bail out my brother.

This is my Big Fat Greek Brother Jeff we’re talking about, and you should know he hadn’t committed any major, violent crime. Violence is not in his nature (at least not against people; pies are another matter, and there are several all-you-can-eat buffets that tremble when they see him coming).

The arrest came because he had neglected to pay a traffic ticket a few months ago. This led to a warrant being issued against him, and when he got pulled over for having only one functioning headlight (well, for his CAR having only one functioning headlight), the cop discovered the warrant, put Jeff in handcuffs, crammed him into the backseat of the squad car, possibly with the aid of a shoehorn, and hauled him off to jail. Jeff got arrested for laziness, essentially, which I can totally see.

I learned of all this when I received a phone call from a friend of Jeff’s who had been riding with him at the time. He said I would have to purchase Jeff’s freedom by posting bail, which was set at $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.)

Jeff's Mugshot
My Big Fat Greek Brother Jeff: the actual police mugshot!

So I headed to the nether regions of Spanish Fork, which is already in the nether regions of civilization, to fetch Jeff out of the hoosegow. It seems awfully inconvenient to put a jail so far from the county’s population center. Unless a majority of criminals come from Spanish Fork, in which case it makes perfect sense.

The reason, of course, is that people don’t like to have jails near their homes. I don’t exactly understand this. In terms of building asthetics and the caliber of people it attracts, a jail is no worse than a Wal-Mart. And even if the jail has a high incidence of people escaping, it seems unlikely they’d be stopping off at neighborhood homes to commit more crimes on their way out of town, especially given that it’s a county jail, and most inmates are there for being drunk or for not paying traffic tickets and aren’t liable to try escaping anyway, what with being too drunk or too lazy. I wouldn’t mind having a jail in my neighborhood in Orem, especially if it made it easier to visit family members. As it is, Jeff lives in Provo, and I hardly see him.

At any rate, I learned that personal checks are the one form of payment the jail does not take, but credit and debit cards are OK, and I assume cash works, too. Who has $650 cash lying around, I don’t know. I suspect bail amounts are not chosen for reasons of convenience.

(How are they chosen? Is it like airline tickets, where prices are determined by drawing random numbers from a hat? Or is there a conversion chart somewhere, “1 unpaid traffic ticket + 1 non-functioning headlight = $650”?)

At the jail you are not allowed to have any direct contact with the police officers. They stand behind thick windows and communicate with you via telephone receiver, and to hand documents and debit cards back and forth, there’s a metal drawer you put the stuff in that slides from your side of the glass to theirs. It is the same procedure used in leper colonies. I wondered if I would receive Jeff via sliding drawer, too, but that did not turn out to be the case.

He had been in jail for only 45 minutes when I retrieved him, and he seemed none the worse for the wear. In fact, he thought it was all pretty funny, though his smile faded quickly when he learned the county had assessed his worth at only $650. I told him that in my book, he’s worth $650 plus the $22 overdraft fee.

School Bites

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For some reason, I allowed my TV to show me a local news broadcast the other night, and I heard the anchorperson say this: “Coming up next, a school’s show-and-tell time gone horribly wrong!”

I was intrigued, of course. Anytime a newscaster tell you something has gone “horribly wrong,” you know you’re in for a treat. (Why don’t things ever go any other kind of wrong, by the way? “Pleasantly wrong,” or “casually wrong,” or “magnificently wrong,” for example.)

Since this was TV news, alerting viewers to important events was not the priority. Instead, the focus was on teasing us, to keep us watching for as long as possible. If it were discovered at noon that the world would end before midnight, the TV news would say, “You may die today. Find out why at 10.”

So after a commercial break and some scripted banter among the anchors, the story about show-and-tell time gone horribly wrong was told. What happened was, there was a tiger at a school assembly in Scotts Valley, Calif., and it jumped over some seats and put its mouth around a kid’s head. The boy received relatively minor injuries, considering his head had been in a tiger’s mouth, and is now doing fine. The tiger is now a pantsuit.

No, surprisingly, the tiger was not put to sleep, and what a dreadful pantsuit that would have been anyway. Usually, when a thing like this happens, the animal is summarily executed despite acting only in the manner prescribed by nature, and whichever human beings were responsible for letting it happen get off scot-free — seriously, not a bit of scot on them.

Entirely without scot, so far, is Zoo to You Wildlife Education Inc., a child-terrorization agency that brought the tiger to the assembly as a reward for students who had sold magazine subscriptions, and as a punishment for students whom administrators had determined ought to be beheaded.

(In fairness, Zoo to You has an excellent reputation and seems, on its Web site, to be genuinely sorry about the incident. In unfairness, tell that to the kid who’s cleaning tiger saliva out of his nightmares for the next 20 years.)

According to the TV newsperson, “parents are now questioning what the tiger was doing there in the first place.”

That’s always a question you ask in hindsight, isn’t it? “You know, in retrospect, perhaps bringing the wild jungle cat into a room full of children wasn’t the best idea,” you say. “Maybe a mime would have been less deadly and only slightly more traumatic.” But it’s a little late for would-haves, Hector.

So it really wasn’t “show-and-tell” after all, despite what the TV person said. Show-and-tell is when kids bring items from home and share them with classmates, not when outside organizations come in to promote the devouring of kindergarteners.

Show-and-tell is what my 4-year-old friend Miles has at the pre-school he attends in Orem. Miles is the son of Claire and Monty, who you’ll recall recently spent a year in England, and who also have a 2-year-old son named Owen, who acts as if he has crazy bees in his head.

For show-and-tell, Miles, the non-crazy child, has taken the following items to school:

– His Viewmaster, an item I didn’t realize was still being manufactured in this day and age;

– Post-It Notes;

– Glow-in-the-dark adhesive stars that you can stick on your wall to make it look like you live in outer space. (Miles reports: “Some of the kids were wondering if they were glow-in-the-light, but I said, ‘No, they’re just glow-in-the-dark.'”)

I believe Miles has captured the true essence of show-and-tell in that the objects he chooses reflect the whimsy and innocence of his youth. Also, the Post-It Notes did not attempt to eat anyone. School administrators should take note: After a GOOD assembly, no one needs stitches.

The Tuxedo

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Jackie Chan is egregiously misused in “The Tuxedo,” a confused film that aspires to be a superhero flick, screwball comedy and martial arts movie all at once.

Chan’s charms are in his remarkable fighting skills, of course, not in his acting or elocution. Therefore, any film misguided enough to minimize his fighting scenes and maximize his talking scenes deserves the fate “The Tuxedo” will probably receive: quick dismissal to the dollar theaters and eventual purgation from our collective consciousness.

Chan plays Jimmy Tong, a hapless cab driver in an unnamed New York sort of city who becomes personal driver to the super-suave Clark Devlin (Jason Isaacs). When Devlin is nearly killed by assassins, it befalls Jimmy to don Devlin’s magic tuxedo and avenge him, in conjunction with the secret government agency that Devlin apparently worked for.

Jimmy and his hand-me-down special monkey suit are partnered with Del Blaine, a brand-new agent so stupid she actually believes Jimmy Tong is Clark Devlin. She is played by Jennifer Love Hewitt, who demonstrates no ability for physical comedy or general wackiness, much less any chemistry with Chan. She is one of the worst things about this very bad movie.

The James Bondian villain is Diedrich Banning (Ritchie Coster), a bottled-water magnate who seeks — what else? — to rule the world. Coster’s quirky performance is good for a couple laughs.

The exuberance of Chan’s action films comes from knowing it’s really him on the screen, doing all his own stunts and really, actually fighting as acrobatically and energetically as he appears to be. Here, the effect is ruined. What little fighting he does is enhanced by that damn tuxedo, which makes his abilities superhuman. The scenes thus become a marvel of special effects, not of Jackie Chan’s physical prowess. In short, it’s boring.

One of the marks of a bad movie is when, even within the film’s fictional world, things still don’t make sense. “The Tuxedo,” from first-time director Kevin Donovan, has that in spades. Even accepting that thugs have sneaked up on Jimmy and tied a rope around his neck, how does Del not realize he’s being attacked when she turns around and sees him thrashing about? Even accepting that Jimmy has accidentally knocked James Brown unconscious, why would it occur to him to then attempt to perform in his place?

The plot progresses as a series of a ill-conceived jokes strung together with no regard for coherence or the audience’s intelligence. Dress it up as nicely as you want, a bad movie is a bad movie.

Sweet Home Alabama

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The message behind “Sweet Home Alabama” is that Reese Witherspoon is cute. It has no other point; in the hands of almost any other actress I can think of, it would have been nearly unwatchable. Even with her, it is only tolerable, the affable sort of movie you have on in the background to provide a few chuckles while you do something else.

Witherspoon plays Melanie Carmichael, a New York fashion designer on the cusp of becoming the next Big Thing. Her fiance, Andrew Hennings (Patrick Dempsey), is the son of the mayor (Candice Bergen) and has political aspirations himself. But his first priority is Melanie, whom he loves so much that he rents out Tiffany and Co. one night so he can propose to her in privacy and elegance.

Melanie happily says yes — to the dismay of the distrustful mayor, whose reasons for disliking Melanie are not clear — but first must fly home to rural Alabama to divorce the husband of her youth. He is Jake Perry (Josh Lucas), a congenial but shiftless fellow who started as Melanie’s childhood friend, became her teen-age husband, and for the past seven years has been her stubborn skeleton in the closet. He refuses to grant her a divorce because he still loves her, and being home again reminds Melanie that maybe she’s not as far “above” Alabama life as she thought she was.

All that remains is for the movie to kill time until the inevitable conclusion, and that’s where it fails. The whimsical backwoods folks who make up the supporting cast are pleasant enough, but hardly worth watching. The snares and pitfalls that emerge on Melanie’s path to true love are neither original nor funny; they’re just bland. Though the film is not long, it feels longer than it should be. The diversions offered to prevent the end from coming too soon simply aren’t entertaining.

The screenplay, by unknowns Douglas J. Eboch and C. Jay Cox, forgets that we’ve seen all of this before, and often. The direction, by Andy Tennant (“Anna and the King,” “Ever After”), is nothing more than competent. Only Reese Witherspoon — charismatic and feisty as ever — is worth keeping an eye on. And even that’s mostly because of her wardrobe.

Charly

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Though it is probably the most popular Latter-day Saint teen romance novel of all time, Jack Weyland’s “Charly” is nonetheless a very bad book. It attempts to compress a lengthy story spanning several years into 100 pages, rushing through every conflict like a videotape on fast-forward. Characters behave irrationally and change suddenly, all in the apparent interest of getting the whole thing over with in less time than most books choose to allot themselves.

Its potential as a movie, then, was considerable: Films are better equipped than books to squeeze a lot of information into a short space. Plenty of movies successfully depict characters’ entire lives and still occupy no more than a couple hours; books usually need a few hundred pages to accomplish that.

Directed with great competence and compassion by first-timer Adam Thomas Anderegg, the film version of the book (adapted by Janine Whetten Gilbert) is true to Weyland’s story while expanding and improving it.

Charlene “Charly” Riley (Heather Beers) is a fun-loving girl visiting family in Salt Lake City. She is set up with — foisted upon, perhaps — Sam Roberts (Jeremy Elliott), a strait-laced, humorless Mormon lad. They are destined to fall in love, of course — but she has a fiancé (Adam Johnson) back in New York, and her parents (Gary Neilson and Lisa McCammon) are fearful of her increasing interest in Sam and his Mormonism.

That’s the first half of the movie, the happy half. Then comes the weepy half. The book tells you the outcome up front, but the film doesn’t, so I won’t say any more.

The film stock is good; the cinematography is nice; the supporting cast is strong; the production values all indicate professionalism and talent. But the movie’s greatest asset and liability are its two stars.

As Charly, newcomer Heather Beers is splendid. I don’t even like Charly in the beginning — she’s too flighty and single-mindedly free-spirited — yet I like Beers in spite of my issues with her character. She has charm, energy and wit.

“Charly” earns the audience’s tears at the end, rather than forcing them out of us, because of Beers’ commitment and skill level. By the end, she has deftly woven maturity and gravity into Charly’s persona.

Her co-star, Jeremy Elliott — in his third LDS film this year — does not fare as well. In his first scene, he seems relatively normal. Almost instantly, in the next scene, he is nerdy and uptight. He overdoes the “repressed Mormon boy” bit to the point that he becomes one-dimensional.

As a result, the film’s third act — which should be about whether faith has practical applications in real life — falters, failing to completely address the issues it needs to. Elliott’s performance simply isn’t compelling enough to shoulder the weight of the film without Beers next to him. His soon-to-be-infamous “breakdown” scene, which involves throwing a lot of paint around, is one of the least convincing moments in recent memory.

The movie’s sentiments are lovely, and for the most part they are expressed well. To the extent that Mormon doctrine is present, it is delivered without much sermonizing. It is a likable story, told with competence.

The Fall of Television

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When we refer to the “new TV season,” we must note that the word “new” is being used facetiously. There is nothing new about the shows premiering this month. The situations, the jokes and the plots are the same. Using a template, you can create shows that the networks will probably come up with, too, if you give them enough time.

The “Guy Starts over with a New Life” family drama
“Head Trip.” A wealthy, selfish Wall Street tycoon only cares about money and beautiful women, both of which he has access to in vast supply. Then, he learns what’s really important in life after his head is severed in a boating accident. No longer able to see, hear, speak or think, he stumbles around New York City, teaching valuable lessons to strangers about the meaning of life and the importance of sitting down when the boat is going fast. Craig T. Nelson stars.

The “Celebrity Gets a Show in Which He Basically Plays Himself” sitcom
“Life with Adolf.” Adolf Hitler stars as Adolf McGee, a short, silly-looking man who’s a tyrant at the small carpet-store he owns … but he plays second fiddle to his free-spirited wife (Lisa Kudrow) and his precocious kids at home! Sample dialogue:

ADOLF: I can’t believe you got your ear pierced!
SON: Don’t get mad, Dad. All the kids are doing it!
ADOLF: Mad? I’m not mad. I’m Fuhrer-ous!

Each episode ends with a hug and the audience saying, “Awwwww,” and then “Heil!”

The “‘Family’ Show That Airs During the ‘Family’ Hour That Is Full of Dirty Jokes” sitcom
“Up Yores.” The Yore family — Dad, Mom, trashy teen-age daughter, sullen teen-age daughter and smart-aleck pre-teen son — move up the New England coastline to live in Nantucket. There they meet a variety of odd local characters with whom they engage in smutty repartee. In a Very Special Episode, the trashy teen-age daughter starts her own adults-only Web site; hilarity ensues.

The “Legal Drama Where Everything Gets Solved in an Hour” show
“Lawyer Cop.” Dennis Franz IS Lawyer Cop, the man who is a lawyer and a cop. As a loose-cannon cop who plays by his own rules but always get the job done, he’d tough as nails and won’t let the scum take over this city (because he lost his son to drugs years ago and now it’s personal). So each week he catches a bad guy single-handedly, even though he often gets so personally involved that the chief (Brian Dennehy) takes him off the case. Then, in the second half of the show, because he is a lawyer who graduated magna cum laude from Harvard, Lawyer Cop prosecutes the bad guy in court and eventually wins. Except every now and then, Lawyer Cop loses a case, and it teaches us all some very profound lessons. Like the importance of sitting down when the boat is going fast, for example.

Some Body to Love

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BYU President Merrill J. Bateman reminded students a couple weeks ago that their bodies are temples and ought to be treated as such. This is important advice, because many students treat their bodies not like temples but like sugar refineries or waste-treatment plants or petting zoos.

When I was a student at President Bateman’s university, I exercised regularly and attempted to stay in relatively good health. Now, such ideas mystify me; I cannot recall how or why I ever felt that way. My current goal is to see how fat I can get. I view it as a science project. This is ironic, since the most interest I ever showed in science when I was at BYU was in finding reasons not to go to Biology 100 (which, in a bit of even deeper irony, I had to take twice, having failed it the first time due to my poor attendance).

Issues of health and obesity have been in the news lately after 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.

But the issue is probably not one of fatness, but of whose fault the fatness is. Barber sued McDonald’s, Burger King, Wendy’s and Kentucky Fried Chicken — coincidentally, the four chains with the most money — saying they are to blame for his being the biggest, fattest man in the world.

(The following is an actual quote, which you can read for yourself at http://www.cnn.com/2002/LAW/08/19/fast.food.lawsuit/index.html.)

“For years, I ate fast food because it was efficient and cheap,” he said on CNN in August, his salty breath barely escaping the confines of his huge, floppy jowls. “I had no idea I could be damaging my health.”

That’s right: He had NO IDEA fast food might be bad for him. Which means he ought to be suing his parents or the public school system, too, because in addition to being the biggest, fattest man in the world, he is also apparently the stupidest.

Speaking of food and health and whatnot, the LDS Church’s Missionary Training Center had to evacuate 1,200 of its trainees Wednesday night because there was a gas leak. No one suffered any lasting effects and everyone was back in class the next morning after what was probably the most thrilling night they will ever have at the MTC. (“Dude, we got EVACUATED! We were out until MIDNIGHT!”)

If you, like me, spent the first part of your missionary experience at the Provo facility, then you know which jokes I’m going to make about there being too much “gas” at the Missionary Training Center. The flatulence level there is legendary. My MTC companion had some sort of intestinal disorder that, coupled with the carbohydrate-rich MTC food, caused him to emit the flatulations of the damned. They were like shrapnel, filling every cubic inch of the room immediately upon being launched, yellowing the eyes and singeing the neckties of anyone present.

Which brings us back to President Bateman’s remarks on treating our bodies right. “When we understand that the body is a temple, we will not deface it,” he said in his devotional address on Sept. 10. “We will understand the importance of modest dress. We will understand the incongruity of individuals stripping to the waist and painting their faces and bodies at football games.”

Unless President Bateman has seen women doing this, or men doing it not at football games but at church functions, I’m not sure what he means by “incongruity.” He can’t be saying there’s no excuse for going shirtless in public or for painting one’s face, because most water-related sports require toplessness and pretty much all stage acting requires makeup. I guess it doesn’t apply to me anyway, since I’m not a BYU student and I don’t take off my shirt in public or paint my face at all. My body is not the sort of temple you’d want to see half-exposed or painted blue, not even in the interest of science.

The Diary of Anne Frank

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Hale Center Theater Orem’s tiny, cramped theater is the perfect setting for “The Diary of Anne Frank,” which is being produced there now. With literally no space between audience members and actors, viewers are liable to feel as though they are hiding in the attic along with the Franks. Of course, if that were true, they’d have been caught long ago, with all the talking those audiences do.

This production, directed by Syd Riggs, is sensitive and emotional. Big, showy acting has no place in a quiet drama like this — nor, I think, in any show being produced in such an intimate setting — and Riggs has guided her actors to the right balance of passion and restraint.

As Anne, the teen-age girl upon whose true story the play is based, Rachel Woodward is nothing less than fantastic. She is spirited and optimistic, wide-eyed with an expressive, pixie-ish mouth. In some productions of this play, Anne comes across as annoyingly sunny. Here, Woodward makes all her Pollyanna-esque platitudes sound legitimate, like the actual, non-delusional beliefs of a hopeful girl.

Art Allen is also especially good as Anne’s father. Allen has played Noah in Michael McLean’s “The Ark” three times, and Mr. Frank is a similar role. Personable and kind, he has to preside over multiple families sharing cramped quarters under extreme conditions. He comes across as unbreakable of spirit and gentle of soul.

The rest of the cast is strong, too. Dustin Harding plays Peter Van Daan, with Cosette West and Larson Holyoak as his parents; Melanie Harding is Mrs. Frank; Jolene Sayers is Anne’s sister Margot; Mark Taggart is the persnickety Mr. Dussel; and Meg Sherman Grierson and Mark Shipley play Miep and Kraler, who sneak food and supplies to the hidden families. To a person, the performances are natural and down-to-earth.

Also worthy of mention is the makeup (by Brad Montgomery) which in the second act is effectively used to make everyone look sickly, wan and haunted.

This play is a risk for the Hale, which rarely does anything other than comedies and musicals. It was a risk worth taking, for the finished product is admirable.

Should you go? Yes. Everyone needs a little drama in their diet now and then.

Spirited Away

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There is spiritualism and weirdness aplenty in “Spirited Away,” an animated film that is among the most delightful, imaginative stories I’ve seen all year.

It is the highest-grossing film in Japan’s history, which may be due more to a quirk of public opinion than to actual, legitimate greatness, but the film is certainly worthy of note.

What to say about a movie that has a mind-controlling black slug in it, not to mention a huge-headed grandmother figure who rules a countryside bathhouse with an iron fist? And does “Spirited Away” also feature something called a “stink spirit” that has bicycles, wrenches and other miscellaneous parts lodged in its blobby exterior? Yes. Yes it does.

“Alice in Wonderland” comes to mind, especially if Lewis Carroll had smoked more opium than he already did. Yet “Spirited Away” manages more than just goofy imagery and odd characters. It has a classical heroine on a quest, epic adventure, and some real gravity, too. You can see the writer/director, Hayao Miyazaki (“Princess Mononoke”), occasionally wiping tears of laughter from his eyes and saying, “OK, OK, let’s get serious here for a minute.”

The heroine is young Chihiro (voice of Daveigh Chase), a smart, lonely 10-year-old who is sad to be moving to a new city with her working-class parents. On the way, they are distracted by what appears to be an old amusement park, where Mom and Dad are turned into pigs, Pleasure Island-style. Turns out it’s not an amusement park but a sort of resort spa frequented only by spirits and other supernatural beings. Humans are mistrusted and disliked, making Chihiro the odd girl out.

