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American Pie 2

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Sequels are infamous for being smug about the success of their predecessors. They repeat key lines, re-create key situations, or re-do key jokes, all with this subtext: “We KNOW you saw the first movie and LOVED every minute of it. Now you’re gonna love this one, too, suckers!”

The raucous “American Pie 2” rarely succumbs to this temptation. For all the brouhaha about the crass humor in the 1999 hit that spawned it, that film actually created some likable, interesting characters. There is no condescension in doing a sequel; these are people we don’t mind seeing again, and it makes sense to show what happened to them after they came of age.

“AP2” takes place a year later, just after everyone’s first year of college. Our five heroes have rented a house on the lake for the summer, not just as a means of picking up women, but to create a memorable summer of friendship, too. But mostly the women thing.

Hapless Jim (Jason Biggs) is fretting over the imminent return of European hottie Nadia (Shannon Elizabeth). Worried whether his lack of experience will disappoint her, he consults his only actual partner, dingbatty Michelle (Alyson Hannigan), who is now a counselor at band camp.

Kevin (Thomas Ian Nicholas) is trying to rekindle things with Vicky (Tara Reid), who just wants to be friends. Oz (Chris Klein) is being steadfastly faithful to Heather (Mena Suvari), who is abroad for the summer. (Actually, she’s a broad all year round. Ba-BOOM!) Finch (Eddie Kaye Thomas) pines for Stifler’s mom.

Stifler (Seann William Scott) is there, too, serving as the grinning, oversexed moron who is too horny, even by these guys’ standards. Most of the film’s best lines are his, and he’s a great supporting character. He’s so gloriously, crassly oblivious to the laws of society and decorum that laughing at his antics doesn’t seem like a lowering of one’s moral standards. Laughing won’t encourage him, for he needs no encouragement. This is just how he is.

The film’s best scene is one in which Stifler, Jim and Fitch encounter two women they believe to be lesbians. Their desire to see two women, um, interacting is countered by the fact that the women, who are straight, want to mess with the guys’ minds. It’s well-played and genuinely funny.

There are some major misses, too, including a strangely humorless sequence with Jim forced to play a trombone. The film is uneven like that throughout: hysterical one moment, flat the next. But it has some sweetness underneath its ribaldry, and it treats its characters with compassion. Eugene Levy also turns in another marvelous performance asJim’s would-be hip father.

The teen sex farce genre is not everyone’s cup of tea, obviously. But if it is yours, then this film is worthy of your time.

Osmosis Jones

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The City of Frank is a bustling metropolis with ghettos, criminals, a hard-working police department and a fat-cat political system. It is just like any other major city, except that it is located within Bill Murray’s body.

In “Osmosis Jones,” Bill Murray plays Frank, a 40-year-old man who is blithely ignorant of health or dietary concerns, and who is unaware that within himself — indeed, within every person — exists a complicated, multi-faceted world of cells, muscles and tissue, all trying to eke out their own existence while contributing to the betterment of the whole.

Directed by gross-out kings Peter and Bobby Farrelly (“There’s Something About Mary,” “Dumb and Dumber”), “Osmosis Jones” takes place both in Frank’s world and inside his body, the latter locale provided by amusing and colorful animation.

Chris Rock is the voice of Osmosis Jones, a loose-cannon white blood cell who works for the Frank Police Department. A couple years ago, he made a hasty decision to expel some bad oysters from Frank’s stomach, causing Frank to vomit on his daughter’s schoolteacher and resulting in much embarrassment for Frank as a whole.

As a result, Osmosis was busted down to more menial duties: patroling the mouth for tartar, looking for germs, that kind of thing. But when a seemingly unimportant sore throat turns out to have been caused by a deadly virus (voice of Laurence Fishburne), it’s up to Osmosis and his do-gooder cold capsule partner Drixenol (David Hyde Pierce) to save the day — indeed, to save all of Frank.

The idea of a man’s insides being a city is a wonderfully entertaining one, with opportunities for so many jokes. We’re told that the Love Handles district is “the fastest-growing community in Frank,” and the mayor (William Shatner) is thrilled to announce they’re about to begin construction on a third chin. The Mafia hangs out in the armpits, because that’s what most closely resembles a sauna. To find a good lawyer, head down to the hemorrhoids. In the brain, Frank’s “guilt” censor is a cell dressed in priest garb and holding a Bible. In the labyrinthine, unsettling Subconscious, we see dreams — projected on movie screens, of course — with titles like “He Didn’t Study for the Exam!” and “Girls from the Bus Stop.”

It’s such an amusing concept, in fact, that the movie should be funnier. While the animated parts are inventive and sly (there’s a truly wonderful “Titanic” reference, balancing out the now-obligatory and unfunny “Matrix” one), the live-action stuff squanders the considerable talents of Bill Murray and the lesser-but-still-noteworthy talents of Molly Shannon and Chris Elliott. Frank is Unhealthy, his daughter (Elena Franklin) is Concerned. They have no other attributes, making for a very thin, broad story frame.

Fortunately, the guts (pardon me) of the story — i.e., everything animated — outweigh the paltry live-action offerings. Parents may not want their kids revelling in such body-oriented humor, but at least the myriad sexual jokes that were possible have been omitted. For grown-ups, it’s not a classic — I suspect a second viewing would yield few laughs — it’s good while it lasts.

The Others

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“The Others” is nearly a perfect thriller, using tension and intrigue — not blood and gore — to create suspense that is at times almost unbearable.

The facts are laid out for us quickly, with each new revelation making the situation seem even more fraught with dark possibilities. The setting is 1945 in a large manor, enshrouded in fog, on the isle of Jersey in the English Channel. Grace (Nicole Kidman) has two young children, Anne (Alakina Mann) and Nicholas (James Bentley), who are light-sensitive and will die if exposed to sunlight. Her husband has not been heard from since World War II ended months earlier. Grace is plagued with migraines. There is no telephone or electricity. The servants all disappeared a week earlier. The new servants all used to work at the same house years ago. One of them is mute.

Chief among the new household help is Mrs. Mills (Fionnula Flanagan), a delightful old Irish woman with no family; indeed, the kindly caretaker Mr. Tuttle (Eric Sykes) and mute young Lydia (Elaine Cassidy) are all she has, and she is all they have. They are perplexed by Grace’s rules — you may not open a door in the house without first closing the previous one, for example — but have a fondness for the old home in which they formerly spent so many years.

Then Anne starts seeing ghosts. Nicholas is terrified at the prospect, and Grace thinks the girl is making it up. She starts to believe it herself, though, and that’s even more unsettling for her: A daughter with an imagination, she can deal with. Actual beings haunting her house are something else altogether.

Writer/director Alejandro Amenabar has constructed a deliciously creepy story, and he knows how to wrangle true fear from an audience. It’s not in having things leap out suddenly, accompanied by a jolt of music on the soundtrack (though there is a little of that). It’s certainly not in violence and a high body count. It’s anticipation and dread that arouse an audience’s emotions, and “The Others” is overflowing with both.

At some point in the film, we have reason to suspect each of the characters as being the one not to be trusted, the one with a dark secret, the one who is really the key to what’s going on. The film does not toss out red herrings to throw us off the trail, but we are allowed to consider several false possibilities as things unravel. When it’s all over, a second viewing — or at least some heavy-duty hindsight — may be necessary to put everything in its place.

Nicole Kidman is wonderfully, quietly unhinged as the desperate mother. She loves her children more than anything and can’t conceive of an evil presence in her house. The children are also well-played, by Alakina Mann and James Bentley, and Fionnula Flanagan is the very picture of a sweet old Irish nanny.

The film is noteworthy for being an effective thriller, yet for having absolutely no on-screen violence. A movie that scares without being gross is a rarity, and it adds to the respect I have for Amenabar’s work here. This is some of the giddiest, creepiest fun I’ve had in a while.

The Princess and the Warrior (German)

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Because “Run, Lola, Run” was such an astonishing piece of work, it is inevitable that its writer/director, Tom Tykwer, should be scrutinized heavily upon the release of his next film, “The Princess and the Warrior.”

The result of that scrutiny: not a bad film, but not near what Tykwer is capable of.

“The Princess and the Warrior” lets us again watch Lola herself, Franka Potente. This time, she’s Sissi, a nurse in a psychiatric ward whose devotion to her patients is borderline obsessive. We know nothing else about her life, at first.

On her way to run an errand for a friend, she is hit by a truck. The man who inadvertently caused the accident, Bodo (Benno Furmann), unaware he is at fault, stops to help Sissi and performs an emergency trachiotomy that saves her life. She is grateful beyond words and becomes obsessed with finding the stranger after she recovers so she can properly thank him.

Bodo, meanwhile, is a troubled soul. His wife died in a gas station explosion some time ago, and now he weeps often and without reason. He and his brother, Walter (Joachim Krol), are planning a heist of the bank Walter works at, followed by a move to Australia. Bodo’s pain over his wife’s death prevents him from developing any new relationships, and he shuns Sissi when she finds him.

The two Tykwer films at hand both deal heavily with issues of fate, coincidence and destiny. But while “Run, Lola, Run” was the very picture of frenetic, half-crazed visceralism, the new film lets things develop slowly. Much of what we learn about Bodo and Sissi is not revealed until the final third of the movie, a tactic that sometimes tries one’s patience. One almost feels cheated to discover, at the end, how much more to these characters there was: Why didn’t he tell us this sooner? It would have made the whole experience that much better.

But even as it stands, the film is passable. Potente and Furmann give fine performances in their respective tortured roles, though Tykwer has them emotionally distanced from the audience for much of the time. Visually, Tykwer’s directorial style is one of imagination and creativity. He does not show off, but he does enjoy finding angles and movements that are different from what we’d expect. The last few pages of the script, too, are unusual enough to keep you thinking for at least a few minutes after the thing is over.

Getting a Bad Rap

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More than 100 local women tore themselves away from Deseret Book and the Quilted Bear long enough to sign a petition protesting Saturday’s 2 Live Crew concert at Atchafalaya. They feel 2 Live Crew’s lyrics violate Provo’s obscenity ordinances. They are probably also still angry because Atchafalaya used to be LeMar’s, which had topless dancing. (“Atchafalaya” is the Cajun word for “Hooters.”)

I figured I should write a column about this, since I don’t have any funny restaurant stories to tell and the phone company hasn’t ticked me off lately. So on my lunch hour, I went to Camelot Music at Provo Towne Centre to pick up a 2 Live Crew CD, for research purposes.

I figured I was wasting my time. If 2 Live Crew’s lyrics are too obscene to be permitted when performed live, surely recorded versions would be just as obscene, and surely those 100 local women would have already stamped them out, especially given Camelot Music’s close proximity to Victoria’s Secret, which is ground zero for offensive material.

But what should I find at Camelot Music, but eight different 2 Live Crew albums! Sink me!

Since I was out and about already, and since my “lunch hour” was now more figurative than literal, I stopped at the video store. I wanted to rent “Clerks,” which initially received an NC-17 rating solely for language, but was finally released with an R after the director whined and moaned and threatened legal action. I was also considering renting “Requiem for a Dream” (which was released unrated to avoid the NC-17 category) or the uncut, unrated version of “American Pie.” I allotted extra time, figuring there would be a lot of protesters outside the store, what with all the filthy movies being sold and rented inside. Turns out all the movies I was considering were in stock, and I was able to rent them without incident, except for a minor snit I had when I discovered some of them were not available on DVD. (What is this, the DARK AGES?)

Having some spare time now, and having already decided to make this a three-hour lunch, I thought, “Why not take in a flick?” I needed a good laugh, so I poked my head into “Original Sin,” the new unintentionally funny trainwreck starring one-time celebrity Antonio Banderas and current no-talent freak show Angelina Jolie. I was just in time for the extremely graphic and over-long sex scene between the two stars. The movie’s rated R, but there were some young folks in the theater. This surprised me, frankly. I didn’t think ANYONE would be in the theater. Even the protesters didn’t bother to show up.

I was fully perplexed now, and I’d given up on the idea of returning to the office. Why would people make such a big deal over a one-time 2 Live Crew show — taking place in a bar that most of Provo ignores anyway — when there’s so much in our community 365 days a year that is just as filthy?

I’m not saying 2 Live Crew’s music isn’t raunchy, because I think it is, and I’ve even been desensitized by R-rated movies and Victoria’s Secret catalogs, as you know. But I fail to see how allowing the band to perform for one night in Provo is going to do any more damage to the community than is done by allowing the band’s CDs to exist the rest of the time, or by stocking dirty movies in video stores, or by putting Angelina Jolie’s overpublicized naked bosoms on the big screen.