She is befriended, though, by Haku (Jason Marsden), who tells her that in order to save her parents and return to the human world, she must get a job working for the people who run the bathhouse. Haku does not explain why the indentured servitude is necessary, but he seems to speak with authority. Chihiro first tries the crotchety, spiderish old coal furnaceman (David Ogden Stiers), then goes right to the top: Yubaba (Suzanne Pleshette), the aforementioned aged spinster. Chihiro signs a contract and gets a new name, Sen. Some to-do is made over the idea of losing one’s name as a metaphor for losing one’s self, but only for a minute. Then the film takes another puff and it’s back to no-faced monsters and enormous talking toads.

A second look:

2/15/2012: Re-Views: ‘Spirited Away’ (2002)

Then it’s one grand episode after another: dealing with the stink spirit, saving Haku, rescuing this person, reversing the spell on that person; you know the drill. Throughout it, there is much wry humor and sympathetic characterization, aided by some excellent voice work. It’s a full half hour longer than most animated films, but it’s worth every minute.

Ballistic: Ecks vs. Sever

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Even by dumb action-movie standards, “Ballistic: Ecks vs. Sever” is a dumb action movie. It is yet another film whose director (Wych Kaosayananda) believes using slow-motion is enough to create excitement, and that fighting is the same thing as advancing the plot.

It is based on a video game, which I believe tells you everything you need to know. [Correction: Actually, the video game, released a year ahead of the film, was based on the screenplay. A second game was released afterward.] The story involves a bad guy whose son was kidnapped by his black-clad, butt-kicking employee, Sever (Lucy Liu), but she had good reasons for doing it. There’s nanite technology that enables villains to assassinate people with the push of a button, miles away, and somehow the bad guy, Gant (Gregg Henry), is involved.

Oh, and Gant is married to Vinn (Talisa Soto), who used to be married to FBI agent Ecks (Antonio Banderas), but then she thought he died so she married this idiot. But Ecks wasn’t dead, and now he’s been harassed back into active duty so he can stop Sever, whose good-intentioned mission seems to include a lot of killing.

Eventually, they realize they are on the same side and both want Gant taken care of, and so it stops being Ecks vs. Sever and starts being Ecks and Sever, which is kind of heart-warming, in its way.

There is no acting in the movie. All the participants merely behave really seriously and say their silly dialogue with straight faces. And a lot of things get blown up. I mean, A LOT of things.

“Ballistic” is a wan, pale imitation of an action movie. It looks more like a standard episode of some USA Network series that is light on brain and heavy on immature enthusiasm for mayhem. It has no flash or style or wit. It may not be the worst movie of the year, but it is almost certainly one of the most pointless.

Secretary

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You may be required — grudgingly, perhaps — to admire “Secretary” for its devotion to its concept. It posits that no relationship should be considered taboo or unacceptable as long as both parties are getting fulfillment out of it, and that includes sadomasochistic couples.

If you are turned off already, you are well within your rights, and I suspect even director Steven Shainberg would freely admit “Secretary” is not for everyone. It contains no graphic sex or violence (or even implied violence), but the relationship between quirky perfectionist lawyer E. Edward Grey (James Spader) and his obsessive secretary Lee (Maggie Gyllenhaal) is uncomfortable and squirmish. Not to mention funny, upbeat and oddly compelling.

Lee has just returned home from a mental institution, but her parents’ dissolving marriage and her father’s inappropriate advances toward her drive her back to the same old habits of self-mutilation and other obsessions. She gets a job working for Edward, and a spanking he administers after she submits a typo-ridden letter unlocks the door to Lee’s twisted little heart. These two were meant for each other.

There are moments in the film that are nearly unwatchable, except that they fully embrace the weirdness of the situation. Shainberg never flinches, and neither do his actors, who play the roles not as parodies of real-life freaks but as actual flesh-and-blood people.

It is an unlikely love story, but a love story nonetheless. I can’t in good conscience urge anyone to rush out and see it, except for cinephiles who can overlook personal distaste in the interest of quality filmmaking.

The Banger Sisters

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If you could somehow rewind “The Banger Sisters” past its starting point, back to what happened 20 years earlier, then you’d have a juicy story to watch.

Alas, we don’t have that technology. Instead, we must remain in the present and listen to the title characters talk about how fun it was in the good old days. Talking about it isn’t nearly as interesting as living it must have been, that’s for sure.

For in the old days, Suzette (Goldie Hawn) and Lavinia (Susan Sarandon) were rock groupies. They drank, did drugs and partied and had sex with pretty much every musician who rolled through Los Angeles.

It’s the sort of life most people would be ashamed of later on, but only Lavinia is. She is now the wife of a wealthy Phoenix attorney (Robin Thomas) and the mother of two spoiled teenage girls, valedictorian Hannah (Erika Christensen) and rebellious Ginger (Eva Amurri, Sarandon’s real-life daughter).

Suzette, meanwhile, is a trashy, unemployed bum who prefers to believe the party days never ended. She still treats sex as a toy and flits through life without regard for the consequences.

Suzette and Lavinia are reunited in Phoenix, with Suzette seeking a hand-out from her now-rich old friend. Along the way, Suzette has encountered Harry (Geoffrey Rush), a borderline obsessive-compulsive who’s heading home to Arizona to kills his father, whom he blames for his failure as a Hollywood screenwriter. Geoffrey Rush’s American accent is bad, and his subplot is sadly irrelevant.

The writer/director is Bob Dolman, who previously wrote “Willow” and “Far and Away.” Stories set in reality and in the present day are apparently not his strong suit; “The Banger Sisters” suffers from dim-witted dialogue, a predictable plot and troublesome characterizations. It is difficult, for example, to accept that sleazy Suzette would be the source of so much inspiration among her associates. When the time comes for her to do her own soul-searching, it is brief and cursory, and she doesn’t wind up changing anything about herself. But I, for one, refuse to believe her carefree, rootless lifestyle is the way we ought to live, even though the movie tries to convince me of that.

Sarandon and Hawn are far better than their material. Some scenes with just the two of them have a zingy comic rhythm, and there are some genuinely funny moments scattered across the film’s relentlessly sunny landscape. I couldn’t help but notice, though, that I was enjoying the actresses more than the characters, and certainly more than the movie.

The Four Feathers

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There are so many good things in “The Four Feathers” that it’s a shame to see them wasted in such an ineffective movie.

Take Heath Ledger, for example. After hinting at his true abilities in “Monster’s Ball,” he now emerges fully formed as an actor of consequence, playing a 19th-century British soldier guilty of the most unpardonable of sins: He’s afraid to go to war.

Ledger takes his character, Harry Feversham, through all manner of hell and deprivation, both physically and emotionally. His performance is mature and impressive.

It is especially noteworthy considering how little the screenplay gives him to work with. Written by Michael Schiffer and Hossein Amini, this adaptation of A.E.W. Mason’s 1898 adventure novel has kept much of the book’s plot but little of its meaning; it has the characters doing pretty much the same things, neglecting only to tell us why they’re doing them.

Harry leaves the army on the eve of a major skirmish in the Sudan, unable to follow in his father’s footsteps by fighting and killing for his country. Harry is recently engaged, to the lovely Ethne (Kate Hudson), but that’s merely a handy excuse for not going to war. His real reason is that he’s chicken.

Ironically, the movie becomes cowardly, too, refusing to commit to the radical, uncommon concept of a protagonist who is very understandably afraid to die. By the end of the film, Harry is in battle, performing feats of strength and courage — yet nothing in his speech or actions suggests he has actually become courageous. One senses that, when this task is accomplished, he will return to civilian life and never look back.

Upon leaving his commission, Harry is given four white feathers — symbols of cowardice — by three of his friends and his fiancee. In the book, he sets out to save each of the friends’ lives in order to prove he’s no coward. In the movie, he heads out to the Sudan and follows the troops around, with no indication what his plans are, or if he even has plans. The one person he seems most intent on saving — Jack (Wes Bentley), who also carries a torch for Ethne — is the one friend who DIDN’T send him a feather. And the various other people who manage to survive tend to do so more with the help of Harry’s African mercenary friend Abou Fatma (Djimon Hounsou) than with Harry’s.

Director Shekhar Kapur (“Elizabeth”) flirts with a few themes that provoke thought, then abandons them. The incongruities of war, especially religious war, are briefly pondered. The absurdity of the British being both stoic and bloodthirsty — they march daintily in straight lines and call each other “Mr. So-and-So” even in the middle of battle, while simultaneously declaring their enemies heathens worthy of death — is a subject ripe for discussion. It is given a careless glance, and nothing more.

Robert Richardson’s cinematography is often gorgeous to behold, highlighting the vast, dangerous beauty of the desert sands of Africa. All we need is for something to HAPPEN on those sands. The soggy romance and seemingly aimless wanderings of a quasi-coward give “The Four Feathers” a lot of bulk but no depth.

Trapped

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“Trapped” is a sour and unpleasant movie, a 90-minute ordeal that seems, in its small way, as torturous as the ordeal suffered by its characters.

For most of the film, not a single character is happy or even content. The film starts with a kidnapping and exists in perpetual climax from then on. It’s uncomfortable to watch. Charlize Theron and Stuart Townsend play Karen and Will Jennings, a happy, wealthy Oregon couple with an adorable little daughter, Abby (Dakota Fanning). Will is a successful doctor with a new miracle drug in development, while Karen’s a designer and a fabulous mom.

They are the targets of a trio of white-trashy kidnappers who have mapped out the perfect crime. Large, slow Marvin (Pruitt Taylor Vince) takes the girl to a remote location while oily mastermind Joe (Kevin Bacon) stays with Mom and sleazy femme fatale Cheryl (Courtney Love) corners Dad. It’s a divide-and-conquer plan, you see, and the beauty part is that the parents have no choice but to give up the ransom money. If anyone calls the police, Joe calls Marvin and tells him to kill the kid. If Joe or Cheryl doesn’t check in at the appointed times, Marvin is under instructions to kill the kid. If, after the ransom is paid and the family is reunited, anyone ever tells the police, Joe comes back and kills the kid. See? It’s so smart you’re probably already thinking of trying it.

But Karen won’t sit back and be the standard victim, and Will has some tricks up his sleeve, too, and it all goes horribly awry, as you might imagine (and, in fact, as you could probably write yourself). Written by Greg Iles (adapting his novel, “24 Hours”) and directed by Luis Mandoki (“Message in a Bottle,” “Angel Eyes”), the film is a standard women-in-peril potboiler: Cheryl has been abused by Joe, Joe harasses Karen, poor little Abby is terrified; why would this appeal to anyone?

The performances are good enough, but irrelevant, and Mandoki’s shaky camera work is more irritating than tension-building. I’m not sure how Will has ready access to the vice president of a cellphone company, but hooray that he does. The film has a finale that is more exciting than it ought to be, but trust me, you don’t want to endure everything else just for that.

Proof

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David Auburn’s “Proof,” which won a Tony and a Pulitzer and is making its Utah debut at Pioneer Theatre Company, is a play that would be difficult to ruin. The script is deceptively simple, brightly funny and often quite touching. If the four actors performing it are even competent, the brilliance of Auburn’s words will shine through.

At PTC, the actors are more than competent, and Charles Morey’s direction is steady. The Broadway production is not appreciably better than this one; you would do well to see it and save yourself a trip to New York.

The story is of Catherine (Michelle Six), whose father (Noble Shropshire) has died a week before her 25th birthday. She knows she inherited much of her father’s considerable mathematical genius; she fears she may have also gotten some of the less savory aspects of his personality. The insanity, for example.

At present, one of her father’s best students, a jittery graduate student named Hal (Joey Collins), is going through the old man’s notebooks. Many are filled with ramblings; Hal feels compelled to determine whether there’s anything valuable in there. In his day, Catherine’s father was a legend among mathematicians. To overlook any of his final contributions would be a shame.

What is in the notebooks becomes an issue in the second act, but the play’s focus remains on Catherine. With sardonicism heightened by her self-consciousness at being, at this point in her life, completely directionless, Catherine isn’t afraid to cut people down with withering remarks. It is her only defense against her well-meaning but ineffectual sister, Claire (Gloria Biegler), who fears Catherine’s going insane even more than Catherine does.

Michelle Six carries the play as Catherine. She has affected a screechy voice that is somewhere between “precocious little girl” and Roseanne Barr, but she uses it to nail every one of her lines, from the witty to the sad. Her range is impressive.

Gloria Biegler is well-grounded as Claire, and Noble Shropshire — seen in flashbacks and imaginations as Dad — conveys fatherhood, genius and encroaching madness all at once.

I am less pleased with Joey Collins, who overdoes Hal. Collins’ attempts to make the character seem awkward and nerdy have instead caused him to sound like the sort of person who ought to be saying “dude” a lot. There are people who speak and act like this, but Collins does not seem like one of them, nor is Hal written to be one. Collins is funny, and he grows on you, but his interpretation lessens the character’s potential.

No matter, though. Auburn’s words — well-chosen, conversational and effective — are what constitute the play’s greatness. They allow for humor in the midst of pathos, without ever seeming to “set up” a joke. They draw us in with hints of dramatic intrigue, and keep us listening because we can’t bear not to know what will become of these people. Conveyed to the audience with compassion and skill, the words of “Proof” will ring true.

Should you go? Yes. It is smart but accessible to casual theater-goers, too.

The Bad Old Days

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I am glad to have been born in this day and age, as opposed to one of the days and ages when life was deadly, deadly dull.

Let’s consider life 130 years ago in the Wild American West. You probably own a farm. You get up at dawn, feed the chickens and pigs and buffalo or whatever, and then do your various farm work until sundown. Then you go inside, have dinner, and now it’s 7 p.m. Since you’re getting up at 5 a.m., you don’t really need to go to bed until 10. So what are you doing from 7 until bedtime? NOTHING! There’s no TV, no movies, no radio. You can read books, sure, but EVERY SINGLE NIGHT? For three hours? By candlelight?!

OK, so there’s conversation. You sit around the fire and chat with your wife and kids. But there’s NOTHING TO TALK ABOUT. When your whole day consists of the same tedious farm work over and over again, during which you rarely encounter other human beings, what possible stories could you have to tell?

“So I harvested some corn today.”

“Oh, do tell.”

“Well, I went out and … uh, harvested it. Then I put it in the, uh, corn … holder … or whatever it’s called where you put corn after you harvest it.”

“Fascinating.”

And then you have two hours and 59 minutes to kill.

Dating must have been particularly hard in those days. In the modern era, if the guy a woman has gone on a few dates with does not call her for a couple days, the power of her insecurity is unleashed at full velocity, and she comes up with an amazing array of reasons why this may have happened, all of which boil down to: He hates me. He found out something unpleasant about me, and now he hates me. He met someone else, and now he hates me. He realized I’m fat and ugly, and now he hates me. With cellphones and e-mail and fax and everything else we have, there is literally no logical reason not to hear from someone unless it’s on purpose. And if he’s intentionally not contacting her, then according to the workings of the female mind, it’s obviously because he hates her. The best the woman can hope for is that the man has been in an accident of some kind — but even then, she would hear about it on the news or see it online or something.

But in 1872, there were no phones, no lights, no motorcars, not a single luxury. If a man didn’t come to call within a few days of his last episode of woo-pitching, the woman’s imagination could come up with a wide variety of legitimate, plausible reasons for it, none of which had anything to do with the man’s feelings toward her. For example, it could be a 10-mile buggy ride to her house, thus making a visit an all-day affair, and perhaps he couldn’t get away from the farm or the mercantile or wherever he worked. He could be attacked by bears or Indians on the way. He could have been stricken with tuberculosis since they last met. With no way of communicating rapidly, couples — even those engaged to be married — might go several days without hearing anything from each other — AND THAT WAS OK. Somehow, people still managed to function. Compare that with my engaged roommate, whose contact with his fiancee is such that when he belches, she says, “Excuse me.”

A couple months ago, a storm knocked out the power in Provo, and many of us felt like modern-day pioneers. For example, my friend Tanny (names have been changed) reported having to watch “Scrubs” the way our forefathers did, on a tiny, portable, battery-operated TV that he propped on his stomach. The TV operated via antenna rather than cable, so when he laughed, the resultant jiggling of his belly caused a momentary loss of reception.

For myself, I had to maneuver through Provo when there were no traffic lights. To make it worse, I had a car full of friends following me, and we were all trying to choose a restaurant to go to, but no one in the other car had a cellphone. So when we were stopped at intersections, I had to get out and run back to suggest a new place for us to try, and then they had to follow me. Eventually, we reached the promised land, which I think in this case was Chili’s, which seems strange to me. We made the onion rings bloom like a rose, though, and we were grateful to have interesting lives.

Left Behind

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Our topic of discussion today is food. You might think parts of the column are about something else and that I have tangented, but surely that is a figment of your imagination.

I never take food home with me from restaurants, regardless of how much is left. For one thing, there’s usually not much left. I tend to eat like I’ve never seen food before.

But also, I know I’m not going to eat the food later. Restaurant food only tastes good to me in the restaurant. Out of context, it loses all its impact. Maybe having someone with a nametag serve the leftovers to me in my kitchen would help, like in that “Far Side” cartoon where the young snake has to jiggle Grandpa Snake’s rat so he’ll think it’s alive. But who’s going to do that for me? You? I didn’t think so.

Besides, looking at the food later would only bring back uncomfortable memories of the restaurant. “I remember you!” I would say to the food accusingly. “You’re from when I was at Macaroni Grill and ate so much I couldn’t breathe!” Such experiences, when recalled to memory, tend to leave a bad taste in one’s mouth, as it were.

My one recent exception to the no-doggie-bags rule occurred in Las Vegas, where a lot of exceptions to a lot of rules take place. (I will never gamble, I will never spend less than $5 on a steak, I will never pay any amount of money to watch men painted blue do anything, etc.)

I was visiting my friend Pants (names have been changed), his wife Mrs. Pants, and the adorable Pants children, a family that has for some reason opted to live in the uninhabitable wasteland of Las Vegas. I should mention that this particular visit occurred in July, on the weekend that it was 116 degrees there. You are aware that I sometimes exaggerate for the sake of humor, as when I have mentioned that Freddie Prinze Jr. is the worst actor in the universe when in fact his worstness can only be proven for our specific planet and some of the moons of Jupiter. But I am not exaggerating when I report the temperature at 116 on the weekend I visited the Pants family. Young children, their constitutions still weak and unformed, were seen melting on the playgrounds. Black cars burst into flames. Religious leaders openly questioned their faith and urged all within the sound of their voices to beseech the pagan ice god for relief. It was a desperately miserable time to be alive. The mayor of Las Vegas surely will not be reelected if he allows weather like this to persist unabated.

As a result of the nightmarish weather, and in an effort to get this column back on approximately the same track it set out on, the Pantses and I spent all of our time indoors, mostly in restaurants. For dinner one night, we ate at the Claim Jumper. We do not have any Claim Jumpers around here — the Park City restaurant with that name is not part of the national chain — and boy, are we missing out. Evidently, the restaurant’s original plan was to attract giants, as everything is served in comically large portions that could never be ingested by an ordinary-sized individual. The guy who sued McDonald’s because he was fat, maybe. But not normal people.

After eating so much that we were sweating gravy, the Pantses and I had barely made a dent in our entrees. And then we realized we had neglected to save room for dessert. At Claim Jumper, the dessert you want is a special eclair that is the size of your head. It is served on ice cream and covered with chocolate syrup and whipped cream. Thousands have been killed by it.

Unable to pass up an opportunity to enjoy the head-sized eclair, we got one to go. We brought home our other leftover food, too. I had half a chicken-fried steak at midnight, and for breakfast the next morning we all ate the eclair. Surely you agree that life could not get any better than that.

Igby Goes Down

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As “Igby Goes Down” ended, I said to my friend, “What a good movie.” My friend replied, “What a depressing movie.”

We’re both right. For me, the film’s merits — fine performances, sparkling dialogue, believable pathos — make up for its overriding dreariness. This may not hold true for others, though, and if a film that begins with two brothers trying to kill their mother seems too dark for you, no one will think less of you for skipping it.

The comedy is dark, and the subject matter is the closest thing to an adaptation of “Catcher in the Rye” that we’ve seen — and “Catcher in the Rye” is not a cheerful book.

It’s not that Igby, the 18-year-old protagonist of the film, encounters grief, tragedy or hardship in any great measure. In fact, it’s the opposite: He’s a wealthy, spoiled Manhattan who has never had to deal with anything difficult, whose apathy has gotten him kicked out of a succession of private schools.

What makes the film dismal — what made my friend call it depressing — is that Igby, like Holden Caulfield before him, is a pessimist who believes he is a realist. He states in a cavalier manner how he “hates” all sorts of things, ranging from hypocrisy to any number of specific people.

But for a dismal film, “Igby Goes Down,” by first time writer/director Burr Steers, is often remarkably funny. Most of the major characters are smart and snarky, and the dialogue is often pricelessly sharp.

Igby is played with surprising depth and insight by Kieran Culkin; here is a kid who understands his character and can play him without overdoing him. In the course of the film, Igby gets smacked or punched by nearly everyone: His domineering mother (Susan Sarandon), his pretentious older brother (Ryan Phillippe), his godfather D.H. (Jeff Goldblum), and various women (Claire Danes and Amanda Peet being the principal two).

By turns entertaining, thoughtful and tragic, “Igby Goes Down” uses bright colors to paint an unpleasant picture. But there is hope for Igby’s future, and it’s hard to resist the sardonic glee with which the story is told.

Barbershop

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“Barbershop” is a surprisingly gentle and light-hearted comedy about neighbors who work together to create a community and overcome adversity.