What’s that? Maybe those things ARE doing damage? Fine. Then where are the protesters? This one-time, ad hoc, situational activism is more annoying than anything. I can respect the dedication and zeal of people who make it an ongoing effort to ensure everyone else agrees with them. But I have no regard for people who only do it occasionally, when it’s trendy, and in so doing overlook a lot of better battles.

I’m told tickets to the show are $20 at the door. Twenty bucks to be crammed into a sweaty bar and listen to a has-been rap group? Now THAT’S obscene.

The Scarlet Pimpernel

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When SCERA announced it would stage the regional premieres of two recent Broadway hits, some supposed the theater was getting ahead of itself, hastily scheduling big-name shows without considering whether it had the resources to do them well.

SCERA’s production of “Titanic: The Musical” silenced the skeptics (among whom I was one), and now the season comes to a superior end with “The Scarlet Pimpernel,” a grandly entertaining musical comedy/drama, directed by Jerry Elison, with a splendid score and several luminous performances.

The time is the late 1700s, in the midst of one of those revolutions the French were always having. Under the single-minded leadership of the wormy Chauvelin (Scott Montgomery), the guillotine is kept in constant motion, often at the expense of justice.

Sir Percy Blakeney (Brad Montgomery), an English dandy, wants to fight Chauvelin, spurred by the heartbreaking suspicion that his new wife Marguerite (Brianna Lea Gray) fed Chauvelin information that led to the death of a comrade. Percy accurately describes himself and his friends as “useless dilettantes” — well-educated but unequipped for combat — so they elect to fight the new regime by outsmarting it.

Their acts of giddy terrorism — which include things like unleashing several dozen geese as a means of interrupting a beheading — are always accompanied by a note from “The Scarlet Pimpernel.” Chauvelin becomes obsessively determined to identify and capture the scoundrel. And the race is on!

The show begins darkly, with Chauvelin and the doomed St. Cyr (Michael Jensen) singing the ghastly “Madame Guillotine.” Not long after that, Percy sings his haunting “Prayer,” in which he bemoans his new bride’s apparently traitorous behavior. The music throughout (by Frank Wildhorn, who also scored “Jekyll & Hyde” — and it shows) tends toward the ominous, with a few notable exceptions. Chief among them is “The Creation of Man,” a delightfully funny number that explains Percy’s ability to conceal his identity: He and his cohorts (Spencer Hall, Brandon Cecala, Michael Jensen, Kevin Carlin, Tony Winkel, Nathan Lundquist) are such foppish clotheshorses, no one would ever suspect them of being the heroic Scarlet Pimpernel.

The six men who portray Percy’s bounders are a delightful crew, playing the amusing roles for all they’re worth. Jason Button also has a nice turn as the Prince of Wales.

Scott Montgomery is great as the coldly devious Chauvelin, calling to mind Javert, from that other show about that other French Revolution. Montgomery brings honest feelings to the role, fleshing him out to be more than just The Villain.

Brianna Lea Gray’s lovely singing voice is Marguerite’s main feature. The character, oblivious to Percy’s secret life, is rather flatly written, leaving Gray to use her considerable acting prowess merely to stand on the sidelines and watch.

At the lead is Brad Montgomery, whose magnificent voice and fine-tuned acting ability sparkle throughout the show. His comic scenes opposite his brother are marvelously funny, as Percy smoothly convinces Chauvelin he is not the Scarlet Pimpernel; his dramatic moments, conveyed mostly in song, are empowered by his gorgeous voice and earnest delivery. Fans of musical theater will love this diverting, sophisticated show.

Our Town

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Thornton Wilder’s classic drama “Our Town” is about the passage of time, and how life is never truly appreciated while we’re living it. I fear the same will be true of the production currently on stage at the Little London Dinner Theater: Time will pass, the show will close, and not enough people will have appreciated this truly wonderful little gem while they had the chance.

The play is familiar; its no-frills set makes it a favorite among high schools and other theaters with limited means. It also has high potential for tedium, though, as it has very little action and a whole lot of talking.

Credit director Agnes Broberg and her talented cast, then, for making the show such a joy to watch. While some of the fringes are rough, the principal performances are genuine and moving. The wry, matter-of-fact folks of Grover’s Corners, N.H., seem as real as the people we know, despite their being 100 years removed from us and fictional.

Our guide through Grover’s Corners, circa 1901, is the Stage Manager, played with gentle charm and mild old-timer scratchiness by Tom Lamoreaux. He’s a quiet and affable host, perfectly setting the tone for the decidedly non-flashy play. I believe him when he addresses the audience as “friends.”

The first act takes us through a day in the life of the town. We meet Dr. and Mrs. Gibbs (Mel Broberg and Cosette West) and their neighbors, Mr. and Mrs. Webb (Peter Van Orman and Linda Williams-Van Orman). Each family has two children, but we are particularly introduced to George Gibbs and Emily Webb, teens who will get married in Act 2. Act 3 will show us that death is often the only thing that can make us appreciate life.

The two sets of parents are noble and strong and well-suited to their roles. But George and Emily — those young characters so dangerous because so much is required of the actors who play them — are magnificently portrayed by Nate Hoffman and Jessica Penovich. Hoffman’s George is lovably innocent, embodying the play as a whole, and Penovich gives a poignant, tearful performance as Emily. Between the two of them, and the rest of the highly motivated cast, there are some beautiful, beautiful moments.

The ideas expressed in “Our Town” are so profound, they seem simple: Reading about it, we think, well, of COURSE we don’t always appreciate life when we’re in the middle of it. But when it’s so lyrically written and so nicely performed, this deep-thinking, eminently human play is a breath of fresh air, an unabashedly heartfelt tribute to the American family.

We will save our wailing over the relative unpopularity of locally produced dramas (as opposed to comedies and musicals) for another time. Suffice it to say that even if you don’t normally bother with this sort of show, bother with this one. You will walk out of it feeling just as happy, fulfilled and enriched as if you’d just seen the funniest comedy or most toe-tapping musical.

The Scarlet Pimpernel

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The stars of “The Scarlet Pimpernel” at Hale Centre Theatre West Valley are the sets and costumes. The former (by Andrew Barrus) are the most elaborate in the theater’s history, and they are truly impressive. The latter (by Amy Glaser Frary) are an exquisite assortment on loan from the Broadway touring company of this show.

Somewhere behind these two feasts for the eyes is the show itself, which, directed by Bruce Bredeson, occasionally gets lost in all the commotion. And at certain moments, “lost” is literally the right word: Depending on where you’re sitting in the Hale’s round theater, you may not be able to see the people who are speaking because a bridge or a prison or a wall is obstructing your view. Have we simply put TOO MUCH stuff onto this stage? In some cases, yes, I believe we have.

Staging aside, the lavish production is a bit disjointed in the first act but much better in the second; hopefully, the audience will have followed it well enough before intermission to appreciate the exciting events that take place after.

For it is an exciting show, full of romance, humor and adventure. One might say it’s swashbuckling, even if this particular production does not buckle all the swashes it ought to.

The story concerns the French Revolution, when citizens were being executed at random. The head beheader is Chauvelin (Douglas W. Irey), whom I have before described as wormy but whom I now consider to be more of a weasel. He pines for French actress Marguerite St. Just (Diana Dayley Bowler), who is marrying English dandy Percy Blakeney (Daniel Beck).

When Percy suspects his new bride of having helped Chauvelin in his cause, he sets out to end the tyranny once and for all, aided by a group of friends as foppish as he is. They go by the name Scarlet Pimpernel, and they work in secret to outsmart the French army (how hard can that be?), the idea being that if they act like ninnies in real life, no one will ever suspect the dashing Scarlet Pimpernel is them.

The musical director is Anne Puzey, and the singing is uniformly strong and beautiful. Irey, Bowler and Beck each have solos, and they perform without flaw. Marilyn May Montgomery’s choreography, used sparingly, adds immeasurably to a few numbers (particularly the highly amusing “Creation of Man” song).

The trouble is in the humanity of the story, which does not manifest itself easily amidst all the noise. Beck acts well, but his stuffy aristocratic dialect makes some of his words incoherent. It sounds like he’s speaking with a mouthful of cereal and trying not to spill any of it. We miss several good jokes that way.

Elsewhere, even when the enunciation is clear, the emotions of the story are often crowded out. It is like trying to have a heart-to-heart talk in the middle of a circus.

Should you go? It doesn’t have as much electricity as it should, but it is a lavish spectacle.

The Deep End

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Margaret Hall would be the quintessential hard-nosed movie heroine, battling enemies and saving the day, if only she didn’t have to spend so much time getting the kids ready for school.

Played with fierce energy by Tilda Swinton in “The Deep End,” Margaret is a mother of three whose Navy husband is out to sea, leaving her to care for the kids and her slightly doddering father-in-law (Peter Donat) in their picturesque Lake Tahoe home.

Her eldest son, Beau (Jonathan Tucker), a promising young trumpet player, was recently in a drunken driving accident that has her worried. She blames it on the influence of Darby Reese (Josh Lucas), a slimy nightclub owner who has been courting Beau. Beau insists they’re just friends, but Mom knows better. She tells Darby to leave her boy alone.

One morning, Margaret discovers Darby’s body on the shore near their boathouse and fears Beau may be the culprit. Intent on protecting her son, she gets rid of the body. She is soon visited, though, by one Alek Spera (Goran Visnjic), a slick, scary fellow with a videotape of Beau and Darby having sex. Unless she pays him $50,000, he will send the tape to the cops. Not only will this embarrass the family, but it will also make Beau a suspect, now that police have found Darby’s body and ruled his death a homicide.

With quiet determination, Margaret goes about location $50,000. She calls her credit card companies and visits the bank. She considers asking her father-in-law for a loan. All of this she does while still attending a daughter’s ballet recital and ironing the family’s laundry. Frustrated, she makes the point to Alek: What is she supposed to do to get the money? She’s a mother, first and foremost, and not one with a lot of resources. This isn’t the movies, where people always have some untapped resource at their disposal. This is real life, with mortgages and malfunctioning cars and lost baseball mitts.

The idea of forcing an ordinary woman into the role of action heroine is an interesting angle for the film. It is not enough, though, to sustain it. There will need to be a development at some point to keep things interesting, and it never comes.

What the movie does have going for it, though, is Tilda Swinton’s performance. One fully appreciates the pressures that are on her already as a mother and housewife; adding a blackmail plot to it should make her crack, and she almost does. Swinton is strong and steely in the role.

Directors Scott McGehee and David Siegel (McGehee also wrote it, based on Elisabeth Sanxay Holding’s story) are fond of water. Nearly every scene has a lake, fishtank, sink or other representation of water in it. The only question is what it has to do with anything. If it’s meant to remind us of the double meaning of the title — the deep end of the sea, as well as “going off the deep end” emotionally — then OK, we get it. We got it as soon as we heard it.

There’s an interesting bit of restraint shown in Margaret’s dealing with Beau’s relationship with Darby. That her son may be gay is not really in issue; it’s his boyfriend’s getting him drunk and letting him drive that worries her. In fact, the word “gay” and its synonyms are never spoken in the movie. Margaret’s love for her family is the key thing, regardless of who they are or what they may have done.

It’s All True

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The following bits of trivia are all TRUE! Please forward them via e-mail to every single person you have ever met.

Until 1992, no one had ever died within the state boundaries of Rhode Island.

Technically, a duck has no mouth. Its bill is considered a nose.

The most common murder weapon in the United States is not the gun or the knife, but the icepick.

The nursery rhyme “Little Miss Muffet” is a metaphor for the Black Plague, with the spider representing the plague and Miss Muffet representing England. It originated as a horror tale designed to scare children.

“Jaws” was the first movie to use the word “shark.”

“King of Pop” Michael Jackson played Albert on “Little House on the Prairie.”

To avoid paying income taxes, all one must do is write to the IRS and request to be taken off their list. The reason most people don’t do this is that there is a lot of paperwork involved.

President William Howard Taft did not have any fingers.

“Hollywood” is the name of an African god. So when you say things like, “I wish ‘Hollywood’ would quit making so many filthy movies,” you are blaming it on an actual deity and probably causing serious trouble for some Africans.

The jack-o’-lantern was named after Christian martyr St. Stephen.

Of the 56 men who signed the Declaration of Independence, only two are still living today.

Ludwig von Beethoven was black.

There is a secret nightclub under the Matterhorn at Disneyland where cockfights are held nightly. The city of Anaheim is powerless to stop them, because once you get 100 feet below street level, you’re out of the city’s jurisdiction.

Despite living in the ocean, dolphins are not fish. They are birds.

The reason you never see Muppets from the waist down is that they are naked.

Putting one of those “organ donor” stickers on your driver’s license empowers the federal government to take organs from you even while you are still alive.

Gary Larson, creator of “The Far Side,” also invented double-stick tape.

Johnny Carson was once suspended from TV for five days as punishment for saying “scoliosis” on the air.

If you watch “The Wizard of Oz” really closely, you can see a witch being killed by having water thrown on her.

It is against the law to speak Spanish in Switzerland, due to lingering resentment from the devastating Swiss-Mexican War (1889-1901).

Before he was famous, Adolf Hitler appeared as a contestant on “The Dating Game.”

Due to an old Indian curse, every U.S. president elected in a year ending in “0” has had an ugly wife.

Fidel Castro’s favorite TV show is “Friends.” He almost appeared in a guest role for one episode, but the U.S. government nixed it. Scott Baio wound up playing the part instead.

“Alice in Wonderland” author Lewis Carroll used a pseudonym. His real name was Mark Twain.

In Monopoly, it is mathematically impossible to land on both Park Place and Boardwalk if you are the top hat.

Jesse James was a fictional character.

I’m not wearing pants.

The Princess Diaries

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Julie Andrews is one of the classiest, most well-loved actresses in the world. She doesn’t do very many movies anymore, which prevents audiences from growing tired of her, and which puts her on a higher pedestal than actors who show up three or four times a year in some movie or other.

It also means that when she appears in something dreadful, like “The Princess Diaries,” she can do it without getting the stink of the movie on her. The film may be badly written and lazily directed, but she’s still Julie Andrews. It may be dimly acted, but not by her. Julie Andrews exists separately and distinctly from anything bad she may appear in. We will even give her the courtesy of not asking why in the name of all things holy she agreed to appear in THIS movie, of all things.

“The Princess Diaries” is about a 15-year-old girl named Mia Thermopolis (Anne Hathaway) who is klutzy and nerdy and timid, though surely she will overcome these things once she has a makeover, takes off her glasses and puts on a pretty dress. (And, of course, once she looks good, she will also become a worthwhile human being. We are familiar with this type of story, no?)

But we are getting ahead of ourselves. Mia lives with her mom (Caroline Goodall) in San Francisco and attends a snooty private school where her only friend is the almost equally nerdy Lilly (Heather Matarazzo). Then she learns that her dead father was the son of the queen of Genovia, which means she, Mia, is a princess — and heir to the throne.

She learns this from the queen herself, played by Julie Andrews. Queen Clarisse wants to prepare Mia for royalty, but boy, does she ever have her work cut out for her! Why, Mia is as clumsy as the day is long!

The movie plays like the pilot for an ABC Friday-night sitcom, even resorting to the standard “two dates to the prom” plot device. (It’s three dates, and it’s not the prom, but it’s the same principle.) There is nothing clever, sly or particularly witty about it.

It is also very badly paced: It lasts nearly two hours, which is extraordinarily long for a G-rated kid flick. Director Garry Marshall (responsible for the awful “Dear God” and “The Other Sister” — plus the pretty-good “Pretty Woman” and “Runaway Bride”) has lost any sense of comic timing he might have had. And the script, by Gina Wendkos (“Coyote Ugly”), has no rising action, no major crisis, no climax. Just a long series of stuff, and then an ending.

It goes without saying that Ms. Andrews is wonderful. Hector Elizondo is funnier than his surroundings as the queen’s soft-spoken, deadpan assistant. And Robert Schwartman shows promise as Michael, Lilly’s brother who secretly pines for Mia.

And Mia herself? Anne Hathaway is certainly trying, but she’s not up to the challenge of carrying a physical comedy all on her own. She is also hobbled by playing a character who is written to be one-dimensional. She should be the wacky best friend; instead, she’s the romantic lead.

It is possible kids will find the film amusing, though I question whether they’ll be entertained enough to sit still for 115 minutes. If they can handle a movie that long, though, go ahead — go ahead and put in a tape of “Mary Poppins,” that is, and show them the Julie Andrews they need to know. Let’s just forget she was ever involved in something so pedestrian, uninspired and forgettable.

Original Sin

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“Original Sin” begins with a close-up of Angelina Jolie’s grotesque lips. She is the heroine of the film and its occasional narrator, and she says, “This is not a love story. But it is a story about love.”

Though that sounds contradictory, it actually makes sense. The film is certainly no love story, as it is completely devoid of romance or chemistry between its two leads. But it is ABOUT love — specifically, about the lengths to which people might go when they are madly in love.

So Jolie’s utterance makes sense. It is the only thing in the movie that does.

Jolie plays a saucy tart named Julia Russell, a Baltimore woman who has exchanged correspondence with Luis Vargas (Antonio Banderas), a wealthy businessman in 1880 Cuba. Luis has invited her to Cuba to marry him — not because he’s in love, but because he wants a wife who is agreeable, pleasant, and of a child-bearing age.

So they get married and then fall in love after all. Things are blissful for two or three seconds, at which point Julia steals all Luis’ money and disappears. And marrying a stranger seemed like such a good idea…!

Turns out Julia wasn’t who she said she was, and Luis isn’t the only one after her: A detective (Thomas Jane) is on the case, too. Luis is obsessed with the woman and can’t stop loving her, despite her injuries to him; the detective seems to have a personal agenda, too.

This is a dull, languid film full of unsurprising plot twists and ludicrous soap opera-style melodrama. Banderas and Jolie speak in over-passionate cadences, making their characters seem even more aloof and unlikable. The last 15 minutes or so plummet into deep, disturbed absurdity. It’s no wonder the film was delayed a year before it was released; MGM is now just cutting its losses and putting it in theaters, hoping to make a few dollars off a handful of poor, hapless souls.

The director is Michael Cristofer, whose only other feature-film credit is 1999’s “Body Shots.” If you had seen that dreadful movie, you would know that it existed only as an excuse to show people talking about and/or having sex. Cristofer has not branched out any. Twenty minutes into “Original Sin,” there is a surprisingly graphic sex scene between Jolie and Banderas. It establishes that Julia and Luis are now passionately in love with each other — and then, once it’s established that, it goes on for a few more minutes.

All things considered, though, admirers of Jolie or Banderas might want to see the film just for that scene. Goodness knows there’s no other reason to watch it.

Rush Hour 2

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I’ve never understood why people cheer when sequels repeat the same jokes and tag lines from their predecessors. It’s nice that we recognize them, but shouldn’t we acknowledge that it’s a prime example of why sequels suck — i.e., they’re usually just a rehash of what we’ve already seen?

The two most famous lines from the 1998 buddy-cop film “Rush Hour” were from Chris Tucker. First, he warned Jackie Chan, “Never touch a black man’s stereo!” Later, he tried to get him to comprehend his fast-talking, whiny voice with: “Do you understand the words that are comin’ outta my mouth?”

In “Rush Hour 2,” Chan says these lines to Tucker! Can you believe it?! It’s the ol’ switcheroo! What will those geniuses in Hollywood come up with next?

This time, Tucker is vacationing with Chan, his LAPD partner, in Hong Kong. They get roped into working a big case involving a Chinese gangster (John Lone), an American casino billionaire (Alan King), a double agent (Roselyn Sanchez) and a kick-butt assassin (Zhang Ziyi, from “Crouching Tiger, Hidden Dragon”).

So Tucker gets to make all the fish-out-of-water jokes, wondering why people are selling live chickens in the street and desperately trying to speak Chinese. Are there the same old jokes where he THINKS he’s saying something innocuous in Chinese, but when Chan tells him what he ACTUALLY said, it turns out it was something crude or nonsensical? Yes. Yes there are jokes like that. Yes indeed.

Jackie Chan’s fighting scenes are as funny and impressive as ever; one wishes there were more of them. The talking parts, which can be amusing if you find Chris Tucker funny, are low-energy, focusing too much on the recycled action-movie plot instead of on verbal interplay between the two leads. And the jokes that ARE here all boil down to this: Black people and Chinese people are different!

The closing credits are accompanied by a very, very funny collection of outtakes. I laughed twice as much during this segment as I did during the rest of the film. My suggestion? Show up 95 minutes into the movie.

Heaven or Yell

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I was awakened by the sound of a Christian minister yelling at me. At first I thought maybe I’d passed out drunk in the soup kitchen again. Then I remembered I’d never been drunk or in a soup kitchen before, so “again” wouldn’t exactly be the right word. “For the first time” would fit, but it might look suspicious if I were so hasty to point out that something had never happened before, like maybe it HAD happened, but I wanted people to think it hadn’t.

Syntax aside, I knew something was wrong. Why would a Christian minister be yelling at me? He definitely seemed angry. He was talking about how when I die, I might stand before God and tell him all these great things I did, but if my heart wasn’t right, he would say, “I never knew you,” and I’d be cast out, apparently without so much as a handshake. I was familiar with this doctrine, having read books by such authors as Og Mandino and whoever wrote the Bible, so I don’t know why the Christian minister felt a need to yell them at me. And where WAS I, anyway?

Slowly, reality dawned on me. It was morning. The Christian minister was in my clock radio, which was playing because I had set it to wake me up. I must have nudged the radio dial accidentally the night before and tuned it to a religious station, instead of the soothing thrash metal I usually wake up to.

This explains why I was hearing a Christian minister. It does not explain why he was so angry.

But anger seems to be a recurring theme in religion. In the Old Testament (the thicker chunk of the Bible — you know, the part no one ever reads), the Lord was always smiting these people or condemning those people, often for no more serious an offense than whining, which the ancient Israelites did A LOT of the time. (Seriously, after the ninth or 10th bout with grapefruit-sized boils, you’d think the Israelites would have learned to quit with the constant belly-aching already.)

Then, in the New Testament — the part people do read, or at least have heard quotes from — everything became all peace, love and happiness. Unfortunately, the 1960s were full of similar sentiments, and we wound up with weed-smoking musicals like “Jesus Christ Superstar” and “Godspell,” the logic apparently being that since Jesus and hippies both wanted good will toward men, that meant Jesus WAS a hippie. Which is sort of like saying that since I don’t like cats, I must be a dog.

The radio minister obviously had an Old Testament-inspired oratory style (even though he was citing a New Testament doctrine). But is that kind of anger justified? I assume his rationale was that he wanted to frighten us into heeding his words. But I’m not usually roused into great introspection by a man who sounds like Yosemite Sam, or even by Yosemite Sam himself. Quiet, sincere pleadings are far more likely to do the trick with your average Christian varmint.

Which is, I think, the way God actually works. In my limited dealings with him, he’s generally been pretty calm and peaceful. When I get stubborn, he does tend to whack me over the spiritual head with a spiritual brick, but that’s only when I had it coming. I can’t imagine him waking me from a deep sleep by hollering at the top of his lungs — unless I really HAD passed out drunk in a soup kitchen, in which case he’d probably want me out of there before the paparazzi showed up.

Kiss Me, Kate

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It’s a case of life imitating art imitating life in “Kiss Me, Kate,” the rollicking old Cole Porter musical that Hale Center Theater Orem is currently breathing fresh life into.

This is a good choice for Hale: a show most people know a little something about(so they’re not afraid to see it), but that isn’t performed very often (so they’re not sick of it).

Directed by Syd Riggs, the show is set backstage at a production of Shakespeare’s”The Taming of the Shrew.” The leading man, Fred (Richard Losee) is playing opposite his ex-wife, Lilli (M’Lisa Hansen). She’s now seeing a wealthy politician named Harrison (Stevan Davis), and Fred’s got his eye on fellow cast member Lois (Cindy Winkel).

Fred and Lilli have a cordial relationship — good enough to play the sparring Petruchio and Katherine in “Shrew,” anyway. But she mistakes his advances toward Lois as being meant for her, is flattered by them, and then learns they weren’t for her after all, leading her to become Method Actress of the Century as she uses Katherine’s onstage fury toward Petruchio to vent her real-life anger toward Fred.

Richard Losee has a grand, booming voice as the mildly pompous Fred, and he’s a good foil for M’Lisa Hansen’s Lilli. It’s Hansen’s show, though. She sells her big number, “I Hate Men,” with all the energy and passion you could want, shrieking and stomping like a dinosaur throwing a temper tantrum. It’s fine, funny stuff.

The secondary couple is T.J. Young and Cindy Winkel as Bill and Lois, who play “Shrew’s” back-up couple Lucentio and Bianca. Neither actor has much to do in the show (or the show-within-a-show), but their singing voices are lovely and their smiles are pleasant. They get their big numbers — he sings “Bianca,” she does “Tom, Dick, or Harry” — and blend in with the ensemble the rest of the time.

Kevin Goertzen and Eldon Randall are amusing as the two gangster buffoons who handle a gambling-debt subplot that involves Bill, Fred and Lilli. Their big number, “Brush up Your Shakespeare,” is one of the funniest, rhymingest songs in a score full of them.