It is an unusual entry in the genre of films about African-American culture in that, despite taking place in an urban setting, it has chosen not to be gritty. The only gangsta we meet is trying to go straight, and he is rewarded for his efforts. The pregnant woman is married to her baby’s father. One character urges another not to use profanity.

Such starkly old-fashioned values occur often in black American society, of course; where they are rare is in MOVIES about black America.

The director is Tim Story, who is new, and two of the writers, Don D. Scott and Marshall Todd, are also new. But the third writer, and the one given story credit, is Mark Brown. He wrote and directed last year’s “Two Can Play That Game,” which offered a similarly pleasant view of black Americans as intelligent and unstereotyped. His lowbrow work on 1997’s “How to Be a Player” aside, I like the way he thinks.

The protagonist of “Barbershop” is the barbershop itself, a long-standing fixture in the lower-income Chicago south-side neighborhood where it resides. Through some fast, pedestrian exposition, we learn the shop has stood for three generations and is currently owned by Calvin Palmer (Ice Cube). He learned haircutting at his father’s elbow but has mildly expressed interest in opening a recording studio with his pregnant wife Jennifer (Jazsmin Lewis).

Coincidental with Calvin’s bigger dreams is the barbershop’s financial trouble. To avoid being foreclosed upon, Calvin seeks help from creepy loan shark Lester Wallace (a devil-voiced Keith David), who immediately announces plans to turn the barbershop into a strip club. Calvin has his recording studio money, but how can he let the barbershop go?

Ice Cube continues to be a lifeless screen presence, though he does smile occasionally here. But he presides over the film more than he stars in it, leaving room for a vivid cast of likable characters who inhabit the barbershop as employees and customers. Just when the film gets dull with a tedious bit of Ice Cube angst, it comes sailing back to legitimacy with some nice bit of dialogue or thoughtful character development.

There is old Eddie (Cedric the Entertainer), with a Bride of Frankenstein hairdo and an ample supply of barber wisdom; know-it-all college boy Jimmy (Sean Patrick Thomas); conflicted two-time convict Ricky (Michael Ealy), trying desperately to stay out of trouble; sass-mouthed Terri Jones (Eve), who compensates for being the lone female employee in the shop by fighting with everyone; West African transplant Dinka (Leonard Howze) with a romantic soul; and Isaac (Troy Garity), the only white person in the neighborhood or the movie.

All of these characters are given enough screen time to state their cases for why we should care about them, and all of them succeed. Even viewers removed from the specific culture portrayed here, and who are unfamiliar with the idea of barbershops being the souls of neighborhoods, will find much to relate to.

Separate from all this are two low-level thugs (Anthony Anderson and Lahmard Tate) who have stolen an ATM from a mini-mart. They do not fare as well as the barbershop characters; it reminds me of how “Cheers” episodes generally suffered when they were set outside the bar. The ATM subplot eventually ties in with the main story in a way that is too convenient to be respected.

In addition to that plot cop-out, there is some genericism in the dialogue early on, when the conversation at Calvin’s place centers around the men saying “Day-amn!” a lot and discussing ladies’ bottoms. Still, director Story and film editor John Carter establish real energy in those scenes, effectively cutting from one character to another during the rapid-fire dialogue and making us forget that a barbershop is not usually a very interesting locale.

And all is forgiven when Terri curses angrily and Calvin says, “Stop cussing. This ain’t ‘Def Comedy Jam.'” Here is a movie that has chosen to be different by being smarter and less abrasive than many of its cinematic brethren.

Quitting (Chinese)

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From the “it’s true, and isn’t that interesting enough?” line of thinking comes “Quitting,” a Chinese film that, in fact, is NOT interesting enough.

Actually, its premise is intriguing. Jia Hongsheng was a successful young actor in China in the 1980s, appearing in several popular films and doing acclaimed work in a stage production of “Kiss of the Spider Woman.” Then he turned to drugs and alcohol, fell to pieces, and was aided to recovery when his parents — also actors — moved in with him and his sister in Beijing. “Quitting” tells that true story — with the actual people involved re-enacting their real lives. (It is helpful, I suppose, that the three primary figures happened to be actors. A story about, say, a plumber putting his life back together might not have fared so well, if you had the plumber play himself.)

Hongsheng’s parents’ devotion to him is touching, and his father’s attempts to find a much-desired Beatles cassette tape is amusing and sweet. I am also tickled by the Chinese translation of the lyrics to “Let It Be.” (The title comes out “Take It Naturally.”)

However, as directed and written by Zhang Yang (who did last year’s sentimental “Shower”), “Quitting” settles into a groove that soon becomes a rut. There is too much repetition in Hongsheng’s relapses, his parents’ anger and frustration, and his friends’ unsupportiveness. The story, true or not, ought to have been streamlined; the 112 minutes of the film could easily have been condensed into 90 without losing any of the potential power — power that, as it turns out, remains mostly untapped.

Stealing Harvard

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The first 10 minutes of “Stealing Harvard” are raucously funny, full of zip and energy and surprises.

Then Tom Green shows up and puts an end to all mirth and goodness. He is the brick wall to the film’s speeding automobile. His presence, like arsenic in a cake batter, changes the film to the point that even the good parts seem tainted by it. It becomes a Tom Green movie, rather than a movie that happens to include Tom Green.

To be fair, the parts of the film not directly related to the MTV prankster suffer from a fast descent into unoriginal puerility and illogic, too. But Green’s parts are most egregious, and most ill-fitting with the rest of the film. I envision the script having pages that say, “SCENE 15: Tom Green does something ridiculous; supplies own dialogue; other characters stand by and react uneasily to him.”

The likable Jason Lee plays John Plummer, a spineless shlub whose fiancee Elaine (Leslie Mann) dominates him, as does her thuggish father (Dennis Farina), who is also John’s boss.

For convoluted reasons that don’t make sense even in the movie, let alone in real life, John resorts to lying and theft as a means of raising money to help finance his niece’s college education. For this, he enlists his dangerous and stupid friend Duff (Tom Green), whose schemes never work and who has no code of ethics, yet whom John still considers his best friend. They embark on a series of impossible shenanigans designed to steal money from wealthy people and businesses. All of them fail, but the failures do not inspire introspection in John or Duff, nor do our heroes attempt to evaluate what has caused such moral bankruptcy within their souls. Indeed, the ethics of the scenario are ignored entirely, and the problem is ultimately solved with absurd ease, but not before Tom Green engages in comic bestiality, as is his wont.

The laughs, when they exist, come from Jason Lee’s easy-going performance, with help from the dizzy Leslie Mann and sharply funny Megan Mullally as John’s trailer-trash sister. Elsewhere, there is desolation.

The director, former Kid in the Hall Bruce McCulloch, ought not have given Tom Green so much free rein. Green cannot act: Even when reciting lines from the script and not of his own creating, he sounds like some guy off the street and not like a real actor. The difference between him and his professional co-stars is distinct. Not to put too fine a point on it, but Green ruins what might have otherwise been a reasonably mediocre movie.

The Prisoner of Second Avenue

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In front of a packed house, Provo Theatre Company re-opened last Friday after a year’s hiatus with a fantastic production of Neil Simon’s “The Prisoner of Second Avenue.” That void you’ve felt in your theater-going life ought to feel filled now; PTC is back and, one is tempted to say, better than ever.

The theater’s new artistic director, Scott Wilkinson, stars in “Prisoner” as Mel Edison, a middle-aged New Yorker who is disintegrating before our eyes. The very picture of domestic discomfort, Mel paces around the apartment he shares with his devoted wife Edna (Tayva Patch), hollering over every inconvenience, real or imagined. The people next door are too loud; the garbage on the street 14 floors below smells too bad; the toilet runs for too long.

Edna, who loves her husband but refuses to be a doormat, puts up with his complaining while seeking to know the cause of it. The cause is discovered: He has lost his job. And because when it rains, it pours, their apartment is subsequently burglarized, leading to a lengthy discussion over whether Edna was really only gone “five minutes” or whether it must have been longer.

Thematically, “Prisoner” is among Simon’s darker plays; it also happens to be one of his funniest. It is “Death of a Salesman” filtered through “All in the Family,” with Mel’s paranoid delusions much more amusing than Willy Loman’s and not as political as Archie Bunker’s. Characters obsess over minutiae, effectively reducing weighty issues into smaller, easier-to-handle chunks. When Mel’s siblings arrive to discuss how to help their brother’s worsening mental and financial condition, the conversation is over why one of them doesn’t drink coffee, and over what “X” will come out to be in the equation of “We’ll give Mel ‘X’ amount of dollars.”

Wilkinson and Patch demonstrate an admirable command over, and understanding of, their characters. Mel’s and Edna’s psychologies are as clear to us as our best friends’ are; we know them, and we relate to them. Wilkinson earns sympathy for Mel, giving the blowhard just enough of a soft edge to make him human. And when Mel gets to be too much, Edna can go from doting housewife to fierce opponent with just a change of her expression, thanks to Patch’s deft performance.

Steve Anderson is a wonderful surprise as Mel’s brother Harry, who does not appear until the second act. Anderson’s deadpan, physically charged performance is hysterical. It is the highlight of the show.

Jean Jenkins, Wendy Asay and Cherlyn Bacon are also enjoyable in their scene as Mel’s unhelpful sisters.

It is a little troublesome that Mel’s sisters speak with thick New Yawk accents when Mel and Harry do not; apparently, the accent skipped the boys in that family. It’s also odd that even though the profanity has been cut from this production, the line in which Edna apologizes for her “husband’s language” remains. (Maybe she means his grammar, or the fact that he doesn’t have an accent even though he should.)

But never mind. The director, Rick Macy, gives the play a strong gallop of a pace and has coaxed honest, believable performances out of his actors. It’s an auspicious new birth for one of the valley’s best theaters.

Should you go? Yes, especially if you never got around to visiting PTC before the hiatus. Go see what you’ve been missing.

Thank God It Was a Nice Day

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It is Sept. 11, 2002. Neither I nor any of the other writers creating the deluge of commentary today have answers. Like the rest of you, we only have questions. Questions and the occasional brief flash of insight. Sometimes I think we are writing just to hear ourselves write.

A friend and I were sitting on a tram in Orlando this past April, moving from one part of the massive Walt Disney World complex to another. Near us was a family of people who spoke with New York accents.

I was intrigued. I’ve visited New York several times and love the city, as well as its oft-maligned people. And so I felt comfortable making conversation with the strangers next to me on the Disney World tram.

“What part of New York are you from?” I said to the person closest to me, a dark-haired woman in her 40s.

“Brooklyn,” she said, smiling. “Down here on vacation.”

“I love New York,” I said. “I go every year.”

“It’s a great place. Been through a hard time lately.”

“I can imagine,” I said.

“My husband” — she gestured toward the robust man sitting across from her — “is a World Trade Center survivor. He worked for an insurance company in one of the towers.”

“Oh, my gosh,” I said. On paper, “Oh, my gosh” looks like a dumb thing to say. In context, I think it was OK. How else do you respond to something like that?

She continued with her story. You forgive someone foisting such a hugely personal experience upon you when it pertains to Sept. 11. That day made us all intimate friends.

She said:

“Some of his bosses were going golfing with clients that day. My husband hates to golf and isn’t very good at it, so he said he would skip it and go into the office like normal.

“They tried to talk him into golfing. Finally, he said if the weather was nice that day, he would golf. Otherwise, he would go to work.

“Thank God it was a nice day.”

She smiled at her husband, who was sitting across from her on the tram, who was out golfing on Sept. 11 instead of working at his desk. Now, he was laughing and joking with the other members of their group, enjoying a family vacation. He glanced over and smiled at us, maybe a little embarrassed at being the topic of discussion. He seemed to guess which anecdote his wife had been sharing; it bore the markings of a story she’d told over and over again since it happened.

What this family learned, and what I hope everyone learned, is that life is fragile and ought to be treasured. I don’t know what this husband and wife were like before Sept. 11, but I have to assume they now had a renewed love and appreciation for each other.

Is that my point, then? It feels like the answer to something. I’m just not sure what the question was.

Evita

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All summer long, we have been anticipating and dreading “Evita.”

Talk from MJ Productions about how it would be more than just a regular community theater presentation made us eager for that to be true. Remembering that a lot of people say that sort of thing about a lot of shows that are actually quite ordinary made us fearful. If “Evita” turned out to be mediocre, we would never hear the end of it.

And then the show opens and turns out to be a stunningly professional production. It has all the highly polished bells and whistles and boisterous talent it needs. I stop short of saying it’s Broadway-quality, but I’ve certainly seen touring-company shows that did not have their acts together as well as this one.

I don’t know why no one ever does “Evita” around here. It is about a woman who slept her way to the top, true. But that aspect is handled discreetly — even amusingly, in this production — and musicals with more alarming content than that are performed frequently. The vocal range is not unreasonable, nor the melodies too complicated. This staging, manufactured by MJ Productions and put on at the SCERA Shell Outdoor Theatre, proves that the talent necessary to perform it exists in Utah Valley.

Brooke Martin plays Eva Duarte Peron, the poor young actress who connived her way into First Ladyhood and manipulated herself into a saint, at least as far as the people of Argentina were concerned. Martin’s voice is outstanding and unfailingly strong. The show’s signature song, “Don’t Cry for Me Argentina,” is captivating: Eva — not the actress playing her — is insincere when she assures the people that she has no desire for wealth or fame. Yet despite the irony, the song is beautiful and the moment priceless.

Martin infuses Eva with vulnerability to match her ambition, a truly tortured soul without refuge.

Another great voice, that of David Tinney (who also choreographed), is heard as Che, a revolutionary who is the show’s narrator and Eva’s moral opposite. David Weekes is convincing as Juan Peron, the military leader who finds himself powerless to resist the force of nature that is Eva. All the way around, the performers are not actors who can sing or singers who can act, but bona fide singer/actors.

Susan Web’s steely set design and Timothy Young’s multi-functional lighting are strong assets to the show, as are Tami Crandall’s refreshingly authentic costumes. The sound, by Kristofer Harrison, suffered some drawbacks opening night but ultimately proved effective.

The show is accompanied by the live, six-member band Party Train, led by J Bateman. The 26-year-old songs, by Tim Rice and Andrew Lloyd Webber, sound new.

Marcie Jacobsen’s musical direction is flawless, and I’m impressed, even startled, by J. Scott Montgomery’s work as the show’s director. The indecorous humor of “Good Night and Thank You,” the raucous street scene of “Buenos Aires,” the touching pathos of “Requiem” and “Oh, What a Circus” — all of these disparate elements are handled with grace and skill. Given the level of difficulty in pulling the thing off, Montgomery and “Evita” have succeeded fabulously.

Should you go? Be aware of the mild PG-rated material, but yes, go and see what your friends and neighbors are capable of when they put their minds to it.

Milking It

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In this day of financial misdealings and fallen heroes, a time when nothing seems certain and the Game Show Network is changing its programming schedule on almost a weekly basis, it is good to know that some things remain constant: PETA is still crazy. I believe this is due to undernourishment.

People for the Ethical Treatment of Animals is re-launching its anti-dairy “Got Beer?” campaign, and according to a PETA press release, the group was hoping to hit Brigham Young University with the ads.

“Even one glass of milk supports animal abuse and harms your health, both of which are anathema to Mormon teachings,” said PETA Director of Vegan Outreach Bruce Friedrich in the press release. “If they are taking Mormon teachings seriously, drinking milk should be even less acceptable to BYU administrators than drinking beer.”

Yes, that’s what he said. He actually used the word “anathema.”

Oh, and he also implied that BYU administrators weren’t serious enough about Mormon teachings, else they would be opposed to dairy, too.

The PETA columns:

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

I called Friedrich to get clarification on this matter. He said: “Mormons care about compassion for animals and their own health. But LDS virtues related to health and compassion are tossed in the toilet by anyone who’s drinking dairy products. BYU administrators should be just as anti-dairy as they are anti-alcohol.”

It is true that Mormons have compassion for animals, insofar as we try to shoot them in the head and kill them quickly before cooking and devouring their flesh. But is it a stretch to say that, therefore, we shouldn’t drink milk?

(PETA’s opposition to milk-drinking, by the way, has to do with the conditions in which dairy cows are kept, and how the milkers’ hands are often cold, and how the cows’ teat regions are always tender and sore after a vigorous milking. Also, I guess probably a lot of cows get killed at some point. The press release says, “Many male calves are crammed into tiny veal crates,” and then I can’t read the rest because I started drooling on the paper because I was thinking about veal parmigiana at Macaroni Grill.)

Anyway, I wanted to know how BYU administrators felt about the suggestion that their tacit approval of milk indicates a lack of devotion to the teachings of Mormonism. BYU spokeswoman Carri Jenkins gave this statement: “While drinking alcohol is something that is prohibited by our religious principles, the drinking of milk is a personal choice.” Asked whether she, as a BYU administrator, takes Mormon teachings seriously, she said, “I do, and I also drink milk.” Surely such a profound contradiction will cause PETA representatives’ heads to explode, pelting bystanders with tofu-based shrapnel.

Then there is the issue of running “Got Beer?” ads in BYU’s student paper, The Daily Universe (motto: “Snider-Free Since 1999”). Friedrich told me, “We’ve never been turned down, even with our most controversial ads, by a student paper. I can’t imagine they would turn down the ad.”

Well, one thing BYU specializes in is doing things you can’t imagine anyone doing. The Universe has rejected the ad, citing university policy not to promote or endorse things (such as alcohol) that are contrary to LDS Church doctrine.

The PETA press release says, “Unlike beer drinking, dairy consumption … hurts animals.” I suppose alcohol consumption doesn’t hurt animals, unless you get drunk and kick your dog, or if you’re playing a drinking game where every time someone takes a drink, you have to break a swan’s neck. So animals are mostly safe from beer. But I believe I have heard stories, unsubtantiated though they may be, that occasionally PEOPLE are harmed by the effects of alcohol. It sounds crazy, I know, and I realize our priority should be animals, not humans. But it’s something to think about this morning as you drink your ill-gotten milk, poured over your oat-murdering cereal.

 


[ The lead to this column sat in my file for a few weeks before I found a good way to use it. The PETA thing fell into my lap, and it seemed like a thing that could be accurately described as remaining constant in this crazy, mixed-up world of ours.
My last column before Sept. 11 last year was about PETA, too.
A friend of mine told me a story in which beer did result in animals being harmed, contrary to what PETA said. Her dad was driving drunk when he ran into a truck carrying some cows, which escaped from the smashed truck and were subsequently shot by a state trooper who couldn’t figure out any other way of controlling them. But the story seemed more shocking than funny, so I didn’t use it.
Bruce Friedrich was very nice on the phone, and he had a sense of humor, too. He was trying to send me some information but couldn’t get his fax machine to work properly. I said, “Try hitting it. You’re not opposed to cruelty to fax machines, are you?” And he chuckled and said, “Oh, no, I’m gonna beat the crap out of it.” His only mistake in regards to PETA and BYU was trying to come into this closed environment unprepared, and in choosing his words poorly. And you know how I am about not letting people get by with poorly chosen words. ]

Swimfan

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Let us discuss Jesse Bradford, the 23-year-old actor whom we first noticed in the snappy teen film “Bring It On.”

Since then, he seems to have chosen his projects based on what he gets to do in them. In “Clockstoppers,” he was the lead character and he learned how to stop time, which is pretty cool. Now, in the competent but unremarkable “Swimfan,” he’s the protagonist again, and he has two gorgeous women lusting after him, one of them even willing to kill for him. I fully expect that his next film will be about a boy who can fly.

All of which sort of explains why Bradford, who is fairly talented, keeps turning up in these lame movies: because they’re fun to make. Who wouldn’t want to kiss Erika Christensen and Shiri Appleby, as he does here?

Bradford plays Ben Cronin, a New Jersey high school senior with a promising future in the world of competitive swimming. His girlfriend Amy (Appleby) is pretty and supportive. He is beloved at school, but not arrogant about it. His mom (Kate Burton), a nurse, is proud of him. Naturally, in his spare time, he works with old people at the local hospital.

Then he meets the new girl in school, Madison Bell (Christensen), a winsome, moon-faced gal who’s staying with her weird cousin Dante (James DeBello). She is immediately smitten with Ben, and somehow they have a one-night stand, except it’s not really a “stand,” because they do it in the pool. More of a one-night float, I guess. Later, when Ben tries to tell Madison that it truly was a one-night thing and he regrets it, Madison turns her crazy knob up a few notches. More or less, you know what happens from there.

It makes little sense for Ben and Madison even to spend the one evening together. We see Ben dressing up when he knows he’s going to meet her, but none of his rationale for it. One assumes there would be internal conflict — he’s attracted to this new girl even though he already has a perfectly good girlfriend — but it is not shown.

This is because the screenplay, by relative newcomers Charles F. Bohl and Phillip Schneider, is efficiency-minded. The characters must have sex, because that’s what the movie hinges on. Never mind how we get there, let’s just get there.

Most of the events within the film (directed by John Polson) are not impossible, though they do tend toward the improbable. Even still, it’s not what happens that makes the film ridiculous; it’s HOW it happens. The cold, steely stares that Madison is always giving, the accompanying overwrought musical score and sound effects, the annoying jump-cuts employed every time a scene becomes intense — this is a movie trying to convince you it’s suspenseful when it’s actually anything but.

Christensen was great in “Traffic,” but you wouldn’t know it by watching her glassy-eyed, over-the-top performance here. Bradford, meanwhile, is desperately in need of some better material. Jesse, I urge you to choose a good script, even if it means playing a character who is neither a ladies’ man nor a superhero.