In the ensemble, Josh Romney and Paul Morley stand out as Hortensio and Gremio, the two suitors who join Lucentio in pursuing Bianca.

The second act opens with “Too Darn Hot,” a swinging number in which the ensemble complains about the heat and then starts dancing. (I think dancing is the last thing I would do if I were really hot, but a scene about people lying around in their shorts with the fan on probably wouldn’t inspire much audience interest.) This is the easily the best dance number in the show, full of truly impressive choreography by Korianne Orton-Johnson.

The first act is much breezier than the second, which gets bogged down in a lengthy scene between Fred, Lilli and Harrison. The resolution is also a little vague, and too easily arrived at. But don’t let those quibbles stop you from seeing a first-rate performance of a first-rate musical — and one that can count as your monthly Shakespeare requirement, too, if you stretch your definitions a little.

Ask Eric Stuff 5

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It is now time for “Ask Eric Stuff,” a wildly popular feature in which people ask Eric stuff and he answers them. This feature is so incredibly popular that Eric is mobbed by strangers whenever he walks down the street, particularly when he is wearing his suit made out of $100,000 bills. You can submit your own “Ask Eric Stuff” questions at [outdated link].

Dear Eric: What do I plant in the 8′ x 5′ area in my yard that doesn’t get water and is in all shade? — Gardenin’ Fool
Dear Fool: The only thing I know of that lives in darkness and doesn’t require water is Gayle Ruzicka, but I don’t know why you’d want to grow her.

Dear Eric: What exactly are “Zoobies” and why are they called such? — UVSC-bie
Dear High School Dropout: The desire to call BYU students “Zoobies” comes from something called the Cuteness Gene, which many people in the Midwest and mountain states are born with. The same gene makes people refer to Las Vegas as “Lost Wages,” Bill Clinton as “Slick Willie,” and McDonald’s as “Mickey D’s.” None of these nicknames is clever or original, but people with the Cuteness Gene continue to use them while silently basking in the light of their own imagined inventiveness.

Dear Eric: Which word has more inherent humor: crotch or groin? — Miss Mary Mack
Dear Mack Daddy: This is a tough one. Both are funny because they refer to the genital region. I believe “groin” may be funnier, though, as it has the “oi” sound that also makes words like “ointment” and “moist” so enjoyable to say.

Dear Eric: Can babies be born with a caffeine addiction? — Dr. Pepper
Dear Peppy: No, but several of polygamist Tom Green’s children have been born with a tragic gingham addiction, due to their mothers having worn too many homemade dresses during pregnancy.

Dear Eric: If the end of the world were tomorrow, what would you want to do today? — Beach Girl
Dear Beachy: Did you say “what” or “who”?

Dear Eric: I am about to hire a secretary. I was planning on paying her $2 per hour, like restaurants, and have people tip her to make up the difference. How much should people be expected to tip? — Tired of Tipping
Dear Tipsy: That depends. Will she get people’s appointments mixed up and be extraordinarily absent-minded? If so, good luck hiring her away from Friday’s.

Dear Eric: Will you do a movie review by request? — Couch Potato
Dear Tater: Only if you are requesting a review of the 1978 made-for-TV movie “The Initiation of Sarah,” which I watched a few weeks ago. It’s about a creepy girl with weird telekinetic powers that enable her to 1) save her sister from a rapist and 2) make a dog stop barking. She and her sister go to college, where creepy Sarah is ostracized, as she should be, and her pretty sister gets into an exclusive sorority headed by Morgan Fairchild. Creepy Sarah, meanwhile, joins the sorority for ugly girls and is driven to harness her powers for evil by her sorority mom, Shelley Winters, who is drunk in every scene. Everyone is very ugly and unappealing, including the people the movie thinks are pretty. I don’t know why this movie was ever made, much less why I watched it. I hope this helps.

Dear Eric: What is the difference between righteousness and self-righteousness, and can you cite an example of each so I understand completely? — Need Clarification in Louisiana
Dear Louie: Righteousness is keeping the commandments. Self-righteousness is keeping something that’s not even a commandment, and then belittling those who don’t. Example of righteousness: Not killing people. Example of self-righteousness: Never seeing PG-13-rated movies, and gossiping about people who do.

Wet Hot American Summer

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Janeane Garofalo — who we thought we would get tired of a few years ago, but whom we still love — is perfectly suited for a spoofy parody like “Wet Hot American Summer.” The film’s purpose is to mock the conventions of ’80s “summer camp” movies, and Garofalo is the ultimate self-aware performer. When she spouts a cliché or does something trite, we know that SHE knows how lame it is. There’s never any doubt it’s a satire, which eliminates any possible awkwardness.

Of course, there would be little doubt that “Wet Hot American Summer” is a satire even without Garofalo. Just a glance at the heavily feathered hairstyles or now-hideous fashions of 1981, brought to life vividly on the big screen, and we know they have GOT to be kidding.

“Wet Hot American Summer” takes place over the course of one day: the last day at Camp Firewood, to be exact. As the camp radio announcer tells everyone at the film’s outset, it’s their last day to find love, if they haven’t found it already.

Garofalo plays Beth, the indifferent camp director (she smokes with the kids and only half-heartedly reminds the boys they’re not supposed to be in the girls’ cabins’ overnight) who notices, on this last day, a dashing physics professor named Neuman (David Hyde Pierce) at an adjoining camp. She learns astrophysics in order to impress him, and he learns the history of summer camps to woo her. He comes in handy later, when he and the camp’s nerdy kids learn that a piece of Skylab is plummeting toward them and they have to save the day.

The counselors and kids are equally interested in romance. Hot, dumb, mean stud Andy (Paul Rudd) is increasingly bored with his hot girlfriend Katie (Marquerite Moreau), which is fine with Coop (Michael Showalter), a Screech-like fellow who has been unlucky at love this summer.

There’s also the desperately horny Victor (Ken Marino), who has a chance with slutty Abby (Marisa Ryan), if only he can get out of taking a group of kids rafting. Meanwhile, Ben (Bradley Cooper) and McKinley (Michael Ian Black) have already found love of the homosexual kind.

All the stock characters are included. There’s a psychotic Nam-veteran camp cook (Christopher Meloni), a basket-case divorcee counselor (Molly Shannon), a space-cadet weird kid (Kevin Sussman), a drama-freak trying to organize the camp talent show (Amy Poehler), and all the morons already mentioned.

There’s random making out, awful talent-show numbers (including a hysterical “Day by Day” from “Godspell,” complete with back-up singers performing the words in sign language), and a joke about all the counselors being named Debbie.

The film is sloppy at times — in one scene, some shots indicate rain is falling while others don’t — and more than a few jokes fall flat. But a surprisingly high percentage of jokes succeed brilliantly. Clichés are skewered mercilessly and with deadly precision. The large cast is earnest and focused, with no one clowning for the camera or jockeying for star status. The ensemble functions smoothly, making us wonder which film genres still remained unparodied. We never would have thought of the “summer camp” genre, but we’re glad someone did.

Planet of the Apes

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From beginning to end, Tim Burton’s “Planet of the Apes” toys with our expectations. It doesn’t count on our being familiar with the original sci-fi classic — this version certainly stands on its own — but those who know a little something about the older film will find endless delight in the twisting and remodeling that goes on in the new one.

Burton has been careful to indicate this is not a remake so much as a “revisiting.” It has the same basic outline of the 1968 film: Earth astronaut crashes on a futuristic planet on which apes rule and humans are animals. Some other details remain the same, but essentially, this is a different film altogether. The surprise ending is still a surprise, but it’s not the one from the original film.

The astronaut, Leo Davidson, is played by Mark Wahlberg, whose skill at playing quiet, reluctant heroes is now nearly perfect. Leo’s aim is to get off the planet; saving his fellow humans from enslavement is secondary. Wahlberg is an altogether human hero, with flaws and everything. He has a character arc, which is more than you can say for most people who appear in movies this time of year.

Contrasting Leo in the selflessness department is Ari (Helena Bonham Carter), an ape with the unpopular belief that humans have souls and should not be treated savagely. The two of them flee from the evil, militaristic Thade (Tim Roth); the comic slave-trader Limbo (Paul Giamatti); and the brutish but religious Attar (Michael Clarke Duncan). There are pursuits and battles and plans and traps, and a tiny bit of romance.

I can’t think of a better person to have directed this film than Tim Burton. His touch is sly and whimsical. This is a serious science-fiction adventure, but Burton is still cognizant of the fact that monkeys are funny. “Planet of the Apes” takes itself just seriously enough to warrant respect and attention, but not so seriously it chokes on itself. It also avoids the preachiness that infested the original.

The cameo by Charlton Heston as the Alpha Male ape (he played the astronaut in the original), while full of inside jokes (including an anti-gun tirade), is nonetheless one of the best movie-star cameos in recent memory. It works on both levels.

Burton creates an amazingly believable world. Rick Baker’s makeup effects and Colleen Atwood’s costumes are shockingly good. The apes also act as though they’ve only been walking upright and ruling the planet for a few generations. They run like apes, beat their chests in false bravado, and write with their feet.

It is a demented mind indeed that could take a topic with such potential for cheesiness and make it seem so convincing. Here’s hoping more minds as demented as Burton’s collaborate on more films. The summer blockbuster season just got smarter, cooler and classier.

Bread and Tulips (Italian)

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One of the first real movie reviews I ever tried to write was of “That Thing You Do!,” the charming Tom Hanks nostalgia piece from 1996. I remember being very pleased with myself for making what I thought was a rather astute observation: That movie has no villain. The only conflicts come from among the band members themselves, and even those are nothing more than basic ego trips or jealousy fits.

At the time, “That Thing You Do!” still seemed wonderful and funny, despite what might be perceived as a liability in the conflict department. I realized how much of a liability that was when I tried to watch it a second time a few years later. I couldn’t get into it, because there was just so much of NOTHING going on. It’s great to see characters happy, but it’s hard to maintain a story unless there are some setbacks.

And so it is with “Bread and Tulips,” an Italian film that has little in common with “That Thing You Do!” aside from its lack of a significant conflict. It’s about a bored housewife named Rosalba (Licia Maglietta) who gets separated from her husband (Antonio Catania) and sons while on vacation and decides she might as well have some time to herself. She stops off in Venice, gets a job at a flower shop, and lives in a spare room owned by a mildly suicidal restaurateur named Fernando (Bruno Ganz).

Her husband, meanwhile, is flustered. She hasn’t left him — there was never any fight or anything — and she’s not opposed to dropping postcards now and then to say hello. So what IS she doing?

What she’s doing, of course, is “finding herself,” developing a cordial friendship with Fernando (whose erudite vocabulary is one of the movie’s treasures) and learning to enjoy life. Her husband sends an incompetent oaf (Giuseppe Battiston) to Venice to find her, but even that potential conflict is defused with more pleasantness.

Whimsical touches abound, some of them laugh-out-loud funny. More often, the film is just affable, like the guy in your group of friends who doesn’t add much to the conversation but always has a friendly smile on, which makes him nice to have around. It is a slow-going but very, very sweet movie.

The Simple Life

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I was halfway through the four-hour “Family Feud” marathon on the Game Show Network when a thought struck me: Sweet Allah in heaven above me, is this what my life has become? I’m a big loser! Then Richard Dawson said, “Name a yellow fruit,” and the contestant said, “Orange,” and I felt better.

Because when you get right down to it, what’s wrong with taking several hours out of your day to watch reruns of game shows? In fact, if it makes you happy, what’s wrong with setting the VCR to tape them all day while you’re at work?

One thing I like to do with “Family Feud” is to tune in when most of the answers have already been revealed and try to figure out what the question was. When you see a list like “dictionary,” “platypus,” “nipple” and “Genghis Khan,” you know you’ve got your work cut out for you. (“Name something you’d be surprised to find on the patio.”)

It is often simple things like this that make us happy. The big, elaborate pleasures like amusement parks and trips to the moon are fun, but sometimes you can enjoy yourself just as much without spending a fortune or leaving the Earth’s atmosphere.

For example, my 20-month-old niece, Emily, enjoys playing a game called “Bop.” In this game, she stands in front of the beanbag chair and gets your attention. Once you’re watching, she falls backward into the chair and says, “Bop!” Then she laughs like a maniac and does it again. She can do this eight or nine thousand times without growing tired of it, and my mom, whose first grandchild Emily is, can watch it at least that many times and still be delighted at how cute she is. This sort of behavior will not earn either of these people a seat in Parliament any time soon, but it does make them happy, and at least we know they’re not out playing in traffic.