City by the Sea

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In “City by the Sea,” Manhattan police detective Vincent LaMarca (Robert De Niro) is a tough cop who, years ago, walked out on his wife and young son. The movie reminds us of this approximately every 30 seconds.

“You walked out on us!” someone will yell. “Are you going to walk out on me, the way you walked out on your family all those years ago?” someone else shouts. There is a lot of shouting in this movie. I don’t know how LaMarca puts up with it, especially when it’s all highly accusatory and aimed at him. I wouldn’t yell at Robert De Niro, I know that much.

It’s what stops this from being an excellent film, the fact that it chooses one note on the piano and taps it unrelentingly for the entire running time. The movie’s point is that viewers ought not walk out on their wives and sons. One has to wonder what sort of abandonment issues the screenwriter needs to work out.

LaMarca is investigating the death of a drug dealer when he discovers the primary suspect is his son Joey (James Franco), from whom he has been estranged since the aforementioned walking-out-on-his-family incident. He would like to help the boy, but Joey, skinny, filthy and strung out, wants nothing to do with the old man. Joey’s mother (Patti LuPone) is at her wit’s end and urges her ex-husband to stop being a cop and start being a father.

After going through the Family Crisis Clichés, the film moves on to Cop Movie Clichés. LaMarca gets taken off the case — even slamming his gun down on the sergeant’s desk in protest — but continues to work it anyway. A cop’s failure to wait for backup to arrive leads to dire consequences. Voices from LaMarca’s past swirl around his head nightmarishly. At one point, a low-life says to someone he thinks may have killed his drug-dealer friend, “My associate, seems he ain’t breathin’ too good no more. But you wouldn’t know anything about that, right?” With dialogue like that, you expect Humphrey Bogart to appear, or at least to see a copyright date of 1940 at the end of the film.

The acting, without exception, is terrific. De Niro elaborates on his one-dimensional character, giving him more life and depth than he deserves. Frances McDormand, always a pleasure to watch, plays LaMarca’s long-suffering girlfriend with panache. James Franco is startlingly gaunt and sickly as Joey LaMarca, eliciting sympathy for his horrific circumstances.

In smaller roles, Eliza Dushku is solid as Joey’s girlfriend, and Patti LuPone tries her best with the generic dialogue she’s saddled with.

Director Michael Caton-Jones (“Rob Roy,” “This Boy’s Life”) and cinematographer Karl Walter Lindenlaub give the film a somber, bleak feel. Numerous images of the run-down Long Island community of Long Beach are used as metaphor for LaMarca’s crumbled family life. These are effective as far as they go. The film just needed some better writing to really make it soar.

The Problems of the Cute

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There is a new picture of me at the top of this column. The old picture was taken in 1998, and it doesn’t accurately reflect the way I look now. I know this because a couple months ago 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.

So I had a new picture taken for this column, and coincidentally it was taken on my birthday. Later in the day, I had another picture taken of me. I was at McGrath’s Fishhouse in Orem for dinner, not because I like seafood, which I don’t, but because at McGrath’s they have this big stupid hat in the shape of a fish that they put on birthday people’s heads. Then they take a Polaroid picture of you wearing the hat, and you get to keep the picture. (You don’t get to keep the hat, unfortunately.)

Last year, my friends Luscious Malone and Tanny Tantan (names have been changed) dragged me to McGrath’s for my birthday dinner, despite the fact that I don’t like fish, and also despite the fact that it was a Sunday and I didn’t want to go out. They forced me to go because THEY like the place, and because they knew about the big stupid fish hat; that’s the sort of friends they are. And the result was this fantastic picture of me wearing the fish, smiling in an adorably cheesy manner. It’s one of the few good pictures ever taken of me.

So this year, I wanted to go back and get a new picture, to see if maybe I could top last year’s. Only this time, somehow the waiter taking the picture caught me off guard, and I wasn’t posed yet, so the picture is this horrible, horrible thing where I look like I weigh 1,000 pounds, with a huge double chin and big, floppy man bosoms. I mean, I’m no prize, but I generally look better than this photo would indicate. My greatest fear is that I will turn up missing and this will be the photo of me they show on the news because it’s the most recent one available. “Snider is described as being fat and grotesque, with enormous, gelatinous nungas,” they would say, especially on Fox. On the way out of the restaurant, my friend Jamal who I was with tripped and fell off the curb, which gave me something to laugh about and distracted me from the awful photo, and I guess what else are friends for?

A few days later, I saw a picture that I had forgotten existed. It’s from when several of us had a party to watch and make fun of Mariah Carey’s film “Glitter.” We decided we ought to dress up in white-trashy clothes, just to make a party out of it, and I wore a pair of Daisy Duke shorts and a T-shirt that had been altered so as to have no sleeves and to come down only to the middle of my belly. (It barely covered my gargantuan he-boobs.) Someone snapped a photo of this, and then I made the mistake of looking at it last week. What gets into us when we’re watching Mariah Carey’s “Glitter”?

Contrast all this with another friend of mine, Chad, who lives in Boston and recently decided he should be a model because a woman at the mall told him he should. Most of us make it a habit not to take advice from strangers, especially people at the mall, but not Chad. He immediately 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. I think Chad wished I could have related better, but I’ve never been able to understand the problems of the cute.

And what’s funny is, the woman who told me I had gained weight was, herself, rather fat. Go figure.

Measure for Measure/The Tempest

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Though the Castle Amphitheatre’s production of “Measure for Measure” is not entirely traditional, its lucid, dynamic acting and resonant themes make it by far the better of the two Shakespearean offerings this year.

Its counterpart “The Tempest,” meanwhile, is a bit more orthodox — except that it drags, bores and confuses. It seems more under-rehearsed than anything, and much of the attempted comedy reeks of desperation.

Both shows are produced by Actors’ Repertory Theatre Ensemble.

“Measure for Measure,” directed by Loraine Edwards, has nine actors playing twice as many characters, dressed mostly in modern clothing and using minimal sets and props. The production is stripped down to its essentials, highlighting its poignant story of justice and mercy.

Due to its lack of tragic deaths, “Measure for Measure” is termed a comedy, though it’s a rather serious one. This staging of it has comic relief — notably from a frantic Benjamin A. Sansom as the malapropping constable Elbow — but is generally dramatic in tone. The imminent executions and ruminations on death that make up the plot — a man is about to be killed for violating chastity laws — are treated gravely.

But the solemnity of the show does not preclude its being enjoyable, and some enthralling performances give it a powerful energy. David Morgan shows great inner conflict as Angelo, the duke’s oily second-in-command. His scenes with Trish Reading as Isabella, whose virtue he wants in exchange for her brother’s life, are captivating. Ditto Reading’s scene with Benjamin N. Hess as her imprisoned brother Claudio, where Hess with carefully measured nuance weighs the options set before the condemned man. The discomfort of all the choices made by all the characters is palpable.

Jesse Ryan Harward is strong as the Duke (in disguise so he can see what his assistants are up to), and Jeremy Selim has a nice casual charm as the cavalier Lucio.

Nearly everything that is right with “Measure for Measure” is wrong with “The Tempest.” Despite being one of Shakespeare’s less-complicated plays, it is rendered almost incomprehensible in this staging, directed by Kathy Benhardt. It is often overacted, sometimes underacted, and only occasionally well-acted.

Barta Heiner, who played the male lead in “King Lear” earlier this year, does the same trick here, playing shipwrecked Prospero as a woman. The cross-gender casting turns out to be a non-issue: Heiner is good in the role, usually a great deal better than anyone she shares the stage with.

Susan Davis Milne is bewitching as the lithe sprite Ariel. Cameron Hopkin and Logan Black are noteworthy as the villainous duo Antonio and Sebastian because they are perhaps the only pair of characters in the show who seem to connect to each other. Everyone else speaks in monologues, not dialogues, addressing the audience rather than their onstage counterparts. There is rarely any emotional connection between the characters, and thus, no connection with the audience, either.

The allegedly comic twosome of Ed Magic and Joel Petrie as Trinculo and Stephano is particularly egregious to behold. Their slapstick is tedious and forced, their mannerisms exaggerated and hammy. When Caliban (Stephen Drigg) is gambolling through the audience, getting in people’s faces and clowning around, while Trinculo and Stephano hop about madly on the stage, and all of them are hollering over each other, you get the sense that if William Shakespeare is in hell, this is the sort of confused mishandling of his work that he’s being forced to watch.

Should you go? Yes to “Measure” (A-), no to “Tempest” (C-).

The Tempest/Measure for Measure

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Though the Castle Amphitheatre’s production of “Measure for Measure” is not entirely traditional, its lucid, dynamic acting and resonant themes make it by far the better of the two Shakespearean offerings this year.

Its counterpart “The Tempest,” meanwhile, is a bit more orthodox — except that it drags, bores and confuses. It seems more under-rehearsed than anything, and much of the attempted comedy reeks of desperation.

Both shows are produced by Actors’ Repertory Theatre Ensemble.

“Measure for Measure,” directed by Loraine Edwards, has nine actors playing twice as many characters, dressed mostly in modern clothing and using minimal sets and props. The production is stripped down to its essentials, highlighting its poignant story of justice and mercy.

Due to its lack of tragic deaths, “Measure for Measure” is termed a comedy, though it’s a rather serious one. This staging of it has comic relief — notably from a frantic Benjamin A. Sansom as the malapropping constable Elbow — but is generally dramatic in tone. The imminent executions and ruminations on death that make up the plot — a man is about to be killed for violating chastity laws — are treated gravely.

But the solemnity of the show does not preclude its being enjoyable, and some enthralling performances give it a powerful energy. David Morgan shows great inner conflict as Angelo, the duke’s oily second-in-command. His scenes with Trish Reading as Isabella, whose virtue he wants in exchange for her brother’s life, are captivating. Ditto Reading’s scene with Benjamin N. Hess as her imprisoned brother Claudio, where Hess with carefully measured nuance weighs the options set before the condemned man. The discomfort of all the choices made by all the characters is palpable.

Jesse Ryan Harward is strong as the Duke (in disguise so he can see what his assistants are up to), and Jeremy Selim has a nice casual charm as the cavalier Lucio.

Nearly everything that is right with “Measure for Measure” is wrong with “The Tempest.” Despite being one of Shakespeare’s less-complicated plays, it is rendered almost incomprehensible in this staging, directed by Kathy Benhardt. It is often overacted, sometimes underacted, and only occasionally well-acted.

Barta Heiner, who played the male lead in “King Lear” earlier this year, does the same trick here, playing shipwrecked Prospero as a woman. The cross-gender casting turns out to be a non-issue: Heiner is good in the role, usually a great deal better than anyone she shares the stage with.

Susan Davis Milne is bewitching as the lithe sprite Ariel. Cameron Hopkin and Logan Black are noteworthy as the villainous duo Antonio and Sebastian because they are perhaps the only pair of characters in the show who seem to connect to each other. Everyone else speaks in monologues, not dialogues, addressing the audience rather than their onstage counterparts. There is rarely any emotional connection between the characters, and thus, no connection with the audience, either.

The allegedly comic twosome of Ed Magic and Joel Petrie as Trinculo and Stephano is particularly egregious to behold. Their slapstick is tedious and forced, their mannerisms exaggerated and hammy. When Caliban (Stephen Drigg) is gambolling through the audience, getting in people’s faces and clowning around, while Trinculo and Stephano hop about madly on the stage, and all of them are hollering over each other, you get the sense that if William Shakespeare is in hell, this is the sort of confused mishandling of his work that he’s being forced to watch.

Should you go? Yes to “Measure” (A-), no to “Tempest” (C-).

The Sardonic Versus

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There is a lot of unrest and discontent in the world, and in Utah, too. Let us pause a moment and examine some conflicts that have been on my mind recently, in the hopes that getting them out in the open will cause them to fester and become infected. No, wait, to heal, that’s what I meant. Cause them to heal.

Tom Green vs. decency

This week noted local polygamist Tom Green was sentenced to five years to life for marrying a 13-year-old girl in 1986 (a girl who is now a woman who doesn’t see herself as a victim, by the way). I am as tired of making jokes about polygamy as you are of reading them, but let me make this point: 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?

Also, let me add that while Tom Green has said he married 13-year-old Linda because God gave her to him, it should be noted that Tom Green is a raving lunatic. He’d have to be, to intentionally spend time with a teen-age girl. Think about it. It would be like living at the mall.

Baseball players vs. America

The players of Major League Baseball almost went on strike this week. It would have been the ninth strike since 1972, when players stopped work to demand uglier uniforms. Those demands were met, and hideous uniforms prevailed throughout the 1970s and ’80s. Then, America stopped caring about baseball, coincidentally right around the time the players started making salaries in the billions and striking every other year.

Many of the sport’s remaining 11 fans have vowed they will not return to it if the players strike again, and it is sad to see an American pastime become so tainted by greed and immaturity. But you know who would suffer most in the event of a strike? The steroid industry. Goodness, haven’t those people been through enough already?

Orem residents vs. noise

Last week, a loud-ish concert at UVSC prompted many nearby residents to complain to police, and also to shout at the kids to get off their lawn, and also to say that if the ball landed in their yard, it was theirs now. Then they ate some soup and were in bed by 9.

No, in fairness, the outdoor concert apparently was rather loud, and some of the artists used some naughty language. And it came at a good time, too, because Orem residents were just about to run out of things to complain about.

Chevy vs. Ford

I don’t understand the rivalry between the people who drive Ford trucks and the people who drive Chevy trucks. Judging from the bumper stickers and other insignia one sees on their vehicles, these groups apparently have a hatred for each other that borders on the Middle Eastern.

What puzzles me is that as far as I can tell, Chevy owners and Ford owners are exactly alike, what with the mullets and the blue jeans and the trashy, big-haired women hanging off their tattooed arms. So why the animosity? Did I miss some great falling-out between them, where the Chevy owners invaded Poland, or the Ford owners bombed Pearl Harbor, or whatever? All I know is, possessing decals of a little boy urinating on a Ford logo, or going around saying, “I’d rather push a Ford than drive a Chevy,” demonstrates that as far as passions go, you have selected a rather silly one. But hey, whatever makes you happy and full of hate.

FearDotCom

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The premise of “FearDotCom” is that people who visit a certain Web site are turning up dead two days later. The idea of a Web site killing people may sound preposterous, until you consider that I nearly died watching this movie.

This is a relentlessly morbid, cold and dank film about depraved people doing ugly things. It is unpleasant and exploitative, and unceasingly hellish. And while I have used all of these descriptors positively in regard to other movies, I mean none of them as compliments to “FearDotCom.”

This is a film to be shunned and ignored. It cannot be enjoyed, even on the level that one enjoys a bad slasher flick, primarily because it is dull. Yes, dull. The acting is wooden and the story is random and senseless.

The director, William Malone, is the same man who gave us “The House on Haunted Hill” in 1999. That movie, while by no means a good piece of cinema, at least had some effectively creepy images and gigglishly scary moments. In “FearDotCom,” he uses the same camera and editing tricks but none of the brains, re-creating the atmosphere but without the impact. It is full of loud sounds and devilish fury and registers nada on the Creep-o-meter.

Bored-sounding New York detective Mike Reilly (Stephen Dorff) is working a case where people have been turning up dead with weird hemorrhaging around the eyes. They think it’s a virus, but boring Department of Health babe Terry Houston (Natascha McElhone) says it’s not, though she sounds so bored when she says it, I can’t believe she feels very strongly one way or the other.

They figure out all the dead people had visited a particular Web site exactly 48 hours earlier, and that they died according to their worst fears. (I don’t know how Mike and Terry figured that out. Maybe you can go to MyWorstFear.com and find out the worst fear of anyone in the world. )

The Web site in question is www.feardotcom.com, and it is run by a crazy man called The Doctor (Stephen Rea). He was the perpetrator of Mike’s one unsolved case, and now he kidnaps women and tortures and kills them live on the Internet. Mike even knows the guy’s real name, yet he could never capture him. Now, the madman runs a Web site, yet apparently no one can trace it and figure out where it’s coming from. In real life, I think the NYPD is somewhat less inept than this.

I like the look of this movie; however, I liked it more when it was in “Seven,” which Malone has clearly watched way too many times. The movie is an indictment against using terror as entertainment. The people who visit the torture Web site, after all, die as a consequence. So essentially, “FearDotCom” is telling the people who would watch and enjoy “FearDotCom” that they shouldn’t. And I agree. You shouldn’t watch this movie — not for moral reasons, but because it sucks.

Possession

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Neil LaBute’s fourth film, “Possession,” marks his entry into the ranks of mature Hollywood directors. His previous films (“In the Company of Men,” “Your Friends and Neighbors” and “Nurse Betty”) have been proficient and intelligent, but now he has combined his keen directorial vision with rich cinematography and lush scenery. Except for the presence of frat-boyish Aaron Eckhart, a fellow BYU grad who has appeared in each of LaBute’s films, “Possession” looks every bit like the elegant English romantic drama it attempts to be.

In fairness, Eckhart does well here. His captain-of-the-football-team delivery suits his character, an American named Roland Mitchell who works in London as a research assistant to a professor of Victorian poetry. Roland stumbles across some relatively torrid letters written by Randolph Henry Ash, the 19th-century poet in whom his boss specializes. What’s noteworthy is that Ash had a wife to whom he seemed completely devoted. Furthermore, the letters seem to be addressed to the poetess Christabel LaMotte, a devout lesbian. If Roland can prove this correspondence — which no scholar has ever discovered before — actually took place, it will rock the literary world. (Admittedly, the literary world is one that is easily rocked.)

He seeks out Dr. Maud Bailey (Gwyneth Paltrow), who is far prettier than her frumpy name and dowdy demeanor would suggest. She is a cold fish and an expert in Christabel LaMotte; surely combining these two worlds of knowledge can lead them to the bottom of the mystery. And surely a romance between the two researchers is also in the offing. How can it not be, with musty old manuscripts and gooey love poems at the center of their work?

Based on A.S. Byatt’s novel and adapted by LaBute, David Henry Hwang and Laura Jones, the story plays out much like a mystery, with Roland and Maud finding clues and following leads that, in my opinion, often materialize too easily and conveniently.

It is all interspersed with scenes from Ash and LaMotte’s lives, those roles being played by Jeremy Northam and Jennifer Ehle, respectively. A period piece only about those two would have been grand to watch, especially as played by such accomplished actors. Paltrow and Eckhart are very good as the modern-day researchers, but their romance seems obligatory. There is no indication that the 150-year-old affair they’re studying led them, inspired them or brought them together; they just wound up together, the same as they would if they’d been working on any other project (at least in the world of movies, where co-workers of the opposite sex always fall in love).

Considering this is a film about people doing research, it’s amazing how well LaBute maintains the audience’s attention. But the old, dead romance is far more interesting than the present-day one, with more emotional impact and dramatic weight. However, the gorgeous English countrysides and personable, slyly witty performances makes this a worthwhile endeavor, regardless of which half of the movie you feel more attached to.

A Life of Literacy

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Several of my friends have recently moved to Los Angeles to become actors and waiters and hobos, leaving me with fewer options for lunch partners. As a result, I have taken to eating lunch alone and reading a book while I do. My lack of nearby friends has forced me into a life of literacy. Surely you weep with me over this tragic turn of events.

Lunch, to me, is a social thing. I love eating, but I hardly care where it takes place. It’s all about the companionship, the camaraderie, the being picky about menu terminology. (How can anyone use “encrusted” in a positive sense?) The other night I was eating with one of my remaining friends and telling him stories about another friend. Each of those stories, I realized, had taken place at a restaurant. And now I was sitting at another restaurant, retelling them. The movie about my life will have a lot of characters called “WAITER,” that’s for sure.

When I eat alone, I generally avoid sit-down restaurants. The look of pity in hostesses’ eyes when you say, “One, please” has driven lesser men than me to suicide. So on a recent afternoon, I found myself at Arby’s, enjoying a hearty turkey sandwich and reading a pleasant novel.

Over the sound system, I heard old rock ‘n’ roll playing. How did Arby’s decide to play oldies as opposed to some other genre of music? I didn’t see any connection. Since Arby’s is a roast beef establishment with Western roots, I could have understood country music. I couldn’t have forgiven it, of course, as I cannot forgive playing country music anywhere, under any circumstances, except possibly at a hanging. But at least I could have understood the connection. Oldies, though? It didn’t make sense.

I heard the Beatles sing “I Saw Her Standing There,” which begins this way: “She was just 17/You know what I mean.”

Yes, Paul, I know what you mean. You mean that she was not of legal age, and yet you were leering at her when you saw her standing there. Charming.

I continued to enjoy my lunch as I sat in a booth next to the window, through which a multitude of sunlight was streaming. It was a nice day, and I was having a quiet, contemplative lunch away from anyone I knew, several hundred miles away from my best friends, and a few miles away from my second-tier friends who couldn’t go to lunch today.

And then, without warning, I reached my breaking point. I heard a song called “Vacation,” whose chorus went: “V-A-C-A-T-I-O-N in the summer sun.” Subsequent searches on the Internet revealed that the artist was Connie Francis and that the song peaked at No. 9 on the Billboard charts in 1962. This song, 40 years old and growing older by the minute, had reached forward through time to irritate me beyond all comprehension.

The song enraged me. It was frivolous, light and stupid, with lyrics about “doing the mashed potato to a jukebox tune” and making out at a drive-in movie. We don’t have jukeboxes any more, nor the mashed potato, nor drive-ins. We still have making out, but I think it’s dirtier now than it was then. This song, a crumbling fossil from a bygone era, might as well have been in a museum, perhaps the same one where they keep Connie Francis.