When I tried “Bop” myself, I failed to see the entertainment value. Persuading people to give you their full attention is enjoyable when you can do it, but no one seemed to care that I was going to sit down on the beanbag chair. Also, the sitting process in and of itself is uninspired and trite, and “Bop” is by no means an original exclamation. Overall, “Bop” is an experience best left to the very young or the very easily amused. Grade: C+

So we see that simple pleasures are subjective. For one person, something may be dull, stupid and incoherent. For another person, that same thing may be an ecstatic fulfillment of all their hopes and wishes, and they walk out of the theater truly happy they saw “Final Fantasy.”

My friends Luscious Malone and Tanny Tantan (names have been changed) derive great joy from watching “Dukes of Hazzard” reruns on one of those redneck cable channels. Tanny was delighted to learn, after all these years, that the sheriff’s name is not Rosco Pico Train, but Rosco P. Coltrane. Surely such revelations will not put a spring in the step of every person you meet, but Tanny’s step sure is springier of late.

I was happy all day Tuesday because that morning I received a phone call from a telemarketer who said her name was Pinky Jones, which sounds like a name I would make up for one of my “names have been changed” friends. Again, maybe you would hear someone call herself “Pinky Jones” and not bat an eye, but not me. The only thing that ever made me happier was when Richard Dawson said, “Name a brand of canned food,” and the contestant said, “Potatoes.” Survey says: You’re an idiot.

The Laramie Project

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The Events of Oct. 6, 1998 — when gay University of Wyoming student Matthew Shepard was beaten and left tied to a fence to die — are powerfully examined in “The Laramie Project,” an extraordinary work of theatrical journalism now being produced by Salt Lake City’s Plan-B Theatre Company.

Written by Moises Kaufman and his Tectonic Theatre Project participants, the stories told in the play by several dozen Laramie residents are the people’s own words. Kaufman and company conducted more than 200 interviews in the months following the murder, and those people are brought vividly to life by a company of eight actors.

Initially, the style is jarring. There is very little dialogue among the townspeople; mostly they speak directly to the audience, saying what they said to the interviewers. Many of these speeches, despite consisting of real words actually spoken at one point by real people, sound too much like “acting”: The combination of authentic monologues and theatrical trappings seems like an awkward one. (One actor, Jedediah Schultz, was a student at University of Wyoming and plays himself in “The Laramie Project.” One would think his lines, most of all, would sound natural.)

Shortly, however, the play settles into a groove and draws the attention forward. One grows accustomed to the format and becomes engrossed in the many, many little stories being told.

Kirt Bateman plays a gay professor, Jonas Slonaker, who expresses the fear he felt after what happened to Matthew. Colleen Baum is Romaine Patterson, a close friend of Matthew’s who couldn’t imagine anyone behaving as cruelly as his killers did. Anita Booher is Marge Murray, a reserved old woman whose daughter, Reggie, is a police officer; Joyce Cohen plays Reggie, who may have been infected with Matthew’s HIV-positive blood at the crime scene. Carl Nelson plays Russell Henderson, the less-vicious of Matthew’s two killers.

Lynn Frost, former artistic director at Provo Theatre Company, has one of the play’s most astounding moments as Dennis Shepard — Matthew’s father. He poignantly addresses his son’s other killer, Aaron McKinney, with a speech as moving and heart-rending as anything you’ll ever hear.

Playing McKinney is Jedediah Schultz, whose portrayal of himself rings puzzlingly untrue but who nails every other role he has in the show. He stares, teary and glassy-eyed, over the audience as Mr. Shepard makes that final speech. You could hear a pin drop. His confession scene is just as amazing, and so is his utterly personal depiction of Aaron Kreifels, the unfortunate young man who happened to find Matthew’s body.

If the show has a fault, it is the caricatures that the anti-gay characters are made out to be. It is too easy to make us despise them when they appear to be such cartoons; surely they are still real people, hateful though they may be.

Directed by Jerry Rapier, “The Laramie Project” importantly and emphatically urges the viewer to examine his own views. Whatever one’s position on homosexuality, though, the shocking tragedy and senselessness of the murder of Matthew Shepard comes through loud and clear.

101 Reykjavik (Icelandic)

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“101 Reykjavik” is a useless but fun movie that purports to be about a man whose mother begins a lesbian love affair with one of the man’s former partners, but is really about life in a dull, sleepy town.

The implication, witting or not, is that if people get bored enough, really strange things can happen.

Hlynur (Hilmir Snaer Gunason) is a sexually charged, slightly Oedpial man who stumbles his way into a relationship with Lola (Victoria Abril), a Spanish friend of his mother’s (Hanna Maria Karlsdottir), while Mom is away for a few days. Mom comes back and soon she and Lola have taken up together, much to the confusion and consternation of Hlynur.

The Kinks’ “Lola” plays often, as do various remakes of it, to great effect. The tone of the film is wry and bemused, whimsical, even. Life in Iceland never looked so bland and swingin’ at the same time.

When You Bishop on a Star

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My father, whose name really is Rocky F. Snider, is bishop of the LDS ward in which my family resides. This ward is in California, not Utah. This means that when church headquarters said, “No more missionary farewells in which sacrament meeting is devoted to honoring and worshipping the missionary,” they actually stopped doing them.

Anyway, last Saturday, while I was visiting for the weekend, the ward held a Pioneer Day activity involving picnics, reenactments and other assorted whoop-de-doo. We received a phone message in the morning that went approximately like this: “Please tell Bishop Snider he needs to be at the park at 8 o’clock to chase a greased pig. If he can’t make it, have him send one of his counselors.”

A number of questions were raised by this cryptic message. First of all, how does this relate to the pioneers? I can see them chasing a wild hog on occasion for food purposes, but I doubt they’d take the time to grease it up first. And from what little I know of barnyard animals, they don’t come pre-greased, viscosity being one of the things Mother Nature tends to overlook.

But more importantly, why did the message come across as though my dad were expected to comply? It wasn’t a request, like, “If you don’t already have plans or dignity, please come chase a pig like a moron.” It was as though the caller assumed this was part of dad’s stewardship — that as bishop, he held the priesthood keys of swine pursuit and would have to either exercise them himself or delegate the responsibility to some other person with authority. In developing nations, where priesthood holders are still in short supply, one assumes the pigs go unchased at Pioneer Day activities, and the picnics are overrun by swine who scamper around the park, desperately in need of someone to run after them. And the local church members sit there and say wistfully, “We must work to help our little branch grow and grow, until one day we have enough priesthood holders to catch these @$*# things.” (In developing nations, many of the saints still say things like “@$*#.”)

But my dad reports that it is not uncommon for him to be asked/instructed to do something like chase a pig. At every ward activity, there is at least one event planned whose sole purpose is to embarrass the bishop. My feeling is, hasn’t a man named “Rocky” been through enough?

He takes it all in good humor, though, and he was very cheerful and sportsmanlike when he called one of his counselors and made him go chase the pig.

Dad’s always been a good example of walking the line between goofiness and dignity. “There’s a time and place for everything” is one of the lessons I remember most from my childhood, possibly because he said it several thousand times throughout the ’70s and ’80s. (It seems the one thing I couldn’t figure out a time or place for was listening to my dad.)

How well was he able to blend lightheartedness with serious responsibility? Well, he used to have a pickup truck on which he had re-routed the wiper-fluid hose so it pointed out the front grille. When he pushed the button that would normally clean the windshield, a jet of water would squirt out the front of the truck instead, dousing whoever happened to be in the way.

I recall one Sunday afternoon when my dad — then on the stake high council — slowly followed my seminary teacher, shark-like, as she walked across the parking lot. She eventually realized what he was up to — everyone knew about Brother Snider’s Squirting Truck — and had to run to the sidewalk, in her stockings and high heels, to escape a soaking. This clearly demonstrates Dad’s sense of humor, but it also shows his sense of responsibility. A less-mature man would have just run that seminary teacher over.

In fact, if the Pioneer Day activity had involved chasing a greased seminary teacher, maybe my dad would have done it. But not a pig. You have to draw the line somewhere.

Hedwig and the Angry Inch

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John Cameron Mitchell’s off-Broadway camp smash “Hedwig and the Angry Inch” translates to the screen in a way that recalls “The Rocky Horror Picture Show” (the audience is even invited to sing along at one point, and transsexuality is an ongoing theme), except with better acting and more depth.

Mitchell co-wrote and stars in the film as Hedwig, who was born Hansel in East Berlin and came to America by marrying a G.I. No way the commies were letting two men get married, though, so Hansel had a sex change operation that gets botched, leaving him somewhere between male and female (the “angry inch” of the title, if you get my drift).

Before long, Hansel, now called Hedwig, is living in a Kansas trailer park with his husband, who promptly leaves him for another guy. Here is some of Mitchell’s best emoting as an actor, conveying in a mournful look (and a great song) exactly how it would feel to have a sex-change operation in order to flee your homeland, only to be left behind by your lover once you arrived in America. Great movies make bizarre situations seem universal, and that’s exactly the case here.

Hedwig gets a job babysitting, while simultaneously starting a loud rock band. The older brother of one of her charges is 17-year-old Tommy (Michael Pitt), a born-again Christian lad who becomes Hedwig’s lover and protege. Hedwig teaches him music and re-christens him Tommy Gnosis; Tommy Gnosis steals Hedwig’s songs and becomes a huge rock star. Hedwig sues, but Tommy denies ever knowing him.

All of that happens before the movie starts, and is told to us through flashbacks and through Hedwig’s songs, which he/she sings at concerts backed by his/her band, the Angry Inch. Hedwig and the band are shadowing Tommy’s concert tour, playing at crappy restaurants as close to Tommy’s venues as they can get.

No offense to “Rocky Horror,” but “Hedwig” has better music, too, written by Stephen Trask. “The Origin of Love” is an amazing power-rock story about how people originally had four arms and legs and two faces, but were split in half by the gods and have ever since had to look for the person who will complete them. This song is crucial to the film’s central themes; fittingly, it’s an incredibly poignant number. Hedwig’s whole life has been about looking for his/her other half; the movie is about that search, and whether we really need another person to help us feel good about ourselves.

Verbally witty and musically appealing, “Hedwig and the Angry Inch” is edgy and smart. Mitchell’s direction is visual but understated — plenty of fun things to look at, but not he’s flashy about it. Even better, there’s no Tim Curry in fishnet stockings.

America’s Sweethearts

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“America’s Sweethearts” is a romantic comedy that also parodies the film industry and was co-written by Billy Crystal. If you watched only the first five minutes of it, you’d figure all that out for yourself.

It’s certainly a romantic comedy because it features Julia Roberts. She’s allegedly a supporting character here, playing Kiki, the personal assistant (and sister) to Hollywood’s biggest star, Gwen Harrison. But since Gwen Harrison is self-centered and virtually unlikable, and is played by Catherine Zeta-Jones (whom you know is NOT a “romantic comedy” actress), you know it will be Kiki whose love life is most affected.

And whom will she fall in love with? Well, Eddie Thomas, of course. Eddie (John Cusack) was Gwen’s husband for several years and co-star for even longer, but they’ve been separated for 18 months. In that time, he’s gone off the deep end and is seeking spiritual counseling, while she is seeing a Spaniard named Hector (Hank Azaria) and has made two unsuccessful films on her own.

Now, Eddie and Gwen’s last film together, “Time Over Time,” is about to be released after a long delay. The slimy studio head (Stanley Tucci) is convinced it will flop unless audiences believe there’s a chance their beloved Eddie and Gwen will reunite in real life, too. So he recruits top publicist Lee (Billy Crystal) to organize a press junket that will make the entertainment reporters and film critics think a reconciliation is afoot — and also distract from the fact that they haven’t seen the movie yet, due to the peculiarities of the crazed, obsessive director (Christopher Walken).

The press junket is the target of the most satire. This is where media types are shmoozed and entertained for a weekend at some lush hotel, mingling with the stars of the film and getting ridiculously superficial, carefully orchestrated five-minute interviews with them. Oh, and maybe they watch the movie, too, ideally after they’ve been stupefied with glitz, glamour and food.

And how do we know it’s Billy Crystal at the script (along with Peter Tolan, who wrote for “The Larry Sanders Show”)? Because of the cornball shtick, the set-up/punch line rim-shot-style jokes, stuff you’d hear a two-man comedy team doing in the Catskills. It’s funny stuff, usually, with a few solid one-liners and many snappy bits of banter. Everyone’s a comedian in this world.

Christopher Walken continues his streak of stealing every movie he’s in. (If you’d seen “Joe Dirt,” you’d know how he saved that train wreck.) But nearly the entire cast is great, really. We know we love Ms. Julia, but what about that John Cusack? We’ve loved him for almost 20 years, and he’s just getting better. Not to mention Hank Azaria, Stanley Tucci, and Seth Green (who plays Lee’s assistant). And this is easily Billy Crystal’s best film in a while.