Why did the song anger me so? Was it because it featured spelling, which I have great disdain for in any song because it suggests we wouldn’t know which word was meant otherwise? (“Oh, ‘vacation’! I thought she was saying ‘Vacate! Shun!'”) Was it because I’m not a student anymore and songs about summer vacation have no meaning for me? Or was I just upset that the people in the song, surrounded by friends and merriment, seemed to be having a better time than I was, eating alone at Arby’s? Whatever the reason, I figure it was the book’s fault, so I’ve stopped reading.

Simone

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“Simone” is a 90-minute farce that refuses to accept its identity, tries to be serious, and stretches itself into two hours. Except for a few choice moments, the writer and director, Andrew Niccol, seems unaware that he was even making a comedy.

Niccol also gave us the too-serious “Gattaca” and wrote the screenplay for the funny-but-still-too-serious “Truman Show.” Somewhere deep within this man is a skilled comic writer, clawing through layers of ponderousness and high concepts, trying to reach the surface.

Simone is the name of a computer-generated actress created by a washed-up Hollywood director named Viktor Taransky (Al Pacino). She’s the ideal leading lady, because she never gains weight, always knows her lines and doesn’t throw diva fits. Thanks to modern technology, Viktor can shoot scenes with live actors and put Simone in later, without anyone knowing she doesn’t exist. (They assume she’s just reclusive and shy.) “Our ability to manufacture fraud now exceeds our ability to detect it,” Viktor says.

Soon Viktor and Simone are the toast of the town, and everyone is dying to meet her — or at least see her in person. This includes Viktor’s ex-wife Elaine (Catherine Keener), who is also his boss at the studio; and his teen-age daughter, the meek and computer-oriented Lainey (Evan Rachel Wood).

Because this is farce — really, Andrew Niccol, it is! — you may be assured Viktor comes to regret having created Simone but finds getting away from her nearly impossible. The film’s funniest sequence comes when Viktor tries to ruin Simone’s career, only to discover that no matter what she does, the public loves her (a plot device borrowed from “The Producers,” which is also a farce).

The inevitabilities — someone will find out, Viktor’s lies will get more elaborate, Simone will have to do a face-to-face interview — are postponed in favor of more Hollywood-insider jokes and uninspired character development. (Will Viktor and Elaine reconcile? Golly, I don’t know.) The whole thing feels dragged out, like watching a “Three Stooges” short in slow-motion.

Pacino, like Robert De Niro, probably has the right level of intensity and skill to tweak his tough-guy image and play a comedy. “Simone” could have been it. Alas, Pacino seems lost here, like the whole thing is somehow beneath him.

That being said, some of Viktor’s conversations with Simone — where Viktor provides both sides of the dialogue — could only have worked with an actor of Pacino’s caliber behind them. It helps having someone as sharp as Catherine Keener along, too, as well as amusing cameos from Winona Ryder, Jay Mohr and Rebecca Romijn-Stamos.

“Simone” is not a bad movie; it’s just a comedy that refuses to let its hair down. You will wish it hadn’t lasted so long, and that you had laughed more often. And maybe you’ll think Simone herself looked a little creepy.

Little Secrets

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We watched “Little Secrets” on a screener tape provided by the distributor. I thought, “This looks like a Disney Channel movie.” A friend watching it with me said, “This looks like a Disney Channel movie.” Halfway through, another friend walked in, took one look at it, and said, “Is this a Disney Channel movie?”

I hate to start a movie review with an anecdote about watching it, but these events describe “Little Secrets” perfectly. The cinematography is bright and sunny, the music is unobtrusively wacky, the tone is light and the budget is cheerfully low.

Directed by BYU alumnus Blair Treu, who has, yes, worked on Disney Channel films, “Little Secrets” was shot in Salt Lake City. And it is every bit as harmlessly chipper as you’d expect a family-oriented movie by a BYU alumnus shot in Salt Lake City to be.

It is set in suburbia — Colorado, we learn 90 minutes into the film, and only by looking closely at a letter someone receives. It’s an idyllic summer on a friendly, tree-lined street. The numerous neighborhood kids trust in Emily (Evan Rachel Wood), a 14-year-old girl who works one afternoon a week as a “secret keeper,” wherein children pay her 50 cents in exchange for getting something off their chests and receiving a little sisterly advice. This kid swiped some money from his dad’s wallet; that one’s digging a hole to China; you know, regular kid stuff.

Also, these kids apparently spend most of their time accidentally breaking their parents’ things, because Emily’s foot locker is full of evidence that she holds for the kids until such time as they choose to ‘fess up to their parents.

Emily’s mother is pregnant, and Emily’s freaking out about it due to a secret she has. (It is nothing salacious, but it is a secret, so I won’t tell you.) See, that’s the thing: The pressure of knowing everyone’s minor, childish peccadillos gets to her after a while, especially when she has her own issues to deal with.

In the meantime, she has developed a casual friendship with Philip (Michael Angarano), the 12-year-old boy next door who has a crush on her. He is in awe of her prowess on the violin, which she practices constantly, preparing for an audition for the youth symphony coming up soon. In fact, she has forsaken summer camp this year in order to rehearse.

Two lines of dialogue sum up what the movie is about. Someone observes, “If you want to be close to someone, you can’t keep secrets from them.” Or, put more simply by another character at another juncture, “Secrets hurt.”

It is hard to fault a film with so guileless a philosophy — the importance of honesty and familial love are also emphasized — no matter how unimaginative it may be. The idea of a neighborhood “secret keeper” is an amusing one, but Treu and screenwriter Jessica Barondes do not focus on it enough, and what they do manage to do with it is nothing special. There is also too much frou-frou involving Emily’s little secret, a subplot with Philip’s rebellious brother, Emily’s devotion to a particular symphony conductor, and her violin teacher’s (Vivica A. Fox) personal life. These disparate elements do not tie together enough to justify keeping them all in the film.

The performances from the children are natural and charming, though, a major plus, since the movie focuses on them. The movie will appeal greatly to kids the age of the characters — 9-14, roughly — and it will be good for them to watch. Everyone else can bask in the brightness of the fun little world of Anytown, U.S.A.

Serving Sara

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The humor in “Serving Sara” is desperate, sad and pitiable. The screenplay, by sitcom hacks Jay Scherick and David Ronn, sets it up so that everyone the main character meets is overweight. Why? So he can make fat jokes.

“Kiss my (butt)!” his rival yells.

“My mouth’s not big enough!” is the retort.

Yes, that is representative of how embarrassingly tawdry and unfunny this train wreck, directed by Reginald Hudlin, is.

The aforementioned main character, a Manhattan process server named Joe Tyler (Matthew Perry), is also one of those movie types who continue to make wise-acre comments even while being beaten, chased or shot at. These people do not exist in real life — in real life, even comedians shut up when in mortal danger — but that does not stop by screenwriters from creating them. (See also: Chris Rock in “Bad Company” and Jamie Foxx in “Bait.”)

Joe has to serve divorce papers to Sara Moore (Elizabeth Hurley), a Texas tycoon’s (Bruce Campbell) trophy wife. To get revenge, she offers Joe $1 million if he will say he has not served the papers after all, and then serve divorce papers to her husband instead. Since she will have filed first, the legal proceedings will most likely go in her favor.

Joe’s rival is Tony (Vincent Pastore), who is trying to serve Sara before Joe does, and whom Joe keeps sending on wild-goose chases as a means of padding out the film’s running time.

Oh, and speaking of padding, there are TWO scenes of Joe and Sara developing the obligatory romantic bonds in hotel rooms, and an extended sequence at a monster truck rally where not a single thing occurs that would ever, ever occur in real life.

And then there is “Serving Sara’s” piece de resistence, its tour de force, its “Ben Hur” chariot-race scene, its “Psycho” shower scene. Joe and Sara are sneaking around a cattle ranch when a man pops out of a barn and says, “Boy, am I glad to see you two!” Then he rushes them into the barn, because he has mistaken them for veterinarians. Joe and Sara, not wanting to reveal they are outsiders who are snooping around, have no choice but to pretend to be veterinarians. (I recall this sort of thing happening a lot to Elmer Fudd, too.)

What is required of the kindly vet today, you ask? Well, some cows are in need of being inseminated, but darned if the stud-service bull hasn’t gone impotent! To help the problem, Matthew Perry has to shove his arm aaaall the way up the bull’s rear end.

If you are a friend of mine and still want to see “Serving Sara,” please be aware our friendship will be terminated.

Lame, limp, unappealing, incompetent, clueless — these are the kindest words I can come up with to describe this film. Every now and then, Perry’s “Friends” character, Chandler, shines through. And if chuckling two or three times is enough to make an otherwise worthless movie worthwhile to you, then I salute you. It must be nice to have that much extra time and money lying around.

The Parent Rap

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It is my theory that no matter how cool your parents are, or how different they seem from the stereotypical parents, eventually everyone’s parents become exactly like everyone else’s.

When I was young, my parents were hip. They were nice to my friends, and my friends thought they were “groovy,” or whatever slang we used in the 1980s. I was always proud of Mom and Dad’s youthfulness and congeniality.

Now they are older, though I suppose that is true of most of us. There is gray in their hair and their steps are not as springy. They have more girth than they once did (though I suppose that is also true of most of us). They creak when they walk, which is good, because that sound is often the only thing frightening off the vultures and other carrion-feeders that circle overhead. Sometimes my siblings and I push Mom and Dad down, just to see if they can get up again.

But it’s more than just their chronological aging. Their attitudes seem more parenty now, too. They remind me of the befuddled middle-aged mothers and fathers you see in sitcoms, the kind who only eat vanilla ice cream and go to bed at 10 p.m. and view all electronic devices with suspicion.

In other words, they remind me of how my grandparents — THEIR parents — were when I was a kid.

The first time I noticed it was on my birthday last year, when Mom and Dad called to wish me a happy one. First Mom got on the phone and asked a bunch of questions — how’s work, how’s the house, am I seeing anyone, etc. Then Dad came on and asked the exact same questions, as if reading from a parenting script. I thought they were playing good cop/bad cop, trying to trip me up in my story, and that later they would compare notes. (“He told you work was ‘fine’? He told me work was ‘OK’!”) If this line of redundant questioning is not stereotypical parent behavior, I don’t know what is.

The older we both get, the less I have in common with Dad. We do not watch the same movies — I watch everything; he watches nothing — nor read the same books nor eat at the same restaurants. The last time I was home, I told my parents I wanted to take them out to the dining establishment of their choice. They chose Coco’s, a chain of eateries in California that is on the same level as Village Inn or Dee’s — good enough food, but hardly something you look forward to. Yet there we were, on a semi-special occasion, eating diner steak and having key lime pie for dessert. The fact that I’m even mentioning this is probably itself a source of division between my parents and me; they will surely not see what I find funny about it, and like most aspects of my life, they will look at this column with bemusement and bewilderment.

So the last time I talked to Dad, I discovered something we can relate to each other on: money. My parents bought a new house the same time I did, so we had much to discuss. Interest rates, mortgage payments, equity loans — we could have gone on for hours. I told him how much credit card debt I had accumulated, and I believe he was genuinely impressed that one person could spend that much without the aid of a wife or children.

Not long ago, Mom sent me an e-mail to which I did not immediately respond. The next day, she sent it again, saying she wasn’t sure it had really gone the first time. Translation? “You MUST not have gotten it, because if you had, SURELY you would have replied to your poor old gray-headed mother immediately.” This is Motherhood with a capital M.

And yet, for all our differences, I hesitate to say I don’t understand my parents, or that they don’t understand me. We do understand each other — or we grasp the basics, anyway. I know what makes them tick, even if some of their specific behavior puzzles me, and they know more about my inner workings than most people do. Maybe we don’t relate to each other very well. But since when is that a requirement for loving someone? I love my parents dearly, and I’ll be sad when the buzzards finally carry them off.

One Hour Photo

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Robin Williams has a deep, soothing voice that has too often been used in movies to quietly tell us how we can save ourselves. “Patch Adams,” “Jakob the Liar,” “Bicentennial Man,” “Jack” — all of these (and others) were sanctimonious pictures where Williams played the Wise Clown meant to show us the way.

It is wonderful, then, to see that sonorous voice used for evil, not good, in “One Hour Photo,” which will surely be one of the most thrilling films of the year. For this time Williams is not a slightly off-beat fellow whose disarming but gentle humor guides the rest of humanity along the path to enlightenment. No, this time Williams is a psychotic man who buys a big knife and might kill someone with it.

Williams plays Sy Parrish, a loner and a perfectionist who works at the photo counter at a suburban Wal-Mart-type store. He has worked there for 11 years and in that time has come to know some of the regular customeres very well. In particular, he is attached to the Yorkins — William (Michael Vartan) and Nina (Connie Nielsen) and their little boy, Jacob (Dylan Smith). He’s been developing their photos ever since they were married. Why, he feels like he’s part of the family himself!

Trouble is, the Yorkins think of Sy as “the photo guy,” the fellow at the store whose name and face they know, and nothing more. Sy is experiencing unrequited love at its most heartbreaking — and at its creepiest.

His obsession with the family becomes a threat when he learns a secret harbored by one of its members. That’s when the awkward, uncomfortable moments between Sy and the Yorkins give way to more deliberate, unsettling behavior.

In a voice-over narration, Sy observes that we only take pictures of happy things. “Someone looking through our photo album would conclude we had led a joyous, happy existence.” Clearly, this is not the case for Sy. We don’t know what his photo album would include; indeed, we don’t know much about him at all. In fact, the one revelation about his background is the one fault the movie has. It was creepier not knowing what made him this way than it is for the reason to be given, and for it to be such a trite one.

Writer/director Mark Romanek has done extensive work in music videos, and the more positive attributes of that medium — a visual storytelling style, an eye for effective camera movement — are brought to bear in this, his first feature film. Together with cinematographer Jeff Cronenweth, Romanek puts Sy in a lot of sterile, all-white environments, isolates him from the world, covers his eyes with a car’s rearview mirror — things that have been done before, yes, but all that means is that Romanek has learned from the masters. If he keeps this up, Romanek could join David Fincher and the Coen Brothers as one of the best visual directors working today.

Robin Williams is not the only one to suddenly display a gift for understatement. The film’s musical score is by German industrial musicians Reinhold Heil and Johnny Klimek, and it is perfect. Rather than forcing us to be scared by having the music lunge at us, the tones complement the film. One of the movie’s most supremely creepy moments is at Sy’s lonely apartment, when the camera pulls back to reveal a huge wall of 11 years’ worth of Yorkin family photos, put up as a shrine to the family he desperately wants to be part of. It’s a spine-tingling sight already, but the music sends it over the edge.

No acting career was ever in such need of, nor was able to achieve, a re-defining like “One Hour Photo” does for Robin Williams. We knew he could be a fantastic actor when he wanted to be, but we’d forgotten, what with all the syrupy family crap he’s been doing lately. “One Hour Photo” is haunting and ominous, written, directed and acted nearly to perfection.

Scream of Conscience

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Let’s talk about the conscience, a fascinating part of the human psyche. It separates us from the animals, who do not have feelings of regret or guilt, or feelings of any kind, really, which is why they don’t complain when you kick them.

My conscience, whose name is Conscience, is an imperious, condescending being who lives in the back of my brain. He hates his neighbors, Frivolity and Gluttony, who cause him no end of trouble. Conscience is Mr. Wilson to Frivolity and Gluttony’s Dennis the Menace. Conscience is always making irate phone calls to me on the order of, “Have you seen the credit card bills from Frivolity’s last trip to New York?” and “Look what Gluttony did to that buffet table!”

The thing is, Conscience has only himself to blame, because he is often lazy in his duties, not joining the discussion until I am well into the planning stages. For example, a few weeks ago I was at Wal-Mart when I realized I needed some Chapstick. I located the Chapstick display, found what I needed, and was walking toward the checkout when it occurred to me: This Chapstick is tiny and this store is huge. I could very easily slip it into my pocket with my left hand, buy my other items with my right hand (I’m ambidextrous), and leave without paying for the Chapstick. In all likelihood, I would not be caught. Why don’t I do that…?

Then Conscience came running up, breathless, and said, “Wait, what? What are you thinking about doing?” I explained it to him, and with great incredulity, he said, “No, you can’t steal the Chapstick, you moron. It’s WRONG, remember?” And I realized, oh, yeah, stealing is WRONG. So I didn’t do it. But how did I get so far in the thought process before Conscience showed up? Was he out battling Lust or Pride, or was he just sitting in the back of my mind, reading a magazine?

Then there’s the time my sister was in a car accident that was not her fault, for which she received a handsome insurance settlement and some additional money for medical bills. In all, she came out ahead of the game by quite a wide margin. So I began to wish someone would crash into my car — not causing me any permanent or unbearably painful injury, but enough to where I’d need some medical attention and, thus, some pain-and-suffering money from the at-fault party. And of course they’d need to total my car, too, which shouldn’t be hard, because it’s a Hyundai. You can total a Hyundai just by slamming the door.

But no one would run into me. I was driving flawlessly — had to make sure there was no chance of the accident being my fault — and the bad drivers around me were somehow missing me. I’d come upon the scene of an accident and think, “Wow, that could have been me. If only I’d left the house sooner…!”

And so I began to wonder how I could cause an accident while still making it technically the other driver’s fault. That’s when Conscience FINALLY came in. I don’t know where he’d been, but he sure was livid when he heard what I’d been discussing behind his back. “They have a name for what you’re planning,” Conscience said to me as he glared at Greed and Manipulation, who shuffled their feet and looked at the floor. “It’s called INSURANCE FRAUD. You would GO TO JAIL.” And I thought, oh, yeah, you’re right. Never mind, then.

The trouble with ethics is that some things are only wrong MOST of the time. If I had needed to steal that Chapstick to feed my sister’s starving family, for example, I would have felt OK about it. 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.”

All of which is my way of explaining, Your Honor, that I didn’t REALIZE I had slipped the Chapstick into my pocket. I was planning to pay for it, I swear. Believe me, my conscience would never let me lie to you.

The Mikado

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SCERA’s production of “The Mikado” is a train wreck, but it’s a spectacular train wreck, one where the train is moving at full power and all the passengers are having the time of their lives. Bystanders, though, should stand clear or risk being struck by conceptual debris.

Director Mindy B. Young, music director/arranger Jeremy Showgren and choreographer Sunny Claitor have made Gilbert and Sullivan’s silly operetta into a rock opera, more or less, though many songs still sound approximately the way Sir Arthur Sullivan wrote them. Modern references have been added, though the costumes (by Natalie Chadwick) and makeup (by Ali Terry and Ben Gerber) remain in the ancient Japanese tradition … except where some of the makeup resembles the rock band KISS, and where the Mikado is dressed like Austin Powers.

Some of W.S. Gilbert’s lyrics have been changed to include references to Utah, implying the show takes place here — and then in a later moment, a character suggests they “leave Japan and move to Utah.”

All this is symptomatic of the greater problem, which is that there is no consistency, no sense of having chosen one concept and having stuck with it. You can’t use every single idea you have; they need to fit. Unless your concept is “everything we can think of,” in which case knock yourself out — but don’t expect the audience to follow you.

A loosey-goosey, throw-everything-at-the-wall-and-see-what-sticks attitude can work, and this production has moments that do. But overall, it’s not loony enough to be a full-on spoof, nor straight enough to be just another production of “The Mikado.” “Three Little Maids from a School Are We” is a fine assemblage of rock operatics and modern choreography, for example, but nearly every song surrounding it is presented without much change.

When the emperor of Japan is dressed like Austin Powers (but with no British accent) and singing a song about Utah religion and politics, that’s when you know you’ve accumulated too many concepts and need to do some trimming.

As for the acting, I will say this: It is uniform. Every actor performs in a highly stylized and presentational manner; it is the only element of the show that indicates a consistent directorial vision. (For the record, the principal performers are: Tony Jimenez, Amanda Barclay, Doug Kofford, Ben Schlenske, Fred Lee, Michelle Sundwall, Wendy Lowe, Kate Lowder, Philip Erickson and Laura Hirose Olson.)

Unfortunately, it was a bad idea. I suspect they were going for the style of kabuki theater, but that’s more an explanation than an excuse. The result is that it’s flat and no character is interesting or unique. A lot of random, unison movement and odd voices are used; it’s like watching a tedious demonstration of experimental theater while running a fever.

In all this jumbled mass of ideas, the story has been lost. Without a prior knowledge of the show, or without consulting the program notes, you’d be hard-pressed to know what’s going on. Gilbert wrote a lot of words, and they require careful enunciation and clear singing voices. Many lyrics are lost here.

The production is the result of a lot of creative energy gone wrong. It’s too unfocused, with too many ideas knocking each other over in some scenes and too little going on in others. The cast is committed; the problem is, there’s just not enough for them to be committed to.

Should you go? You would do well to avoid this accident scene.

Blue Crush

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“Blue Crush” is an average film with above-average direction, acting and cinematography. Imagine a cadre of gourmet chefs taking over the kitchen at McDonald’s and you’ll get the idea: They’ll gussy it up as much as they can, but it’s still just a Big Mac.

It’s a great-looking Big Mac, though. Shot by director of photography David Hennings, the abundant surfing scenes are breathtakingly beautiful, and the roar of the waves comes across powerfully in Dolby sound.

Alas, it’s all surrounded by a pedestrian young-romance story set on the gorgeous beaches of Hawaii. Anne Marie (Kate Bosworth) is a surf bum who lives in a shanty with her two surf bum friends, Eden (Michelle Rodriguez) and Lena (Sanoe Lake), and her surf bum little sister, Penny (Mika Boorem). The four of them? Surf bums. The older girls work as hotel maids, but earn just enough money to keep them surfing.