The only significant drawback, apart from some cheap laughs half-way through with a misleading surveillance camera, is the finale. It’s too silly, too crazy and too unreal, and is a poor match with the generally smart material that precedes it.

Still, this is a perfectly good Billy-Crystal-written-romantic-comedy-that-parodies-Hollywood. It meets its goals well enough, though it certainly doesn’t strive for much extra credit. It’s just funny enough, just romantic enough and just satiric enough to be good.

Behind in the Music

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Remember that Latin Music Invasion we were supposed to have a few years ago? What ever happened to that? People like Ricky Martin and Marc Anthony were supposed to take this country by storm, and then they didn’t. Maybe they invaded some other country. Maybe they’re wandering around Iceland saying, “Man, we must have taken a wrong turn somewhere.”

I don’t understand how these new “invasions” are planned anyway. The Latin thing was only because we had three or four big pop hits by Latin artists — most of whom, you’ll be interested to know, don’t even speak Latin. Seems like calling it an “invasion” was jumping the gun. I’ve heard a lot of songs lately that are annoying, like the one where the guy says, “Can you take me higher?/To the place where blind men see?” And that’s annoying because, you know, NO, I can’t. What a stupid question. Where is this Land Where Blind People Can See? Is it near the Land Where Rock Singers Can Sing? And more to my point, is this the start of a new Annoying Music Invasion?

The British Invasion of the ’60s, that I can understand, as it featured the basic elements of rock: guitar, bass, drums and guys saying, “Wooo!” It officially began with the Beatles, of course, who were four lads from Liverpool with whom the young ladies of America wanted to have sexual relations. Such were the sentiments of the day, despite the fact that the Beatles looked extremely British — you know, with the weird smiles and the funny hair and everything. I guess coupling with strange-looking people was popular in the ’60s, which explains why everyone was so ugly in the ’70s.

After that, there was a barrage of rock ‘n’ roll bands from England, each one sounding approximately like the Beatles, and each one making steam come out of American parents’ ears like in a Donald Duck cartoon. Of course, by today’s standards (what’s left of them), ’60s rock sounds pretty tame, and today’s music irritates parents. And I’ve heard today’s music, and it’s filthier than a Victoria’s Secret poster, if you can imagine, with titles as poorly spelled as a Britney Spears fan-produced Web site. I can see why parents are upset by it.

On the current Billboard Hot 100 chart, we have these actual titles: “Let Me Blow Ya Mind,” “Bootylicious,” “Where the Party At,” “Get Ur Freak on,” “Someone to Call My Lover,” “I’m Just Talkin’ About Tonight” and “Giv Me Ur Sexxx Rite Now or I Wil Kil U.” (It is possible I have manufactured one of those titles myself.)

And so I wonder: When the kids of today are parents, what will THEIR children listen to that will bother THEM? How much worse is it going to get? Will “bootylicious” become an adjective that people actually use? (“Sir, our first-quarter projected earnings are bootylicious, to say the least.”) Will the popular tunes of 2020 be so obscene that listeners will burst into flames? Will music spread hepatitis? Will girls get pregnant just by listening to the radio? And if so, how cool will that be?

Anyway, people have always gotten worked up over the latest “big thing,” and the big things always seem small after some time has passed. (For example: Who even thinks about the Bubonic Plague anymore? All that hullabaloo at the time, and now, nothing.) In the 18th century, there was the Classical Invasion, when the music scene was changed forever by the introduction of the electric conductor’s baton. Composers were worshiped like gods. During the legendary Woodwindstock music festival, Wolfgang “Amadeus” Mozart and Ludwig “Driving Miss Daisy” Beethoven trashed a hotel room, and Beethoven set fire to his piano on stage, perhaps accidentally.

And where are these guys now? They’re dead, and their music is used in radio commercials to promote rehab centers and mattress sales. Which is actually a pretty high honor, compared to the extremely non-bootylicious destiny that awaits Ricky Martin now that the Fifteen Minutes of Fame Police have caught up with him.

Jurassic Park III

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This is not a common complaint among film critics, but “Jurassic Park III” may not be long enough.

At 94 minutes, this droll and unnecessary sequel is certainly lean, and to some extent, not a lot of exposition is needed. We already know from 1993’s “Jurassic Park” and 1997’s “The Lost World” that scientists cloned dinosaurs, and that the beasts now inhabit two faraway islands. We know some people will wind up on one of the islands, they’ll say, “What was that?!” a lot, some of them will be eaten by dinosaurs, and the most important and/or good-looking ones will survive. So let’s skip the introduction and get right to the chompin’!

The problem is all the wonderful ideas that are introduced and then left by the wayside in favor of more dino-biting. A group has come to Isla Sorna (the “Lost World” island) to rescue a man (Mark Harelik) and a young boy (Trevor Morgan) who were stranded on it while parasailing. The boy has lived among the dinosaurs for eight weeks with almost no shelter, but his now-instinctive knowledge of them is only hinted at. There is such great potential in this boy showing up even the paleontologists with his experiential expertise, but we see little of that.

The fierce velociraptors are shown to be far more intelligent than once believed. Smart killers are creepy indeed, but the raptors are made secondary to the personality-free spinosaur, a new breed of dino even more powerful than the tyrannosaurus rex. (Good ol’ T-rex, such a hit in the first two movies, is given an unceremonious dethroning as king of the primeval jungle by a successor who inspires no more fear than he did.)

In an effort to make things move quickly, director Joe Johnston and screenwriters Peter Buchman, Alexander Payne and Jim Taylor have given us plenty of dinosaur action but very little to hold it together. The dinosaurs move and act as realistically as ever, and that’s impressive. But the fact is, we’ve SEEN great-looking dinosaurs before, in movies with more imagination than this one.

Accompanying Dr. Grant (Sam Neill, back after not appearing in the last film) to the island are the young boy’s parents (William H. Macy and Tea Leoni), an eager assistant (Alessandro Nivola) and some expendable people with “Eat Me First” stamped on their foreheads. William H. Macy brings his world-weary delivery to an otherwise standard role, and Sam Neill’s Dr. Grant has acquired a delicious bitterness over his near-death experiences in the first film.

This film is sillier than the others, which lessens the awesome majesty of the huge creatures, but which makes a second sequel a little more palatable. Perhaps at this point they’ve given up on scaring us with the dinosaurs — although they can still do that, too, occasionally — and have decided to make us laugh, instead. Whatever their goal is, “Jurassic Park III” is a little jagged and a little harsh. But it’s also rather entertaining, even if you do expect to see the raptors wearing hockey masks and wielding chainsaws.

Take Me Out

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I was at a Provo Angels baseball game last week when I had an alarming thought: Provo has a baseball team?

Yes, while you were preoccupied with polygamy trials, smutty Victoria’s Secret posters and crackpots in La Verkin who for some reason think the United Nations wants to go there when in fact no one wants to go there, Provo was getting a minor-league baseball team.

Now, I’ve never been much of a jock myself, but I am an athletic supporter. When the Founding Fathers slapped together this great nation of ours, they intended for baseball to be the Great American Pastime, even if watching it is often as dull as watching paint dry. (Unless you’re drying the paint by putting a gallon of it in the clothes dryer, in which case it’s actually pretty fun.) I figure, “Hamlet” and “Citizen Kane” are kind of boring, too, but they’re still treated with a lot of reverence, mostly by people who haven’t seen them.

So last Friday, I headed down to the Angels’ temporary home at the BYU baseball field to catch a game. I took my brother Jeff with me, as he is an enormous fan of the sport — I mean seriously, the guy is huge — and has an encyclopedic knowledge of it. Our family was baseball-oriented enough for me to know a few things, like the infield-fly rule (“If there are runners on first and second, or first, second and third, and less than two outs, and it’s a Thursday in August, and the wind’s blowing from the southwest, and both teams are named after animals, then buddy, have a drink”), but Jeff knows EVERYTHING. You name any player or team or year, and he’ll tell you everything about them, and then ask you for money.

Jeff also played Little League and high school baseball in Southern California for many years. As a pitcher, he struck out 18 batters in one game, and did that twice in one season. He also claims never to have struck a batter accidentally, having always done it on purpose, including once when he hit noted local crybaby Tommy Gibson just to see if he would cry about that, too. (He did.)

It’s critical you have someone entertaining with you at the baseball park, or else you’ll be stuck just watching the game, which is no fun for anyone. Jeff and I had a stupid good time, mostly making jokes about players’ names. (One of them is named Gillitzer, which made us think of “Gillitzer’s Island.” You get the idea.) I love that you’re allowed to sit down during baseball, which is one of my favorite activities, and that you’re allowed to talk, too. Not like church, for example, where you can’t yell “chatter” at the players (“Hey, preacher, preacher preacher, he’s no preacher!”), and where only a few of your more liberal sects permit the eating of nachos.

The Angels won the game 4-0, easily defeating the lackluster Great Falls Dodgers, who had more errors than hits. Several of their players, I suspect, were merely fans who had wandered onto the field by mistake.

My question to you, the reader, is this: Why aren’t you at that baseball field? Friday, the attendance was 1,695. The stadium seats 2,400. Granted, 1,695 is pretty good, and granted, the game’s short duration and victorious outcome helped make it a pleasurable experience for me. (There’s nothing worse than something that drags on forever and then ends badly anyway, like “Titanic,” or the Vietnam War.)

But considering how many people live in this valley — well over a trillion, if the traffic on State Street is any indication — that place should be packed every night. It’s cheap, it’s wholesome, it’s summertime, and you’re an American. (My apologies to you who are not Americans. Work on that, will you?) TV is nothing but “reality” programming and reruns right now, all the movies in the theaters are full of cuss words and bosoms, and none of your neighbors like you. Get down to a Provo Angels game and partake in some Americana, darn it. And if you get hit with a ball, take it like a man.

Aida

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The Disney-produced pop-musical update of “Aida” is a lavish, spare-no-expense kind of show with infinitely more style than substance.

The national touring company is at the Capitol Theatre through July 29, giving most Utahns their first chance to see what all the fuss was about on Broadway last year. The fuss stemmed mainly from the show’s authors being Tim Rice and Elton John — the duo behind an even bigger success, “The Lion King.” The show itself is not worthy of much fuss, except for its brilliantly colored sets and costumes.

The opening number tells us that “Aida” is “the story of a love that flourished in a time of hate.” Those are the words of Amneris (Kelli Fournier), daughter of Egypt’s pharaoh and betrothed to the mighty warrior Radames (Patrick Cassidy).

Radames isn’t much interested in this arranged marriage, though. It was the brainstorm of his conniving father, Zoser (Neal Benari), who wants Radames to be heir to the throne, and to that end is currently poisoning the pharaoh.

But Radames has just returned from Nubia with a boatload of slaves, among them one Aida (single-named Simone), who is the Nubian princess. She’s more outspoken than most slaves, and Radames, enchanted by her, gives her to Amneris as a gift.

Soon there is a love triangle: Amneris loves Radames, who loves Aida, who begins to love Radames, too. Their love is forbidden, and since it’s based on an opera, you can guess it ends tragically.

Except it’s been Disneyfied (i.e., watered down). It’s not an all-out happy ending now, but it’s no longer particularly tragic, either. It’s a cop-out.

The ballad-heavy score has some outstanding numbers. Zoser’s “Another Pyramid” is clever (though it’s marred by some silly dancing), and Radames’ chief slave Mereb (a too-broad Jacen R. Wilkerson) sings the haunting “How I Know You” upon first meeting Aida.

The best song, though, goes to Amneris, who also happens to be the best character. “My Strongest Suit,” in which she sings of her devotion to fashion and accessories, is mostly just laugh-out-loud funny, belying the depth which her character will eventually be shown to possess. Kelly Fournier is fantastic in this role, going for the laughs when they’re available, but also imbuing Amneris with real humanity.

The two ostensible leads, however, suffer from Touring Company Syndrome: Anyone who saw the Broadway version will sorely miss its two stars, who were in an average show but performed with above-average skill. Patrick Cassidy and Simone are great singers, but their acting is affected and thin. They melodramatically dump their characters’ emotions on the stage, rather than actually feeling them.

As mentioned, the costumes and sets, designed by Bob Crowley, are gorgeous. They are solid colors, mostly, with very few mixtures or patterns. That’s fitting for a show that is itself always either one color or another, with little shading or texture.

Legally Blonde

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“Legally Blonde” is a larkish comedy that is delightfully unencumbered by logic or reason. Not a bit of it makes any sense whatsoever, and I do not believe anything that transpires in the film could happen in real life.