Anne Marie and Penny’s mom took off awhile back, leaving Anne Marie to run things, which Penny doesn’t make any easier with her rebelliousness. (Squabbling Hawaiian sisters taking care of each other because the parents are gone? Yes, it’s “Lilo & Stitch: The Live-Action Drama.”)

Anne Marie was on the verge of surfing stardom a few years ago when she bonked her head on a rock, almost drowned, and thereafter lost the nerve. She still surfs, but she avoids challenges. Eden, though, is trying to boost Anne Marie’s skills and confidence in time for The Big Contest in a few weeks, The Big Contest being the surfing equivalent of The Big Game or The Big Tournament in other sports movies.

While in training, Anne Marie meets Matt (Matthew Davis), a hunky NFL quarterback who momentarily distracts her from what’s really important: surfing.

See, there’s some of the problem. It’s hard to be convinced of the great tragedy in someone exchanging a life of surfing for a brief fling. Usually the “what’s really important” that a film protagonist has to discover is family, love or patriotism. When it’s surfing … well, you lose me there.

Director John Stockwell has a way with actors, though. He directed “crazy/beautiful” last year, a surprisingly good film in which Kirsten Dunst and Jay Hernandez gave great depth to two teenage characters who might otherwise have been stereotyped and flat. “Blue Crush” is nowhere near as good as that, but the dialogue (written by Stockwell and Lizzy Weiss) does seem real and the performances are warm and natural.

At its heart, it’s only a sappy, high-cheekboned romance in which the central characters wear bathing suits most of the time and where the interpersonal dramas are wan and familiar. But “Blue Crush” manages to transcend some conventions of the genre and be just a little smarter, better and gentler.

And the surfing scenes are awesome, dude.

The Last Kiss (Italian)

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“The Last Kiss” (“L’Ultimo Bacio”) was one of Italy’s most acclaimed movies in 2001, and perhaps it will follow in the recent footsteps of “Cinema Paradiso” and “Life is Beautiful” to become beloved in America. It is not as good as either of those movies, but it does share their love of grand visuals, fine musical scores and whimsical scenarios.

“The Last Kiss” centers on Carlo (Stefano Accorsi), who at 29 1/2 is having his mid-life crisis. Or perhaps it’s his pre-life crisis: His girlfriend Giulia (Giovanna Mezzogiorno) is pregnant and they’re about to be married. But he’s stuck wondering if he’s not entitled to some more fun before the drudgery of family life begins.

His is egged on by his friends. There is Adriano (Giorgio Pasotti), already married to Livia (Sabrina Impacciatore) and not at all happy with having a 6-month-old baby to care for. There’s also Paolo (Claudio Santamaria), who is in one relationship but still pines for a previous one. And then there’s Alberto (Marco Cocci), a dredlocked ladies’ man who is perhaps the least-responsible person on the planet. When a friend of theirs gets married, Carlo, Adriano, Paolo and Alberto curse him like he’s just passed state secrets to the enemy.

His friends not being supportive of his impending marriage, Carlo is left to his own devices, and he happens to meet an 18-year-old hottie named Francesca (Martina Stella), who has a serious crush on him. Whether he should succumb to her advances is his great dilemma.

Meanwhile, however, his future mother-in-law, Anna (Stefania Sandrelli), is in a stifling marriage and wants some adventure. Combine that with Carlo’s longings, Paolo’s indecisiveness, Adriano’s wife and kid and Alberto’s loveless sex life, and you’ve got a movie about people who think the grass is always greener in someone else’s bed. We think we want something else, we tiptoe around it, and we realize we want what we had in the first place. We all have to grow up eventually.

They’re passionate people, these Italians. As depicted by writer/director Gabriele Muccino (and, indeed, as verified by friends of mine who have lived in Italy), the Italians spend a lot of time yelling at each other and having sex with each other. In this film, the invention of the cellphone has proven to be quite useful, as it allows the characters to yell at more people, more often.

Muccino has an appealing style (though he does let the proceedings go on for longer than they need to), and clearly loves his characters. The film has a sense of whimsy about it, as if the whole thing is a droll joke, but the people in it are not the butt of it. They are merely representatives of all of us, mired in the quandaries of everyday life. Paolo Buonvino’s lovely musical score and Marcello Montarsi’s cinematography add to the affectionate tone of the film.

The acting is solid throughout, notably from leading man Stefano Accorsi and Stefania Sandrelli as Anna. Both perform with dignity and grace, allowing their situations to be both funny and touching.

The more I think of this film, the more I have fond memories of it. It’s Muccino’s warmth again, making us feel like we know and identify with these people, no matter how far removed we may be from their particular plights. Consider it another high-quality cinematic achievement from a country already rich with them.

Dumber Blockbusters

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It is time to recap the summer blockbuster season and make note of the films that busted our blocks during this hot, sweaty, magical time of year.

You probably thought summer began on June 21, but man, are you dumb. It actually started April 19, when “The Scorpion King” stormed into theaters and began beating patrons about the head with a wooden club. The hero of this movie was wrestling star The Rock, who gave probably the best performance by a wrestler since Hulk Hogan in “Mr. Nanny.”

“Scorpion King” was quickly followed by “Jason X,” which was part 10 in the “Friday the 13th” series of movies about a misunderstood fellow named Jason. Jason loves to kill people. He is different from, say, the Scorpion King because, um, Jason wears a mask.

But the summer REALLY began on May 3, a good six weeks before summer began, with “Spider-Man,” about a freakish boy who gets bitten by a radioactive spider and promptly falls over dead.

No, actually, he inherits all the relative strength of that spider, similar to how people who get bitten by toddlers develop all the powers of a toddler, with the crawling and the drooling and the what-have-you.

It was just two weeks after that when “Star Wars: Episode II — Attack of the Clones; We Enjoy … Punctuation!” was released and hated by millions of “Star Wars” fans, who made their displeasure known to series creator George Lucas by watching the film only 11 times instead of 20.

Were there scintillating, thought-provoking dramas this summer, too? Of course not!

Oh, wait, yes there were. Huh. That’s strange. Anyway, “Road to Perdition” was good, and so was “Insomnia,” about a guy named Al Pacino who can’t sleep. Maybe he should have watched “Unfaithful,” which was dull and morally ambiguous and had a French guy in it, which made it hard to take it seriously, with the beret and the cheese-eating and the what-have-you.

The summer would not be complete without some spy movies, and hot Hollywood couple Matt Damon and Ben Affleck each had one. Damon’s was “The Bourne Identity,” about a man who doesn’t know who he is; Affleck appeared in “The Sum of All Fears,” about a man who thinks he’s Harrison Ford.

Meanwhile, the real Harrison Ford starred in “K-19: The Widowmaker,” a jolly little comedy about an elfish man who lives at the South Pole and makes widows.

And war! We all love a good war movie. “Windtalkers” wasn’t one, but hoo-boy, if it had been, we sure would have watched it!

Summer is also a time for talking animals, both in the cinema and in real life, if you know where to look. This year, “Scooby-Doo,” “Men in Black II,” “The Powerpuff Girls Movie,” “Stuart Little 2: Electric Boogaloo” and “The Country Bears” all featured animals who possessed the amazing power of speech. That is more than I can say for “XXX,” which featured Vin Diesel.

Speaking of children’s movies, Adam Sandler had one, called “Mr. Deeds,” about a man who tried to make a movie without a screenplay. Sandler’s fellow “Saturday Night Live” graduate, Dana Carvey, tried the same thing, with “Master of Disguise,” which was so bad it received not a single positive review in all of America, and therefore grossed $13 million its first weekend. If you made a movie that was hated by every single person in the world, that movie would still gross at least half a million dollars, which is at least a dozen years’ salary for most normal people. Is it any wonder we love Hollywood?

Porygamy

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Actual news item scooped by City Weekly last week: Two Japanese exchange students visiting Utah were accidentally placed with a polygamist family. The girls, unfamiliar with American culture, apparently did not notice anything unusual.

JAPANESE HIGH SCHOOL TEACHER: Class, we are excited to welcome back to our midst Junko and Kiko, who have spent exciting month in Utah of America. Please regard as girls tell story of visit.
JUNKO: Thank you, honorable teacher. Kiko and I had much exciting time in Utah, living with most interesting family.
KIKO: America perception of Japanese is we are efficient, but Junko and I see Americans are more efficient. Family we stay with have three mothers!
JUNKO: Many babies. Many, many babies.
KIKO: Family is very nice. They are member of Reformed Church of the Mormons of the Latter-day of the Many Wives. We go to church with family on Sunday. Family take up whole row in church!
JUNKO: So many babies.
KIKO: Mother Number One, who we call Momma LaRue, is first mother of family. Other mothers are Momma NorDeen and Momma LeDawn. Momma LaRae is oldest; she is almost 20!
JUNKO: Momma LeDawn is younger than myself. She is like little sister to me, and I am honorable auntie to her six children.
KIKO: American household so confusing! Many children in American house all the time, because American family do not send children to school.
JUNKO: American mothers teach children at home because of bleed-heart liberal propaganda in public schools.
KIKO: That is what honorable father of family, Poppa Vern, tell us. He is nice man. He flirt with Junko!
JUNKO: He make me blush when he say I should be fourth momma! I tell him I shamefully cannot do such, for my name have only one capital letter.
KIKO: I tell her to spell name capital J-U-N capital K-O.
JUNKO: Always with joking, Kiko is!
KIKO: Poppa Vern let us help with family business. We call unknown persons on telephone and ask to buy magazines we selling. Some persons do not have manners and say words of filth and hang up telephone before Kiko and I finished talking.
JUNKO: But other persons say we speak best English they ever hear from telemarketer.
KIKO: We do not know what “telemarketer” is, but we glad to help Poppa Vern make money to feed enormous family.
JUNKO: So many babies….
KIKO: While we visit, exciting event happen with American Federal Bureau of Investigation. Many American men and women with guns kick down door and take Poppa Vern away from us.
JUNKO: He have many guns and items for war, which he say are necessary because we must take rights back from government.
KIKO: He say Charlton Heston is his president, and he hate evil man called Clin-tahn.
JUNKO: We hate Clin-tahn, too. Bad man take away Poppa Vern’s rights!
KIKO: Now Poppa Vern in unsanitary American jail. He angry to be taken away from his three mommas.
JUNKO: But he still make jokes. He tell me, “Kiko” — he always call me “Kiko” — “Kiko, call Godzilla and have him step on American prison to release me!”
KIKO: “Or call Japanese businessman father and tell him send one billion dollars, because Japanese have all money,” he say.
JUNKO: Poppa Vern always funny, even when American FBI dragging him from house while mommas sobbing.
KIKO: We are impressed with American life. Americans very resourceful, have many children, have many guns, have many children with guns.
JUNKO: Is no shame to lose Great War to America. America great!

Blood Work

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One hundred years of cinema means that by now, we’ve already seen almost every plot you can come up with. The truly original filmmakers still manage to surprise us now and then, but the average flick playing at the multiplex — especially between Memorial and Labor days — is going to be nothing more than variations on a theme.

For this reason, personality is more important than ever. Take “Blood Work,” for example. It is your basic story about a retired cop who comes back for one last case that he has a personal interest in. It is indistinguishable from quite a few other films with similar plots — except that it stars Clint Eastwood. There are people who would pay money just to watch two hours of Clint Eastwood snarling. I am one of those people. If you are, too, then “Blood Work” is watchable. Otherwise, it’s strictly run-of-the-mill.

There is one slight twist. Eastwood’s character, Terry McCaleb, retired from the Los Angeles office of the FBI due to a heart defect. He eventually received a transplant and is now recovering on his houseboat. He is approached by Graciela Rivers (Wanda De Jesus), a sultry Hispanic woman who wants his help in finding her sister’s killer. Terry says no; he’s retired. Graciela says he has to help: He has her sister’s heart.

That’s the twist, and it’s a good idea. Terry would feel some conflict pursuing and punishing the killer who, let’s face it, is the reason he’s alive today. In the competent-but-unmemorable Michael Connelly novel on which the film is based, that idea is explored to great philosophical depth. In the film, it is given a few cursory lines and then ignored. Books are better equipped to explore internal struggles than movies are, but screenwriter Brian Helgeland ought to have tried harder, because in this case, that internal struggle was the only thing separating the story from one million other cop stories. (Some of Helgeland’s deviations from the book make sense, though, and the film is more logical than the book was.)

Eastwood is typically Eastwoodian as the old FBI warhorse McCaleb, who once excelled at finding tiny clues and examining tricky crime scenes. He growls and squints and sounds as old as he is (72 in real life) — perfect for a crusty old cop who refuses to admit he’s aging.

Jeff Daniels is adequate as his layabout neighbor Buddy, and Anjelica Huston lends dignity as McCaleb’s doctor. Wanda De Jesus, a lovely figure, has little more to do than look sad and worried.

Eastwood also directed, and there’s where some of the trouble is. You don’t need to worry about which details are important to remember, for example, because anything that’s a clue will have a big cinematic sign that says “CLUE” attached to it. Eastwood thankfully avoids ominous music — in fact, there is almost no music in the entire film — but he misuses every other trick, with a camera that lingers a little too long here, or a line that sounds a little too unnatural there. If you’re paying attention, you ought to know who the killer is long before McCaleb does.

The quiet atmosphere of the film makes it seem more like a straightforward drama than a crime thriller. This would have worked better if the story had been more thought-oriented. Instead, we have an actor who is great fun to watch performing in a film that is only mildly diverting.

XXX

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The makers of “XXX” (pronounced “Triple X”) would have you believe the title character is the James Bond for the new millennium. I’m afraid I will have to agree with them. Old Mr. Bond’s debonair attitude has no place in the Age of Irony. Triple X could drink a gallon of martinis, shaken not stirred, then beat the crap out of the bartender just for fun.

“XXX,” unlike recent 007 films, embraces its sexism unapologetically and wallows in the physics-defying absurdity of its action sequences. Not one bit of “XXX” should be be taken seriously, but taken on the level of a testosterone-drenched amusement-park ride, it makes your inner adolescent hoot like it’s on Spring Break.

The film begins with the National Security Agency, led by Augustus Gibbons (Samuel L. Jackson), deciding the only way to find top-notch spies these days is to recruit hardened criminals. “They’re programmable, expendable, and they work,” Gibbons says. “I think they’re our best bet.” There is no debate; everyone agrees this is clearly the best idea.

(I was going to laugh at the movie for using a ridiculous spy-movie name like “Augustus Gibbons,” until I realized the star is someone who thinks his name is “Vin Diesel.”)

Xander Cage (Vin Diesel), an extreme-sports enthusiast with a couple strikes against his criminal record, is among the parolees tested by the NSA. Naturally, Cage exhibits extraordinary observation and survival skills, making him the perfect candidate for spyhood. Since it’s either this or go to jail, he agrees to help Uncle Sam stop a ring of European anarchists who are about to unleash a nerve agent on the world’s major cities.

Cage has three X’s tattooed on the back of his neck. Whether being called “Triple X” led to the tattoo, or whether the tattoo led to his being called “Triple X,” the movie does not say. Like the initial premise of bad guys being turned into secret agents, it is something that simply IS. You accept it as you accept the sets and the costumes and the music, or as you accept there being a motorcycle handy when Cage needs it, or that there will always be a slanted surface nearby that can serve as a jumping ramp.

Because the plot and its complications are strictly standard, “XXX” focuses on image and personality instead. And it has those in spades, particularly in Mr. Diesel. He does not have the acting skill of any of the men who have played James Bond, but he has charisma and attitude like nobody’s business, growling his lines in that gutteral but good-natured voice of his, and smiling as much as the audience at how cool all this stuff is. Diesel is still a novelty. Once we’ve seen him in about five more films, it will wear off. But for now — wow! Few men can wear a fur coat over a wife-beater T-shirt, as Diesel does here, and still seem cool.

“XXX” runs down the checklist of Things Guys Like. Cars drive off bridges and motorcycles get blown up solely because guys like that sort of thing. There are hot babes with whom Cage has sex. Why? Because the audience wants him to. Gadgets, fast cars, a thrash-metal soundtrack — this is the movie frat boys would make if they had money and were ever sober long enough.

Why does a movie as dumb as this one work? First, because director Rob Cohen (“Fast and the Furious”) is a proficient director of action sequences, engaging our senses without pummeling us senseless.

Second, because while the law of gravity is much abused in “XXX,” the laws of logic are not. Your average man will not find himself in a majority of the situations presented here. But if he WERE, he would react and respond approximately the way these people do. Everything in the film is improbable, but very little of it is impossible. You can watch, giggle and get an adrenaline boost without feeling like you’ve completely lowered your entertainment standards.

Utah’s Cleanest Home Videos

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We Utah County residents love movies. We like them on our own terms, though. We’ll only watch them if they’re cheap and clean. Well, unless they’re really popular. Then we’ll watch them no matter what. But we’ll walk out halfway through!

For evidence of the “cheap” thing, let us examine Movies 8, from a distance and with protective eyewear. To watch a film there, you must pay $1.50. This is not a lot of money; many local residents save that much simply by undertipping the server every time they eat out. But you get what you pay for at Movies 8. The projection technology is not state-of-the-art — sometimes employees just stand at the front and act out the movie — and there are always a lot of teen-agers there, being loud and teen-agey.

But despite the conditions, Movies 8 is always packed. Why? Because it is cheap. On Tuesdays, when all showings are only 50 cents, Movies 8 is even more packed. Even terrible movies that no one wants to see are sold out, which must send the wrong message to the filmmakers. For example, Freddie Prinze Jr. thinks he’s popular, and it’s Provo’s fault!

What I don’t get is that there are people — actual people whom YOU MIGHT KNOW — who will wait until Tuesday to see a movie because they save $1 that way. I have to assume they’re looking at it in terms of percentages. Fifty cents instead of $1.50 is a savings of 66 percent. If movies cost $1,000 and you found a way to get in for only $333, then yeah, you’d probably do it.

But we’re talking about figures of less than $2 here. I honestly believe that if movies were a nickel six days a week and a penny on Tuesdays, a lot of people in Utah County would wait until Tuesday to go to the movies. And then they would walk out anyway, because they were offended by the content, because they didn’t bother to do any homework before paying their hard-earned penny to see a film.

Which brings us to the other way we prefer movies on our own terms, which is that we like to edit the #*@& out of them.

Since 1998, there has been controversy surrounding Utah County businesses such as Clean Flicks that will charge you a small fee for cleaning up your videotapes. Is this legal? Is it ethical? Does a movie that was dumb anyway become less dumb when you’ve cut the swearing out of it? So far, everyone who has spoken on the subject has been wrong.

First, the filmmakers. They say cutting the naughty bits out of their movies violates their artistic integrity. Poppycock, I say, twice; poppycock! These people have no problem with their movies being edited for TV or airlines. What’s the difference? They make money from that. The only problem they REALLY have with us editing videos is that they’re not getting any money out of it.

Second, the consumers. They say they won’t stand for filth and obscenity, and they have the right to edit their own personal copies of movies however they see fit. This is true. However, buying a movie and then having someone edit it only sends one message to the filmmaker: Someone bought my movie! Buy a movie and then edit it, burn it, stomp on it or eat it — you’ve still bought the movie and put a few more dollars in the pocket of the monster we call “Hollywood,” which will use the money to kill puppies and provide schoolchildren with crack and all those other things “Hollywood” does.

We’re not very consistent with the editing, anyway. When local companies edit “Titanic,” they remove the nude scene and the sex scene, but they leave in the frozen corpses bobbing in the water. They also leave in Billy Zane’s laughable performance as Kate Winslet’s fiance. But I guess we all have different ideas of what constitutes “obscenity,” don’t we?

Spy Kids 2: Island of Lost Dreams

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“Spy Kids 2: Island of Lost Dreams” suffers from the same syndrome as 99 percent of all sequels in that we’ve already been there and done that. The novelty of children acting as spies has worn off, and “Island of Lost Dreams” doesn’t add anything new to what its predecessor established.

However, its predecessor was an inventive and original film that aimed at kids without talking down to them, and the follow-up has the same attitude. Like the recent “Stuart Little” sequel, this one is nothing new, but that shouldn’t bother kids, who seem to enjoy watching the same thing over and over again.

By now, Carmen (Alexa Vega) and Juni (Daryl Sabara) Cortez are well-established spies in the U.S. government’s junior spy division. They have competition, though, in Gary (Matthew O’Leary) and Gerti (Emily Osment, Haley Joel’s sister), fellow young spies with shady motives whose father (Mike Judge) is a shady agent himself.

It is convoluted, but somehow everyone winds up on an island run by a genetic engineer (Steve Buscemi) who has accidentally created some seriously freakish mutant animals from which he spends his days and nights hiding. Carmen and Juni must traverse the island to reach something called a “transmooker device,” which has the potential of destroying the world. Or something.

Whatever’s going on, it allows the kids opportunities to use nifty gadgets and fly around on jetpacks. Another movie opening this week, “XXX,” plays on the fantasies of adolescent boys. “Spy Kids 2” plays on the fantasies of younger children, with many scenes of kids doing amazing, thrilling things. That is, after all, what the “Spy Kids” franchise is based on: Letting kids live exciting lives vicariously.

This one plays out like a cross between “Jurassic Park” and “Raiders of the Lost Ark,” with a clever “Lord of the Rings” reference so slight you might miss it. (“One necklace to rule them all” is the line to listen for.)

What’s missing is the sharp interplay between Carmen and Juni that made the first film such a delight. Rather than a loving brother-sister relationship marked by rivalry and squabbling, they now have a comforable working relationship that is not nearly as fun to watch.