Normally, these are liabilities. But with a talented actress like Reese Witherspoon in the lead, it becomes easy to suspend disbelief and just go with it. She makes predictability funny again.

Witherspoon plays Elle Woods, a blond fashion merchandising major at Hot Chicks University (or something like that) who knows a lot about clothes and hair and little about the real world. Her boyfriend, Warner Huntington III (Matthew Davis), gets accepted into Harvard Law and dumps her before he goes. If he’s going to become a senator, he reasons, he needs to marry “a Jackie, not a Marilyn.” Ouch.

Rather than find a new boyfriend, Elle tries to win Warner’s respect by going to Harvard Law School, too. So in the course of one montage, she pulls herself together and gets accepted, and before you know it, she’s startling Warner by showing up in the halls on the first day of classes.

She’s devastated to learn that in the course of that summer, Warner has found a new girlfriend. Her name is Vivian Kensington (Selma Blair), and she’s an icy snob with — of course — dark hair. (In this movie, the good women are blondes, and the bad women are brunettes. This holds true 98 percent of the time throughout the film.)

Elle is still determined to win Warner back, egged on by Paulette (Jennifer Coolidge), the tarty divorcee who does her nails. What follows are the scenes you’d expect: Elle becoming a pretty good law student, showing up Warner in class, using her knowledge of hair and grooming to win a trial for the lawyer she’s interning for, realizing she doesn’t need Warner anyway, falling in love with someone better (Luke Wilson, as a young attorney).

Originality is not the point here, nor are there any particularly brilliant characters or extraordinarily witty exchanges of dialogue. What makes it work is knowing Reese Witherspoon is actually a smart actress playing a dumb character. If they’d cast a dumb actress — Tori Spelling, for example — it would have failed miserably. But seeing Witherspoon act so cluelessly out of place as she strolls across the Harvard lawn in kitschy sunglasses and gaudy outfits is fish-out-of-water comedy at its best. It’s not embarrassing or painful, because we’re laughing WITH the actress while we laugh AT the character.

Jennifer Coolidge (Stifler’s mom from “American Pie”) is vulgarly entertaining, as always. The great Holland Taylor has a nice bit part as a stern professor, and Luke Wilson is his usual easy-going self as Elle’s eventual love interest. (Not actually showing their first kiss is the film’s one step away from cliche.)

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

The Score

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A movie starring Marlon Brando, Robert DeNiro and Edward Norton should be, mathematically speaking, just about the best-acted movie ever made. “The Score” comes nowhere near meeting those impossible expectations, but it is successful at being a compelling caper film about jewel thieves doing what they do best.

Methodically (at times too slowly) directed by Frank Oz, “The Score” focuses on Nick Wells (DeNiro), an aging criminal eager to settle down with his tacked-on subplot of a girlfriend (Angela Bassett) and run his jazz club in Montreal.

As is often the case in these matters, he’s roped into one more heist by his associate Max (Brando), who’s even older and fatter (and weirder — he dresses like Truman Capote and hangs out by an unfilled indoor swimming pool). Max knows a young kid, Jack (Norton), eager to jump into the world of crime, and he’s been setting up a major job: stealing a priceless French scepter from the Montreal Customs House.

Jack does his homework. Several weeks earlier, he got a job as a graveyard-shift janitor in the building so he could scope it out. His cover is that he acts retarded, thus throwing off any possible suspicion and buying him easy access to any part of the building.

Naturally, at least one person involved is not telling the others the truth. The film’s dedication to intelligence and sophistication prevents it from cheaply pulling any major rugs out from under us, but there are some pleasing twists and reversals.

DeNiro and Norton are characteristically great. Neither performance will earn an Oscar, but don’t let the fact that they make it look easy cause you to forget how masterful these actors are.

And Brando, bloated self-parody that he is these days, proves he’s still got it. He’s not given enough screen time to fully develop his character, but when he’s there, he’s right on the money. Max is a real person, and Brando lives in him. (Max is a real big person, apparently.)

One of the film’s most laudable qualities is that it refuses to spell everything out for us, yet still makes things clear. When Jack tells us, in voice-over, that he’s found a way to sneak things past the metal detector at the Customs House, we see him passing his lunch through to a guard. A lesser movie would have had Jack then say, “I’ll hide them in my lunch, since the guards never check that,” or maybe give us a tight close-up of the lunch to make sure we see what he’s getting at. But not here. He says he can sneak things in, and the movie assumes we’re smart enough to figure out how he’ll do it.

Where the movie is not as nimble is in the pacing. Being unhurried is one thing; being too slow is another. That accounts for only a few sections, though, and once the heist swings into action, every moment is enthralling.

Dumb as a Post

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My point is, you should stay away from those restaurants. Especially the ones with the monkeys.

Eric D. Snider can be reached at 344-2560 or dhfamily@heraldextra.com.

Post your comments here:

Anonymous: not funny, snyder. your never funny.
Anonymous: you’re an idiot, because you said “your” instead of “you’re.”
Anonymous: you’re the idiot. who care’s about grammer?
Loozer: why does the hearld keep paying snyder to rite this drivel? it’s always unfunny, offensive and juvenile, and i read it every time, just to make sure.
Buttercup: This was OK, but Snyder is no Robert Kirby! He is also no Mahatma Gandhi, Elvis Presley, Susan B. Anthony or Charles Nelson Reilly. The list of people Snyder is not is nearly endless.
Anonymous: Only BYU student’s like Eric.
Anonymous: Eric had to quit writing at BYU because no one there liked him.
Anonymous: Snider, you must have went to UVSC.
DumbGuy: Another Dave Barry wannabe. I happen to know that Dave Barry invented humor; therefore, anyone else who trie’s to be funny is merely copying Dave Barry.
Stupid Internet Nickname: You’re an idiot!
Anonymous: No, YOU’RE an idiot!
Anonymous: No, YOU’RE an idiot!
Mr. Cornweenious: I know everything. Everything, that is, except how to find something to do with my time other than post 500 comment’s a day on a newspaper Web site.
Toolie O’Toole: why do you people keep reading the column if it’s so bad?
Anonymous: eric is funny!
JudyDesdemona: the only people who like Eric are his roommate’s.
Anonymous: his name is snider, not snyder. your all idiot’s!
Anonymous: No, YOU’RE an idiot!
Anonymous: No, YOU’RE an idiot!
Anonymous: why should we listen to you when you wont even sign your name after your comment’s?????????
Anonymous: I am a 2-year-old who is just whacking randomly at a computer keyboard. Snider suck’s!
Anonymous: ERIC MAYBE IF YOU HAD A WIFE YOU WOULDN’T BE SO UGLY.
Anonymous: ur a teribul riter and once u gaiv a bad revue to a play i wuz in so u suk and ur muther’s a hore
Anonymous: The reason eric is such a terrible columnist is because the mormon church isn’t true.
Anonymous: No, YOU aren’t true!
Anonymous: No, YOU aren’t true!
PiousZealot: A newspaper should treasure it’s reader’s. Mr. Snider, you need to realize that some things are held sacred by people of good taste. Monkey’s are one of those things. You should be ashamed of yourself, making fun of monkey’s as you did. The joke about the flatulent pope was funny, though.
Anonymous: Snider must be gay, or else he would be funnier.
Anonymous: No, YOU’RE an idiot!

You’re a Good Man, Charlie Brown

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The beloved “Peanuts” characters are memorably brought to life in Provo Theatre Company’s utterly charming “You’re a Good Man, Charlie Brown.”

The 1967 musical was revised for Broadway in 1999, but this is the original one — the one you probably saw in high school, and the one that has become literally the most-produced musical in the world.

Staged as a day in the life of Charlie Brown, the show (written by Clark Gesner) is a series of skits, songs and vignettes capturing the insouciance of the “Peanuts” characters. This production, directed by Jeff Martin, understands these kids. The actors don’t just imitate what they’ve seen in the comics and the animated TV specials; they actually seem to love the little people, and their performances are full of warmth.

Matt Hill makes a suitably pitiable Charlie Brown, and his singing voice, though suffering from strain the night I saw the show, is strong and friendly. Blanket-clutching Linus, younger but much smarter than his associates, is played by Casey Reeves, who seems a bit stiff at times but has a nice child-like demeanor that works well.

Matt Herrick (also music director) maintains good deadpan as the soft-spokenly aloof Schroeder, resisting the advances of Lucy, who is played with vigorous obnoxiousness by Marilee Spencer.

Lucy gets several opportunities to shine in this show, thanks to Spencer’s fine character voice, which is shrill and delightfully disconcerting. Songs like “Little Known Facts” and “The Doctor Is In” are notably whimsical.

I was skeptical of casting a woman as Snoopy, but Lesley Larsen brings a lot of sass to the role. Her delivery gets laughs from lines that, as written, are usually more cute than funny, and her “Suppertime” number is a showstopper.

Last but not least is Cyndi Ball as Patty. In the 1999 version, the rather non-descript Patty was replaced with the much more interesting Sally Brown. That version of the show was not available for performance yet, which is a shame, because Ball is diminutive and blond enough to be a perfect Sally. It’s clear someone agreed with that assessment: Even though she’s playing Patty, Ball has hair, costumes and attitude suitable for Sally. Pretend the character’s name is Sally and you’ll get a kick out of her.

The show often reminds us of the familiar TV cartoons — not just in costumes and sets (though they are great, thanks to Stuart Lewis and Rodney Elwood), but in the physicality of the characters, too. Observe the way Schroeder slumps when he plays his tiny piano, or the way everyone dances in a brief party scene. Subtle touches like that make the show seem less like another gig for six actors and a director, and more like a genuine labor of love.

Titanic: The Musical

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The joke is that no one would want to see “Titanic: The Musical” because they already know the ending. In fact, though, that foreknowledge makes the show better, as it lends an air of tragic tension to the proceedings.

“Titanic: The Musical,” having its regional premiere at the SCERA Shell, is an enormous undertaking for an outdoor theater, where audiences are often more interested in picnicking than in absorbing a night of insightful drama. It also requires a huge cast, agile singing voices and a better-than-average set. (It doesn’t have to sink, but it can’t just sit there, either.) As long as the show isn’t an utter failure, the SCERA will get credit just for trying it.

Providentially, the production is quite good, too. Directed by Jan Shelton with musical direction by Robert Bowden, the cast of 70-plus displays an unusually high level of synergetic professionalism, as if everyone realized the magnitude of their endeavor.

Unlike a certain film we could name, the stage play includes only real-life characters. Second-class passenger Alice Beane (Tracy Whitlock), a rabid social climber, fills us in on the identities of the first-class passengers: Strauses, Astors and Guggenheims, all elite and haughty.

Meanwhile, down in third class, there are three girls named Kate, one of whom (Arly Crawford) is already slightly pregnant but falls for fellow third-classer Jim (Jon Naseath) nonetheless.

The music, recorded by Marden Pond, sounds wonderful. Maury Yeston’s Tony-winning score is grand, walking the line between classic musical-theater and modern pop-opera. (As an indication just how musical this musical is, the opening number is 15 minutes long.)

Peter Stone’s lyrics (also a Tony-winner) are sophisticated. The play’s best moments, fittingly, rarely involve dialogue. It’s the songs that run the show.

Chad Taylor sets the tone as ship-designer Thomas Andrews, singing of man’s efforts to out-do himself in every age. He has a haunting reprise near the end, discovering what he might have done differently to prevent the tragedy; here Taylor proves he has the rare ability to act and sing at the same time.

Shawn Mortenson has a chilling and ominous moment as stoker Frederick Barrett, singing of the disturbing rate at which the Titanic is accelerating — part of ship owner Bruce Ismay’s (Larry Whipple) attempt to impress the wealthy passengers.

In an easily overlooked role of chief steward Henry Etches, Josh Tenney shines, particularly in “What a Remarkable Age This Is,” where he directs the dinner proceedings. He is cheerful and personable, and a fine addition to the large cast of characters, which also includes Marc Haddock as noble Capt. E.J. Smith and Doug Zaugg as endearing radioman Harold Bride.

This is ensemble work at its finest, and also its most perilous: Without a “main character” to care about, the audience might wind up not caring about anyone.

This becomes a problem after the ship sinks, when the show becomes more history lesson than emotional drama. The loading of the lifeboats is a sweetly poignant moment, but once everyone has been consigned to his or her fate, things are considerably less impactful. Having so many couples to keep track of forces the audience to spread its compassion too thin. It’s as though we’re expected to care about the entire passenger list, and I don’t know if that’s possible in two hours.

As usual with the SCERA, some actors’ microphones work and some don’t, and all of them behave erratically. This is distracting when one singer can be heard while the person singing the very next line cannot be.