Their parents, Gregorio and Ingrid, still played by Carla Gugino and Antonio Banderas, don’t have much to do. Getting an even worse deal are Ricardo Montalban and Holland Taylor as Ingrid’s parents, who didn’t approve of her marriage and who used to be spies, too. (Shouldn’t Ricardo Montalban be playing Gregorio’s father, not Ingrid’s?) Their subplot shows up late, and then it just sits there. Alan Cumming and Tony Shalhoub, left over from the last film, make all-too-brief cameos.

So no, director/writer Robert Rodriguez didn’t make this sequel because he had a killer idea for a new story that would develop the characters further and offer amazing new adventures. He did it because the first one made a hundred bazillion dollars. The same sly sense of humor and mischievous attitude are here, though. Consider it another episode cut from the same cloth, if slightly more threadbare this time around.

The Good Girl

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The men behind “The Good Girl” do not view their characters as real people. They are a means to an end, pawns in a game, punch lines to a joke. The director, Miguel Arteta, and the writer, Mike White, do not take them seriously, and neither should you.

As human punch lines, they do pretty well. Most of the jokes are, in fact, funny. But as the film wears on, and the situations grow more serious, it becomes difficult to feel any compassion for them. And a serious event without compassion is a cold, uninteresting affair.

The film stars Jennifer Aniston as Justine, an ordinary Texas girl. She is 30 and has been married for several years to Phil (John C. Reilly), a house painter who spends most of his time smoking pot with his buddy Bubba (Tim Blake Nelson). Justine’s life is dull and uneventful. She loves her husband, and he loves her, but their marriage is stagnant. She works at Retail Rodeo, a local ShopKo sort of establishment, where she’s just as bored as when she’s at home.

And then she meets Holden (Jake Gyllenhaal), a brooding, quiet 22-year-old just hired as a cashier. His real name is Tom (“Tom is my slave name,” he says), but he goes by Holden because he identifies with the protagonist of “Catcher in the Rye.” Justine, increasingly trying to avoid “going to the grave with unlived lives in (my) veins,” gives in to Holden’s advances and begins an affair with him — for which she immediately feels guilty.

The film almost might have worked better as a tragic romance, not a comedy. Gyllenhaal is fantastic as Holden, and Aniston is no slouch at her end, either. John C. Reilly is characteristically fresh and watchable as the pothead husband.

The comedy, meanwhile, is at times very funny, but Arteta keeps things too staid and repressed to ever achieve high hilarity. The best moments are with Justine’s co-workers: a smiling Bible-thumper (screenwriter Mike White), an anarchic clerk (Zooey Deschanel), an optimistic makeup salesgirl (Deborah Rush).

It is well-plotted, too. Marital infidelity is nothing new in the movies, of course, and no new ground is broken here. (They try to make too much of the eight-year age difference between Justine and Holden.) But there are a few good twists and surprises; it is certainly not a by-the-numbers story.

Arteta’s disaffected attitude comes across almost as haughty, like he’s laughing at these people more than with them. The Coen Brothers are often accused of the same thing, as in “Raising Arizona” and “Fargo,” but the difference is that those movies are either hysterically funny or profoundly well-executed. “The Good Girl” is adequately funny and reasonably well-executed, and nothing more.

UVS-Legitima-C

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In 2003, Utah Valley State College’s athletic teams will begin playing NCAA Division I competition, putting it in the same league as BYU and other real, live schools. If you’re like me, you consider this big news, because you didn’t know UVSC even had athletic teams.

But this is ignorant of you and me. Of course UVSC has athletic teams. What, you think people go there for academic reasons?

But again, we must stop making cracks like that. Though I have long been at the forefront in making fun of UVSC, I fear the time may have come that we shall have to start taking the school 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.

Yes, my friends, maybe the days of blithely mocking UVSC are over. 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.

But enough jokes about UVSC! Come on, people, this is serious business. To be eligible for NCAA Division I play, UVSC must choose another sport to add to the 13 it already has, three of which, technically, are board games. It has come down to men’s volleyball or wrestling, the dilemma being that volleyball would attract mostly out-of-state students, while wrestling is boring.

The other dilemma is how to come up with the additional budget necessary to compete in Division I. UVSC’s sports budget is $1.4 million now, but must be at $2 million by the end of the six-year provisional period. That additional $600,000 will go toward “upgrading” the teams to NCAA status. For example, members of the basketball team will ultimately need to wear traditional shirt-and-shorts uniforms, rather than the overalls and straw hats they wear now. Also, the unripe cantaloupes swiped from Farmer Johnson’s melon patch will be replaced with regulation basketballs.

You can see why I’m worried. Though I grudgingly admit in my more unguarded moments that UVSC has been a legitimate institution of higher learning for a couple years now, I have refused to acknowledge it publicly. With this advance in athletics, though, I may be forced to.

But first, I need to unload this last pile of jokes, which is a list of courses offered at UVSC:

– Parking
– Sheepdip from Shinola: How to Tell the Difference
– The Science of Bongs
– Washing Machines: Unlocking the Mystery
– Underpants Studies
– Long Division
– Noises a Doggie Makes
– The Bazooka Joe Comic as Literature
– Figuring out the Long, Difficult Words in Your BYU Rejection Letter

Go Wolverines!

Full Frontal

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Give Steven Soderbergh credit for doing something a bit different with “Full Frontal.” A filmmaker of his caliber and renown doesn’t have to experiment, but he did it anyway. He gets an A for effort.

For actual output, however, Soderbergh and his pretentious, boring-as-hell “Full Frontal” get a much lower grade. The film does nothing but raise questions: What was he thinking? Did he think it turned out well? No, seriously, did he? Really? Come on, you mean to tell me he watched the final cut of this movie and thought, “Yeah, that’s good stuff”? Seriously? Wow.

Most of “Full Frontal” is about a variety of Los Angeles types who have been invited to a birthday party for a noted producer. We meet them, and then we see their lives leading up to the party. The dialogue is half-improvised; the camerawork is intentionally cheap and home-movie-ish; this is supposed to seem like real life.

Which it does, more or less, which is to say it’s not terribly interesting. Carl (David Hyde Pierce), a screenwriter, is about to be left by his turbo-obnoxious executive wife Lee (Catherine Keener); Lee’s sister Linda (Mary McCormack), a masseuse, is preparing to meet a guy she knows only from the Internet; that guy, Arty (Enrico Colantoni), Carl’s screenwriting partner, is opening a cheap new play about Hitler called “The Sound and the Fuhrer.”

Interspersed with all this, we see bits of Carl and Arty’s movie, “Rendezvous,” a mopey romance starring two Hollywood superstars named Calvin and Francesca, played by Blair Underwood and Julia Roberts. Then we ALSO see scenes of Calvin and Francesca in the making of “Rendezvous.” Oh, and Calvin’s character in “Rendezvous” is also an actor – which means Blair Underwood is an actor playing an actor playing an actor.

It’s not as hard to follow as my description of it makes it seem, but it is at least as pointless. The improvised scenes sound like they were improvised by actors who have not done any improv since they were in acting workshops 10 years ago. It doesn’t sound like natural dialogue; it sounds like actors consciously trying to be spontaneous. Julia Roberts, in particular, will continue to charm and delight America, but only if she sticks to the script from now on.

Spread out among the film’s 101 minutes are some amusing scenes, including a few that are laugh-out-loud funny. Nicky Katt is hilarious in rehearsal scenes from the Hitler play, though aren’t Hitler jokes what you make when you’re new at writing comedy and need something quick and easy? Also, Catherine Keener’s vicious, mildly insane personnel director is entertaining. I also found perverse humor in David Duchovny’s scene as one of Linda’s massage clients.

But then there is the tedium, which occupies most of the film. Whatever insights about Hollywood “Full Frontal” is supposed to offer, it doesn’t deliver them. It’s an exercise in futility, and more’s the pity that so many talented people were party to it.

Late Marriage (Hebrew)

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The Jewish people in “Late Marriage,” set in Israel, are traditional in the sense of allowing tradition to dictate much of their behavior, but decidedly unorthodox in their manner of speech and general demeanor.

For example, it is not because of a religious belief in chastity that the parents are angry at their son for sleeping with a woman he’s not married to. It’s because she’s older than he is, and she’s been divorced. The premarital sex, one gets the feeling, is OK.

In this sad comedy, written and directed by Dover Koshashvili, the son is 31-year-old Zaza (Lior Ashkenazi), a perfectly handsome, well-educated man who is frustrating his parents by continuing to remain unmarried. The folks, Yasha (Moni Moshonov) and Lili (Lili Koshashvili), take him from house to house, basically, trying to arrange nuptials with any eligible young lady they can find. At the film’s outset, it’s Ilana (Aya Steinovits Laor), a sharp-tongued but pretty 17-year-old. She’s so pretty, in fact, that Yasha is ready to take her himself if Zaza doesn’t want her.

And he doesn’t, because he already has a girlfriend, the aforementioned divorcee, Judith (Ronit Elkabetz), who comes complete with a daughter (Sapir Kugman). Judith and Zaza have an active, comfortable sex life, shown in curiously graphic detail here, as if making the point that the sex is a vital thing to this relationship. But he has not told his parents about her, because he knows they will not approve.

Zaza’s indomitable relatives provide some audacious laughs, particularly in their surprisingly crude dialogue — not the sort of talk you expect from religious devotees, anyway. Zaza’s mother is the linchpin in this matriarchal society, and their interaction is the most poignant. This film contains the saddest wedding I’ve ever seen, made more depressing by how happy everyone seems.

The pacing is rather slow, and the camera lingers behind in some scenes long after they are finished. This fact alone diminishes the film’s impact. But the acting from the leads is sincere and compelling, and the movie is invaluable as a window into another society.

The Master of Disguise

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It makes sense that Dana Carvey should have a star vehicle in which he does nothing but make silly faces and use goofy voices. After all, he is one of the hottest comic talents of the day!

This is 1991, right?

What, it’s not? Dana Carvey has been a has-been for nearly a decade already? Then why in the name of all things holy is he starring in a movie that is clearly, obviously, patently nothing more than an excuse for him to do his shtick? That’s what current stars do, not old guys trying to stage a comeback. I’m really confused now.

“The Master of Disguise” is about an Italian buffoon named Pistachio Disguisey (Carvey). So there’s two reasons already why you shouldn’t bother with this film: One, Dana Carvey is playing an Italian, which is probably the one ethnicity in all the world at which he is unconvincing. And two, the guy’s name is Pistachio Disguisey.

Pistachio is a nerdy waiter at his father’s restaurant until mom and dad get kidnapped by a bad guy (Brent Spiner) who wants to use Pistachio’s dad’s natural mimicking abilities to steal the world’s treasures. See, the Disguisey genes give one the natural ability to mimic, mock and impersonate people. Fortunately, most of the people Pistachio encounters have broad, easy-to-mimic voices; you could probably do a fair impression of most of these people, and you’re not even a Disguisey.

Anyway, with his parents missing, Pistachio is taught by his grandfather (Harold Gould) the secret of his Disguisey abilities. He hires a lovely assistant named Jennifer, who is played by Jennifer Esposito, who looks like Jennifer Aniston. The two of them, aided occasionally by grandpa, go in search of the parents, donning disguises and fake voices at every turn.

One of the principal jokes is that every time the bad guy laughs maniacal, it causes him to pass gas. Is there anything funnier than a man passing gas? Apparently not, at least as far as this movie is concerned.

Another principal joke is that Pistachio keeps getting slapped in the face. Honestly, it happens at least a dozen times in the course of the film.

Pistachio is not a character, but a one-dimensional collection of quirks and oddities. How, then, could you think to base an entire film around him? Is anyone NOT getting tired of movies that are nothing more than extended “Saturday Night Live” skits? Rarely has such a talented comedian been so wildly out of touch with what’s funny. “The Master of Disguise” is an embarrassing, amateurish disaster.

Signs

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M. Night Shyamalan makes movies that are not really about what you think they’re about.

I don’t mean the advertising is misleading or anything like that. I mean that while you’re watching the film, you believe it’s about something supernatural or fantastic, only to discover in the final act that it’s been building up to something else entirely, something weightier and more philosophical. The writer/director’s famous “twists” are not just in the plot, but in the whole subject matter.

“Signs” continues that trend, while building on the work Shyamalan has already done. It’s a blend of “The Sixth Sense’s” creepiness with “Unbreakable’s” deliberate pacing. Some found “Unbreakable” TOO slow; that isn’t a problem here, where the slowness is filled with anticipation and dread, not to mention finely wrought performances from Mel Gibson and Joaquin Phoenix.

Gibson plays Graham Hess, a farmer in Bucks County, Pa. A one-time minister, the death of his wife has damaged his faith beyond repair; he now pointedly asks that the townsfolk not call him “Father” anymore. He is angry at God, to the point that he denies His existence. “There is no one watching us, Merrill,” he tells his brother ruefully. “We are all alone.”

Merrill (Joaquin Phoenix) broke records as a minor-league baseball player but had an outrageous strike-out record that prevented him from making it big. He lives with Graham and Graham’s two children, Morgan (Rory Culkin) and Bo (Abigail Breslin). He considers joining the Army, just to have something worthwhile to do.

The first seconds of the film are gripping, with crisp, eerie sound and a foreboding atmosphere. (Credit Tod A. Maitland for the sound, veteran cinematographer Tak Fujimoto for the look, and Shyamalan regular James Newton Howard for the music.) Graham is awakened. Something has happened outside in the cornfield. He investigates. Crop circles — huge areas where the corn has been flattened into a strange pattern. Whether this is a hoax or a sign is the issue, at least at first. That is all I will say about the plot, and beware of anyone who wants to tell you more.

Characteristic of a Shyamalan film, there is no panic. It is surprising and perhaps amusing given what goes on here, but the characters retain a sense of calm and definitely a sense of humor. They remain people, after all — the most human of humans, with flaws and qualities and quirks.

It leads to a long, dark night of the soul for more than one person, both literally and figuratively, wrapping into a genuinely significant evolution of character. Where “Signs” is not as fine as Shyamalan’s last two films is that they worked well even on the basic level of being ghost stories or superhero tales; the twist in theme was merely the master stroke that provided the depth. Until “Signs” reaches that point in the story, it does not stand as solidly. It’s a rather ordinary UFO story — albeit an expertly staged and photographed one — and it NEEDS that added depth at the end to make it work.

It does work, though, and to fault it for being unimaginative in the supernatural department would be to miss its real point. That point is ponderous and even faith-affirming, but also very, very cool, even as it intentionally gives itself a bit of camp. A creepy good time — and perhaps a surprisingly emotional one — will be had by all.

Shmildren of Shmeden

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We have more than our share of community theater in Utah County, and our love for the arts is admirable. Unfortunately, some of the theater is very, very bad, and I fear our love for the arts goes unrequited, and perhaps we are no longer loving the arts so much as stalking them.

A few months ago I saw a play in which a man pretends to be a famous rock star so he can defraud some people in a small town. It is a wacky farce, which in the playwright’s mind meant that nothing had to make sense. The con man, for instance, was knocked unconscious twice in the play, once by a plunger, and once by an oil-painting canvas. I suppose an actual punch in the face would have killed him, as his skull is apparently made of gelatin.

This play also had one of those semi-deaf old-man characters who hear things incorrectly and overreact to them. Someone would say, “That’s a nice tie,” and he would freak out and say, “Mice?! Where are there mice?!” as he jumped onto a chair and looked around frantically. In real life, of course, if you believe someone has told you something unusual or impossible, you say, “What?” or “You’re crazy!” before devoting your full energy to reacting to it.

But this unrealistic character made me think of two fun new characters. First is the Guy Who Hears Things Really Wrong. You say, “Pass the salt, Grandpa,” and he replies, “What? My hair’s on fire?!” Or if you say, “That’s a nice tie,” he says, “The world is ending?! Oh, no!!!”

My other new character is the Guy Who Hears Things in Yiddish. When you say, “Look at that gorgeous house,” he says, “‘Shmorgeous shmouse?’ What’s a ‘shmorgeous shmouse’?” Or if you ask, “Where’s the bathroom?,” he replies, “‘Shmathroom’? What’s a ‘shmathroom’?”

So I ruminated upon the occasionally dreadful state of theater, and then I realized: Maybe we don’t deserve good theater.

This occurred to me while watching “Children of Eden” at the SCERA Shell the other night. 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.

Then there are the people who watch the show but miss the point. “Children of Eden” uses biblical figures and basic Bible stories to depict greater allegorical messages. It is not to be taken literally, much less as doctrine. Yet here was a woman during intermission saying, in a very smarmy voice, “I didn’t realize Adam hit his children.” She was referring to the part of the play where Cain, about to go nuts and do some killin’, gets slapped by Adam.

Well. I didn’t know God sang baritone, either, but there it is, right there in the show. Right there in the show whose printed program, I guess, says, “Book by God; music and lyrics by the Bible.” This is theater, people, not Sunday School. You can tell because everyone’s awake. (Unless you’re at the Hale, that is, where a woman sat in the very front row and slept through all of “Phantom,” despite the show being interesting and loud. Her husband was with her, and I thought: Sir, if your wife is in a coma, leave her at home, or at least out in the car.)

Also during “Children of Eden,” when performers came onstage in animal costumes to get on the Ark, people in the audience would say out loud which animal it was. This is because when you have a thought, it is best to vocalize it. No one will ever know you recognized the peacocks unless you say, “Peacocks!”

So maybe the bad theater is our punishment for being bad audiences when we have good theater. It’s all karma, you know, or possibly shmarma. Now if you’ll excuse me, my hair is on fire.

Children of Eden

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There’s enough power and beauty built into “Children of Eden” that a theater producing it almost need only grab onto its coattails. Do it some degree of justice and voila, you’ve produced one of the best shows of the year.

The SCERA production, directed by Jan Shelton, is almost as good as the show deserves. Some of SCERA’s classic flaws emerge, such as chorus members who draw attention to themselves when they ought to be blending in, and people who sound very, very young being asked to play characters who are very, very old. And yet this Bible-based musical has such glorious humanity behind it, and is so well-acted here, that its spirit comes shining through regardless. It is not just a play, but an experience.

With book by John Caird and songs by Stephen Schwartz, the show finds parallels in the stories of Adam and Eve (in the first act) and Noah’s Ark (in the second). It is not strictly doctrinal — you are at the theater, not a Sunday School class — but it successfully conveys principles of parenting, forgiveness, and learning from our mistakes.

The God character is called “Father” most often, suggesting we ought not take things too literally. The abundant dance and stage movement among the large ensemble, choreographed by Sunny Claitor, provides additional theatricality.

Father (Neal Johnson) creates Adam (Clayton Vance) and Eve (Tiffany Nutter), and the story proceeds from there. The second act jumps ahead to Noah’s (Josh Tenney) family, where son Japheth (Chad Mortensen) insists upon marrying Yonah (Melissa Lindsay), who is of the race of Cain. It rains; there is strife; all participants, including the Father, learn valuable lessons about the nature of free will and repentance.

Neal Johnson is excellent as the Father, displaying that all-too-rare combination of a fine singing voice and sincere acting ability. He ranges from fatherly affection to rage to bitter disappointment, all while maintaining dignity and strength.

Adding more depth is Tiffany Nutter, who plays Eve with enough big personality to register in the large outdoor venue while still remaining believable. She, like the show, is full of fire, humor and life. Clayton Vance is a congenial, prototypically handsome Adam with a strong voice and honest emotion, though some of his gestures are too presentational and “act-y.”

Kevin Goertzen and Chad Taylor hit the right buttons as the rebellious, questioning Cain and his ill-fated brother.

In the second act, Josh Tenney is fine as Noah but miscast with a ridiculous fake beard and the worst old-age makeup since … well, probably since the last time SCERA tried to make someone look old. It’s too bad, because he’s a good performer. Chad Mortensen and Melissa Lindsay blend well in the lovely duet “In Whatever Time We Have”; David Nutter and Stewart Shelley are amusing as Noah’s good sons, Shem and Ham.

The production is lopsided. The better performances and the more poignant emotions occur in the first act, thanks largely to Tiffany Nutter’s final words as Mother Eve. The second act ties everything together thematically, but it can’t hold a candle to what came before in terms of making me, personally, cry. I suppose your mileage may vary.

The prerecorded orchestrations are sometimes obviously slower in tempo than the singers wish they were. Furthermore, the musicians played “A World Without You” — a song full of inner conflict — utterly without passion or crescendo. Ditto “Ain’t It Good?,” Sarah Broberg’s time to shine as Mamma Noah, played here with barely a hint of the exuberance it ought to have. Not having a live conductor to bring singers in at the right time is a problem, too.

And yet, it’s a fantastic show. Some elements have prevented it from being transcendent, but they are not enough to diminish its general brilliance. Sure enough, it is one of the year’s best shows.

Should you go? Yes. You will rarely see such an uplifting combination of humor, tragedy and hope.

Beauty and the Beast (national tour)

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The Broadway version of Disney’s “Beauty and the Beast,” in Salt Lake City through Aug. 18, has the awkward task of taking a near-perfect 90-minute film and turning it into a viable 150-minute stage musical.

The expanded, live version is not as good as the movie — not surprisingly, it feels too long at times — but it’s easily as good as most Broadway musicals, and with more heart and humor than many.

That heart, unfortunately, is often overshadowed by the show’s flashiness. It’s a fine spectacle, with numerous big dance numbers (choreographed by Matt West) and impressive stage tricks (directed by Robert Jess Roth). It’s just a shame to use them in a show whose story and characters didn’t need that kind of gimmickry.

The film version was animated and automatically appealed to kids, so the characters didn’t have to act particularly cartoonish. Those responsible for the live version felt compelled to make it appeal to children, too, and made everything goofier to make up for the fact that it’s not animated anymore. The result is that many characters act more cartoonish in the stage version than they did in the cartoon. It’s gotten sillier and broader, with way too many instances of LeFou being smacked around.

The touring-company actors are top-notch performers. Danyelle Bossardet and Grant Norman are the title characters, with Marc G. Dalio as Gaston. Tom Aulino and David De Vries are audience favorites as Cogsworth and Lumiere. Aside from some major lighting problems Wednesday night, the show is nothing if not professional and slick.

You will get your money’s worth, and you will most definitely be entertained. Your emotions won’t be touched as strongly as with the film, but your toes will tap for days.

Should you go? Not for stuffy theater purists, or for hard-core fans of the movie, but fine for everyone else.

Phantom

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Someone will correct me if I’m wrong, but I believe “Phantom” is the first show Hale Center Theater Orem has done in at least five years, and maybe longer, in which a death occurs onstage.

They’ve done plenty of shows in which characters have already died and are now haunting other characters, and there have been some humorous references to death (“Arsenic and Old Lace,” “Lucky Stiff”). But a realistic death, not played for laughs, happening right before our eyes? This is rare for Hale.

I mention it because “Phantom” is altogether an unusual show for this light-and-fluffy theater. (It must be a trend: The next show is “The Diary of Anne Frank.”) It is a musical, but less a comedy than a dark, Gothic chamber piece, where characters have dubious motives and serious flaws. It is based on the same French novel as the more-famous musical “The Phantom of the Opera”; this version is less fantastical, more literate, not as spectacle-oriented and has better music.

The story, with music and lyrics by Maury Yeston and book by Arthur Kopit, is more or less the same as in the Andrew Lloyd Webber/Charles Hart/Richard Stilgoe version. Under the Paris Operahouse in the 1800s lives a disfigured man known as the “Phantom.” He trains ingenue Christine Daae to become a singer and perpetrates pranks and “accidents” among the rest of the cast, leading to tragedy and mayhem.

Brad Montgomery’s performance as the Phantom is fine, if not his best work. His singing voice is fantastic; it’s the acting, in an admittedly difficult role, that is uneven. Some moments, such as when he shouts, “I am darkness itself!,” are so highly melodramatic they border on campiness. Other scenes, like his underground picnic with Christine and his second-act moments with his friend Carriere (Mark Shipley), are vulnerable and sweet. Overall, though, we don’t get into his psyche as much as we’d like to.

As Christine, Christy Rae Turnbow is perfectly splendid. A show in this small venue, where the audience is right in the actors’ faces, benefits from a performance as personable as hers. She conveys beauty, grace and approachability, and has a gorgeous voice to boot.

That being said, her character comes out underdeveloped as well. Where is her joy at falling in love with the Count (Gene Moi Moi Young)? Where is her dilemma in choosing between him and the Phantom? There are pivotal moments where emotions are written into the dialogue and lyrics, but in the every-day scenes, both Christine and the Phantom seem flat — likable and sympathetic, but without depth.

I suspect not all the cylinders were firing opening night. The storytelling was a bit unclear at times; words, music and movement had not yet gelled the way they were meant to. (The director is Syd Riggs, with music direction by Kathryn Laycock Little and choreography by Amanda Crabb.)

Nonetheless, the show is startlingly poignant and, yes, entertaining. It is bolstered by amusing performances by Amanda Crabb and Mike Gray as the pretentious new owners of the theater, and an able chorus filling numerous smaller roles. Its blend of comedy and tragedy is intoxicating.

Should you go? It is not as magnificent as it ought to be, but its merits are considerable, particularly if you’ve never seen it before.

The Best Friends

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In the LDS Church, there is a program called home teaching, wherein two gentlemen are assigned to be your friends for an hour or so each month. During that hour, you may ask these fellows, who are indeed your bosom chums, for assistance or guidance in any matter. The hour is concluded with hearty well-wishes and slaps on the back and assurances that you may call upon these men at any time for help or counsel, after which they leave and you neither see nor hear from them again until a month has passed, at which point the exercise is repeated.

Or at least that’s how it sometimes turns out. In theory — and often in practice — it’s a wonderful program that helps a lot of people. But sometimes we religious folk aren’t so hot at making things work the way they should. And more often than not, I suspect it’s the home teachees, rather than the home teachers, who screw it up.

My roommate Raymond (names have been changed) and I had a visit from the occasional best friends in June, and we had a fine discussion about things like my being a movie critic, and what movies do I like, and could I get them some free tickets to some movies? They also presented a diverting sermon whose subject matter escapes me now. At the end, one of them offered a prayer, during which he forgot my roommate’s name. He said, “Bless Eric and … … … his roommate.” He struggled for many seconds, during which I thought it would be funny if I adopted a God-sounding voice and said, “His name is Raymond.” But two things I remember from my upbringing are that doing funny things during prayers is generally frowned upon, and impersonating God never ends well.

So I let him struggle, and he finally gave up and said “his roommate.” In a discussion some of us had later on, we determined this was better than guessing at the name and getting it wrong. I occasionally encountered this problem as an LDS missionary, meeting with and praying for a lot of people on a daily basis. You hate to get the name wrong, because then the wrong parties receive the blessings. You say “Johnson family” when you meant “Thompson family” and suddenly the Thompsons get nothing, while the Johnson family — whom you don’t even know, and who may be a family of pornographers — gets a load of blessings.

So that was June’s visit. By the time the end of July rolled around, circumstances had changed a bit. Raymond, my roommate, was dating a young lady seriously enough to have started attending a congregation for married people, so my home teachers had no jurisdiction over him anymore. And on this particular Sunday, my actual best friends Luscious Malone and Tanny Tantan were at my house, too busy reading Entertainment Weekly and watching the Food Network to be interested in hanging around for a visit from the ecclesiastical best friends.

And so the imminent arrival of the ecclesiastical best friends caused a flurry of activity, and my house became the site of a French farce. Doors opened and slammed as Luscious and Tanny scurried into another room to watch TV and read, while Raymond ducked into his quarters. Immediately, the first door opened because Luscious and Tanny had decided a larger room would be more comfortable for hiding — Luscious was making Anne Frank references by now — so they scampered down the hall. Tanny then darted back to the living room to retrieve his shoes and car keys, fearful any evidence that human beings other than me were present would result in the best friends demanding I produce them so they could be their best friends, too. I suppose he imagined the home teachers had robot spiders that would search the premises, like in “Minority Report.”

The visit went fine. I like my home teachers, as they are ordinary folks with a genuine interest in me (and, possibly, free movie tickets) — you know, the way it’s supposed to be. And if I’m not getting anything out of the visits, it’s probably because of all those doors slamming in the back of the house distracting me.

Austin Powers in Goldmember

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The trouble with the last Austin Powers spy-spoof film, “The Spy Who Shagged Me,” was that it squandered all its cleverness on gross-out gags and sexual references. Those jokes work once, if you’re not too embarrassed to laugh, but they can’t propel a film to the level of quality that can stand up to multiple viewings.

The new film, “Austin Powers in Goldmember,” has its share of bodily function-based humor, but not nearly as much of it. The grossest moments, in fact, seem out of place because they required no imagination. (Austin Powers in a basket full of sumo wrestlers’ jockstraps? Anyone could think of that.) The others, you sort of forgive, because at least some creativity was involved.

And creativity is in great supply in “Goldmember,” possibly the funniest film of the series and certainly the most loopy, anarchic and manic. It begins with a glorious parody involving several celebrity cameos, then quickly re-establishes what fans already know: Madman Dr. Evil is the funniest character here, far surpassing swinging British spy Austin Powers himself, who plays straightman in his own film.

Mike Myers plays both roles, along with the plus-sized Fat Bas**** and a new character, a limber Dutch villain named Van Der Smut, nicknamed Goldmember (don’t ask why). Myers has found a fun new thing to do when delivering his lines: He occasionally drops down a few octaves to speak one word in a low, whispery voice. There is no real reason for this to be funny, but the fact that it spreads among all four of his characters tickles me.

Myers, for all his mugging and pandering knows his way around a joke. He even finds fresh new comedy in the age-old bit where someone has an abnormality — in this case a huge, hairy mole on the face of Fred Savage — and everyone else tries not to mention it.

The plot has Dr. Evil, bent as ever on world domination, finding a way to cause a meteor to crash into the earth, thus melting the ice caps and causing a global flood. He is still accompanied by the non-verbal clone/son/plaything Mini-Me (Verne Troyer) and his more traditionally conceived son Scott (Seth Green), who is beginning to display signs of evilness.

Family relations are what this installment is all about, with Austin’s absentee father Nigel (Michael Caine) involved — he’s a spy, too — as well as Dr. Evil’s own father-abandonment issues.

But it is all just an excuse for a merry series of parodies, references, and good old-fashioned goofiness, all maintained while keeping only half an eye on the plot. There are parodies of videos by Jay-Z and Michael Jackson, allusions to “Silence of the Lambs,” and a hysterical moment where Frau Farbissina (Mindy Sterling), in full white-trash regalia, visits lover-boy Dr. Evil in prison.

Some bits are recycled from the other films. This ought not to have happened, because Myers (who co-wrote the script with “Spy Who Shagged Me” writer Michael McCullers) and director Jay Roach clearly have enough new ideas up their sleeves. Witness the enjoyable sequence where a Japanese man’s English subtitles convey the wrong meaning due to some of the letters appearing against a white background. (For example, when he suggests Austin eat some shitake mushrooms, the “-ake mushrooms” part is obscured.)

The parody of ’70s blaxploitation films — including Beyonce Knowles as Austin’s new love Foxxy Cleopatra — is short-lived, which is a shame, considering the wealth of material available there. Many jokes fall flat, too, but a surprisingly high number of them succeed. It’s a boy’s movie, for sure, but Myers no longer seems self-indulgent and hammy. He seems to have made this one for the audience, rather than for himself and a few friends.

The Kid Stays in the Picture (documentary)

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“The Kid Stays in the Picture” is not a documentary. Documentaries, as a rule, aim for objectivity, or when they are biased, they at least interview several subjects to support that bias.

This film, on the other hand, has one source: Robert J. Evans. He narrates the film, and the film is nothing more than a visual version of his memoirs. When he relates an anecdote such as the one where it was his idea for “The Godfather” to be a three-hour film instead of two, you have no choice but to believe him, because no one else’s memory is consulted. This isn’t a documentary; it’s an old guy telling stories.

And what stories they are! This is a ridiculously fascinating, thoroughly unobjective account of one man’s wild ride through Hollywood in the ’60s and ’70s, recounted with humor and energy by the man who lived it.

Evans was a child actor who stumbled into major roles in “Man of a Thousand Faces” and “The Sun Also Rises” in 1957. During shooting on the latter film, everyone wanted him out, including Ernest Hemingway, on whose book the film was based. The producer, Darryl Zanuck, declared, “The kid stays in the picture.” Evans knew acting wasn’t for him, but producing was. “I wanted to be the guy who says, ‘The kid stays in the picture,'” he tells us.

He quickly rose to be head of production at Paramount Pictures, where he oversaw landmark films like “Love Story” (whose co-star, Ali MacGraw, he married), “Rosemary’s Baby” and “The Godfather.” Paramount went from No. 9 among studios to No. 1. How much of that credit should go to Evans is debatable, though it seems beyond question in his own eyes.

Evans’ self-assuredness accounts for much of the fun of this film. He is the quintessential movie producer: brash, arrogant and speaking with a New York accent. He refers to women as “broads” and “dames” and turns phrases like ” ‘Love Story’ didn’t open, it exploded.” He uses profanity here and there, but uses it effectively every time. Those of us who are movie buffs will find an evening of stories at his knee utterly irresistible.

“The Kid Stays in the Picture” was directed stylishly by Nanette Burstein and Brett Morgen. There is archival footage and a lot of still photos, all accompanied by Evans’ narration. But even the still photos don’t stand still. A shot of Evans sitting in the backseat of a car will be put in front of a moving background, for example, just for fun. When it’s over, it doesn’t seem like you’ve just watched a slide show, even though that’s essentially what it is.

It’s interesting to note that when Evans stopped working for Paramount and started actually producing films, they weren’t very good ones. He produced “Chinatown” and “Marathon Man,” yes. But then he produced “Popeye,” “Urban Cowboy” “Jade,” “Sliver” and “The Out-of-Towners,” too. By his own admission, he wasn’t much of an actor. His track record demonstrates he’s not that great a producer, either. So what is he good at? Shmoozing. Watch “The Kid Stays in the Picture” and see how entertaining a 91-minute shmooze session can be.

The Country Bears

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“The Country Bears” is bearable. Barely.

This is actually something of a ringing endorsement, considering how awful the movie sounds based on its premise. There is a reason the genre of “movies based on theme park attractions” has gone untapped: It’s a bad idea. Disney World’s Country Bear Jamboree is just a show with animatronic puppets singing country songs — not a story to be found. And movies need stories.

But just because something is a bad idea doesn’t mean the Walt Disney Co. won’t do it; indeed, it is the bad ideas the Mouse House pursues most vigorously.

Which is why it’s actually a pretty favorable thing to say “The Country Bears” is not especially irritating, not unusually dull, and not outrageously stupid. It is all of those things, but not especially, unusually or outrageously so.

The story is that 11 years ago, the legendary Country Bears Band broke up and went their separate ways. You’d think the band was famous because it consisted of bears who could talk and sing and play instruments, but it was actually just because they were a good country band. No one noticed or cared that they were bears.

In keeping with that theme, we meet Beary Barrington (voice of Haley Joel Osment), a 10-year-old bear who has been adopted by a human family. He loves the defunct Country Bears Band, though he can’t quite place his finger on why he feels such an affinity with them. His adoptive parents insist he was not adopted, but his bratty brother tells him the truth.

So Beary heads out to Country Bear Hall to find solace, and he learns his Mecca is about to be foreclosed upon and torn down by an evil banker named Reed Thimple (Christopher Walken), who has an unusually strong anti-bear vendetta. Beary’s solution is to convince the band to reunite for a fundraising concert to save Country Bear Hall. In other words, this is “The Blues Brothers,” but with bears.

There are a few sly jokes and witty references, and I enjoyed the occasional non-references to Beary’s bearhood. (When a cop investigating his disappearance sees his picture, he says, “He looks like a … fourth grader.”)

But then there is the padding. Oh my goodness, is there the padding! This 88-minute movie could have been 60, easily. There are several random, pointless musical numbers — some not even sung by the Country Bears — that need to go, and the subplot where Beary and the bears flee the police makes no sense. (If they would just pull over, Beary could explain that he was not kidnapped, and everything would be fine.)

Christopher Walken is odd, as always, and a joy to watch. You may recall that he was a shining spot in “Joe Dirt” and “Scotland, Pa.,” too; waltzing in and being daft for a scenes is his specialty. Haley Joel Osment and the rest of the bears’ voice actors — the bears themselves are bear Muppets and people in bear suits — are serviceable in their thankless tasks.

I longed for a scene where someone would freak out over the fact that bears were speaking English and writing John Hiatt songs. Or a scene where Beary gets riled and eats his adoptive parents. No such luck.

There is no reason for this movie. It does not provide a particularly good time, but it doesn’t provide a particularly bad one, either. Which, again, is actually pretty high praise, all things considered.

Who Is Cletis Tout?

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“Who Is Cletis Tout?” seeks to be a pastiche of other movies, especially old ones. It wants to be a TYPE of movie, rather than a movie — a template, if you will, of old-fashioned movies about bad guys and diamond heists and getting the girl.

Why a movie would set out to be generic is beyond me, but “Who Is Cletis Tout?” aims for vanilla and hits the bullseye! I don’t know whether to give it a good review for accomplishing its goals, or a bad review for having goals that were stupid.

Written and directed by Chris Ver Wiel, an underground filmmaker who somehow convinced several actual stars to appear in his latest effort, “Cletis Tout” includes references and homages to films as varied as “The Great Escape,” “Reservoir Dogs,” “Deliverance” and “Double Indemnity.” It has as its hitman a gentle fellow named Critical Jim (Tim Allen), a man in a dapper suit who watches old movies when he’s not killing people.

He has captured the man he believes to be his latest quarry, Cletis Tout, who in fact is an escaped con named Fitch (Christian Slater) who has merely adopted the recently deceased Tout’s identity. The people who killed Tout are after Fitch now, thinking they screwed up and didn’t kill Tout after all. (Lesson one in aliases: Don’t adopt the persona of someone who was hated by everyone who knew him.)

Fitch tells Critical Jim his story, which goes back to a diamond thief (Richard Dreyfuss), his hidden treasure, and his now-grown daughter Tess (Portia de Rossi). There were attempts to retrieve the buried diamonds, and a tenuous romance between Fitch and Tess. We see all of this in flashbacks, even as Critical Jim tells Fitch that the flashback is a much misused and misunderstood device in movies.

“Cletis Tout” is full of self-awareness like that, which almost makes it clever. Jim talks about character types and breaking a movie down into three acts, all while setting up THIS movie’s characters and divisions. Cute, yes. But it wears thin. If you’re going to make a film cobbled together from other films, for heaven’s sake, don’t draw our attention to that fact!

It is, ultimately, impossible for “Who Is Cletis Tout?” to stand on its own. By design, its characters are unoriginal facsimiles of familiar types. This means we’re not liable to care about them, and we certainly won’t be surprised by the things that happen to them, since the movie makes it clear the plot will be an old chestnut with all the regular twists and happy endings.

But Tim Allen does tell Christian Slater he sounds a lot like Jack Nicholson — the only insightful or amusing thing to occur in the entire film.

Lan Yu (Chinese)

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“Lan Yu” earns points for addressing a subject that is considered taboo in Chinese culture, enough to get the film banned in its native land. Of course, I don’t think it’s especially hard to get banned in China, but as a matter of principle, this is a good thing.

The subject is homosexuality, addressed with alarming frankness in this film, about a 30-ish man who begins a sex-only relationship with a younger man who, alas, would like something more than that. Unfortunately, while the film is frank, it is also dull.

Set in Beijing just before Tiananman Square, the film introduces us to Chen Handong (Hu Jun), a businessman who believes once two people get to know each other very well, that is the time to separate. He meets newbie hustler Lan Yu (Liu Ye), a simple boy from the country, who falls harder for Handong than Handong does for him.

Their relationship is well-acted by the leads, but Jimmy Ngai’s screenplay is so sparse as to be slow-witted. The characters’ emotions, while apparent, are not given a story in which to drive themselves home.

Ask Eric Stuff 12

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Sweet sassy molassy! It’s time for another installment of “Ask Eric Stuff.” This is a very popular feature — heavens, is it ever popular. We’ve had to hire a fictional secretary just to go through all the “Ask Eric Stuff” mail — in which ordinary people like you ask Eric stuff, and then he replies with some witty rejoinder or caustic remark, making you wonder why anyone would ever ask him a serious question in the first place.

You are thinking, “Can I, a regular Joe, also submit a question to ‘Ask Eric Stuff’?” The answer is yes, my friend. You can do it here [link outdated].

Dear Eric: Do people ever threaten your life? — Worry Worm Wendy
Dear WWW:
So cold. So very, very cold.
Just kidding, I’m not really dying. Do people ever threaten my life? No, but John Birch Society members do.

Dear Eric: Why do people always call Freddie Prinze Jr. “Freddie PRINCE Jr.”? — I bet you won’t answer my question
Dear Lost a Bet:
Because he stopped answering to “Hey, [expletive]head!”

Dear Eric: I’ll be leaving on a mission soon, any advice? — Dear Elder
Dear Dear Elder:
Yes. Remember that sister missionaries aren’t whiny; they’re just more spiritual than you and can’t find a suitable way of expressing it.

Dear Eric: Why is my boss so mean? — Confused at Convergys
Dear Convergys:
Because you’re always doing things like saying publicly that there are mean bosses at Convergys.

Dear Eric: If Bill Gates were to give you $10 million, would you stop writing your stupid column? — Bill Gates
Dear Billy:
What? And pass up scintillating conversation like this?

Dear Eric: There’s this cute girl that I really like but she doesn’t even know I exist. What should I do? — Perplexed in Provo
Dear Perple:
Start existing.

Dear Eric: What’s a good way to waste time at work but still look like you’re busy? — Goldbricker
Dear Goldy:
Write a column where all you have to do is come up with smart-aleck answers to people’s questions.

Dear Eric: In what comic book issue of “Spider-Man” does Peter Parker turn to the Dark Side? — Spiderfan in Springville
Dear Spidey:
It was series number you’re a nerd, issue number get a life.

Dear Eric: When is the world coming to an end? — Walter Mitty
Dear Walty:
Dude, it was yesterday. You totally missed it. It ROCKED.

Dear Eric: Does it ever offend you when somebody you like or respect thinks that your writing bites? — Hard to Offend
Dear Hardy:
Well, I wish Mom had found a nicer way of putting it than wrapping the newspaper in dog feces and setting it on fire in front of my house, and I wish my bishop had not urged the congregation from the pulpit to stone me to death, but no, I can usually deal with criticism.

Dear Eric: Why are guys so stupid sometimes? — Breaking Up With My Boyfriend
Dear Breaky:
Because the rest of the time, they’re busy being idiotic.

Dear Eric: What’s the difference between a Mac and a PC? — Computer Scooter
Dear Scooty:
Macs work 95 percent of the time and are compatible with 5 percent of the software; PCs are compatible with 95 percent of the software and work THIS IS BILL GATES. YOU HAVE PERFORMED AN ILLEGAL OPERATION. THIS COLUMN WILL BE SHUT DOWN.