It is an impressive show, though, to say the least. Its weaknesses are outweighed by its high ambitions, its significant accomplishments and its ability to stir the emotions. To that point, it’s just like the Titanic itself — the difference, of course, being that the boat sank while the show stays steadily afloat.

Final Fantasy: The Spirits Within

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The latest in a series of films to replace old-fashioned things like “story” and “character” with nifty special effects is “Final Fantasy: The Spirits Within.”

Yet again, filmmakers have forgotten that movie-goers are savvy. We’ve seen special effects before. And even when something new is achieved, as it is here, the novelty is going to wear off and we’re going to wish there were a real movie to back it up.

I’m not entirely sure what all the hoopla is about anyway. “Final Fantasy” is entirely computer-animated, and it looks highly realistic — that is, it looks like highly realistic computer animation. You’ll never be fooled into thinking these are actual people, especially when they move, as the motion is a little too smooth and robotic.

Furthermore, the facial expressions can’t seem to keep up with the emotions of the voice actors, and the characters are sterile and soulless.

As I implied earlier, there’s not much of a movie behind them, either. The story is set in 2065, 34 years after a large meteor crashed into the Earth and brought a deadly species of phantoms with it. A war has been raging ever since, and the government is about to launch something called the Zeus Cannon to destroy the meteor.

Opposing this is our hero, Aki (voice of Ming-Na), and her mentor, Dr. Sid (Donald Sutherland). They fear blowing up the meteor will harm “Gaia,” the as-yet unsubstantiated God-like entity who may be the Earth’s spiritual center. The idea that Earth is a living being, or even that people and animals have spirits, is mocked by the council, and particularly by the warlike General Hein (James Woods).

There are some interesting science-fiction ideas expressed here, notably in regards to the phantoms’ true origin. But they are mucked up by a lot of cheesy action-movie nonsense and unfathomable mysticism. The film’s tone and look are beguilingly moody, but darned if the thing doesn’t feel like a Saturday-morning adventure cartoon stretched out to feature-length.

Breast in Show

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A few weeks ago, The Daily Herald received a large envelope containing a copy of the Spring 2001 Victoria’s Secret catalog, accompanied by a handwritten note reading: “Victoria’s Secret is out …. (She’s a SLUT!!!) I resent this pornography being sent to me!!!!” I am not sure what the complainant wanted us to do about it, but if her wish was to be made fun of in my column, I imagine she’ll be pretty happy now.

I thumbed through the catalog many, many times, often with a magnifying glass, and was unable to locate any pornography. I found quite a few pictures of women in their underclothes, but nothing exhibiting “sexually explicit behavior … intended to arouse sexual excitement,” which is how the dictionary defines pornography. There wasn’t even anything “offensive to accepted standards of decency,” which is the dictionary definition of “obscene.” Nor was there anything resembling “a sliding wood or iron grille suspended in the gateway of a fortified place,” which is the definition of “portcullis,” which is a word I just learned.

Actually, it’s possible the second half of that “pornography” definition applies: “intended to arouse sexual excitement.” Surely the people who make the Victoria’s Secret catalog are not unaware of the effect it has on some men, i.e., it makes them hot. However, I doubt that’s the actual PURPOSE of the catalog. I suspect the purpose of the catalog is to sell frilly underwear, and the getting-men-hot thing is just a side effect.

Anyway, the Victoria’s Secret war heated up a few days ago, when local mother Tina Rivera walked past the Victoria’s Secret in Ye Olde Provo Towne Centre Malle and was shocked and appalled to see a shocking and appalling poster in the window. Tina Rivera’s 6-year-old son saw the poster, too, and immediately burst into puberty. Tina Rivera’s head exploded. The mall caught fire. The world ended. (Remember?)

Tina Rivera was so shocked and appalled, she drafted a document called “A Mother’s Plea” and had it posted at FamilyNook.com. [You can see an archived copy of the letter here.] In this letter, she urges people to take action against stores like Victoria’s Secret, which force “lewd and sexual images” on unsuspecting passersby. She also described the poster as “soft pornography” and compared it to pornographic pictures she once saw as a child.

Immediately upon learning of this exciting development in breast publicity, I headed down to Victoria’s Secret to see if the poster was as bad as Tina Rivera said. As it turns out, Tina Rivera could be a medal-winning athlete in the Utah Olympic sport of Making a Big Deal out of Nothing. First of all, her description of the poster — “a naked woman who only covered herself with her hands” — is inaccurate. The woman is wearing panties (thus making her un-naked), and she covers her bosoms with her arms. I had imagined a woman looking right at the camera, barely covering her breasts with her hands, when in fact it is a side view, and very little cleavage is actually shown, as her arms cover most of it. It’s a case of implied nudity.

Furthermore, the picture is far from “lewd and sexual.” It’s certainly not “sexual,” as the expression on the woman’s face is benign, and the photo has no other people in it. And the dictionary says “lewd” means “preoccupied with sex,” which seems like a better description of Tina Rivera than of the poster.

I see the poster as perfectly appropriate for Victoria’s Secret, as it shows the store’s ideal customer: someone who needs to buy a bra. Surely there are more important social ills to address, such as people who feel comfortable using words like “slut” in anonymous correspondence with newspapers.

The Pirates of Penzance

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Though the Utah Shakespearean Festival folks would have you believe otherwise, festival founder Fred C. Adams is NOT the best reason to see “The Pirates of Penzance.”

Adams, who plays the spritely Major-General Stanley and is appearing onstage at the festival for only the second time in 40 years, is delightfully foppish in the role. He has said the part seems written for him (“an old, fussy man”), and his cartoon-character energy seems appropriate indeed.

But even more comedically precise in their performances are Brian Vaughn as the Pirate King and Laurie Birmingham as Ruth, nursemaid to pirate apprentice Frederic. The stage crackles with comic electricity whenever one of them appears; scenes they have together are all the more wonderful.

The entire production, directed by Russell Treyz, is as adorably silly as Gilbert and Sullivan could have imagined. The Major-General’s wards’ “Climbing over rocky mountain” song is funnier than it usually is, thanks to choreographer Derryl Yeager, who has the girls scuttling about like ducklings and using parasols like dainty appendages. The band of tenderhearted, non-murderous swashbucklers, too, benefit from Yeager’s knowledge that if pirates are dancing, it’s funny.

Frederic (Glenn Seven Allen), newly released from his obligation to the pirates, falls in love with Mabel (Kyra Himmelbaum). Meanwhile, his former associates plan to forcibly marry Mabel’s six sisters, until the Major-General appeals to their inordinate sense of fair play by declaring himself an orphan (for who would harass an orphan?).

The Pirate King and Ruth, however, have Frederic cornered with a new revelation: He was born in Leap Year on Feb. 29, which means he has technically had only five of the 21 birthdays he was supposed to spend in the pirates’ service. His sense of duty (just as strong as the pirates’ sense of fair play) leads him to return to their side.

It’s a celebration of word-play and puns: “pirate” and “pilot” sound alike, as do “orphan” and “often,” and much ado is made of that. No matter how frequently one hears certain rhymes in the lyrics, they remain clever. This cast is quite adept at enunciating, so every twist of the language comes across clearly. Even the inherent weaknesses in the libretto are played with: In one amusing moment, the Pirate King himself grows weary of the repetitive nature of Gilbert’s lyrics.

“The Pirates of Penzance” is such a light, frothy show that it has the potential of wearing thin before it’s over. This tendency is not helped here by the several segments that lack the humor they ought to have (the scenes involving the local police are particularly unengaging), nor by an elaborate suit-of-armor joke that is grossly overdone.

When it’s good, though, it’s very good. And Fred Adams really IS the very model of a modern major-general.

The Tempest

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“The Tempest” is one of Shakespeare’s “problem plays.” It has some humorous scenes and characters, but not enough to be a full-fledged comedy. However, it’s clearly not a tragedy, either, as it doesn’t have any death or heroes. So what is it? At the Utah Shakespearean Festival, in the hands of director Kathleen F. Conlin, it’s an uneasy mix of occasional comedy, light romance and untapped potential.

Prospero (Michael Kevin) is established as a thrilling character. Once the duke of Milan, his power was stolen by his brother, and he and his daughter Miranda (Mary Dolson) were sent out to sea. Now, 12 years later, Antonio (Jeff Swarthout) the usurper and other noblemen have been wrecked on the island Prospero inhabits.

Early on, Prospero gets angry as he recalls the wrongs done him years before. This turns out to be a precursor to his real fury, which slowly unfurls as he plans the revenge he will take on Antonio and the others. He uses his fairy servant Ariel (Rachel Mabey) to split them up throughout the island, apparently working up to a major act of revenge. Then he draws them together for a final confrontation. And then … nothing. Prospero’s apparent change of heart is not evident in the performance.

Those familiar with the play may be puzzled at how Prospero grows increasingly hell-bent on retaliation, since they know that in the end, he takes no action and frankly forgives everyone. The way he has established his own dukedom on the deserted island, reigning over fairies and monsters, is an intriguingly deranged situation — but Shakespeare didn’t write an ending that makes that concept amount to anything.

This production misses a lot of opportunities for comedy throughout; only the drunken Trinculo (Mark Brown) and Stephano (Michael Fitzpatrick) are consistently entertaining. The problem with making the action dramatic is that the supposed villains, Antonio and Sebastian (Cameron McNary), are utterly ineffectual — fine for comic characters, but a bad idea in a drama, which needs its villains to be more ruthless, dangerous and menacing.

David Ivers is impressive as Caliban, the deformed half-monster who serves Prospero. He maintains a speech impediment and physical difficulties without becoming an uncomfortable caricature.

After Ivers, we have Michael Kevin, Mark Brown and Michael Fitzpatrick to enjoy. The rest of the cast is serviceable, but unspectacular. It seems possible they were as puzzled by the play’s uncertain tone as were the rest of us.

Ah, Wilderness!

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“Ah, Wilderness!” is a remarkable celebration of the American family, a gently funny tribute to life as it once was, and how it occasionally still is.

The time is July 4, 1906, in an patriotic, upper-class Connecticut neighborhood. Nat Miller (Philip Davidson) is a successful newspaper owner. His wife, Essie (Libby George), is a fretful, slightly daft mother to their four children; his prim sister Lily (Leslie Brott) and Essie’s wacky-drunk brother Sid (Joe Cronin) live with them, too.

The second-oldest son, Richard (Jason Michael Spelbring), comes to be the focus of the play, though as with everything here, this evolves naturally and at a leisurely pace. He’s “rebellious,” which in 1906 means he likes to read books full of socialism and/or naughty poetry. His level-headed dad knows not to make too big a deal of it, but the father (Phil Hubbard) of the girl Richard’s been seeing is fuming over some letters Richard wrote to the girl, which contain excerpts from the aforementioned tales of ribaldry. Mr. McComber insists Richard stay away from his daughter and presents a letter from the girl that seems to say she wants nothing more to do with him anyway.

Richard is devastated in a teen-angst sort of way: He storms around and says, “I’ll show them!” a lot, commits minor acts of rebellion, and speaks in flowery, melodramatic tones. It is funny, and his rich, jovial family takes him only as seriously as is necessary.

A subplot has Lily increasingly sad over Sid’s drinking. It seems they were once romantically involved, and Lily would take him back again, were it not for the alcoholism. One of the more poignant moments is a scene between Lily and Richard, her optimism contrasted with his cynicism even as their wounded souls are linked. Spelbring and Brott are fine actors, and Brott in particular makes the most of the limited attention her character receives from the script.

Early in the play, which is directed by James Edmondson, there is a scene that would appear to be a tangent or even a derailment: The family has dinner. Nothing dealing with Richard’s situation is discussed, and Sid and Lily’s relationship is only partially dealt with. Yet it’s an utterly charming scene, full of pure, slice-of-life quaintness.

In contrast, the next-to-last scene has Richard finally getting a chance to reconcile with Muriel McComber (Denise Montgomery). This is important to the plot, obviously, but the scene is too long and lacks substance. It solidifies something we’d suspected all along: The plot is not important here. The characters, the tone and the warmth are. It’s a play that seeks to convey a feeling, not an idea.

Though the entire cast is stellar, special praise is due to Spelbring, whose Richard carries the play (and the weight of the world) on his shoulders. Not a single false moment is to be found with him.

It’s a surprisingly sunny play, considering its author, Eugene O’Neill, is better known for dark dramas. “Ah, Wilderness!” reminds us how great it is to be part of a family.

Julius Caesar

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The Roman political wranglings of two millennia ago may still be relevant today, but you wouldn’t know it from watching the Utah Shakespearean Festival production of “Julius Caesar.”

Directed by Jim O’Connor, this cold, impersonal show benefits from a few sharp performances and well-played scenes, but otherwise has little to offer to anyone not already intimately familiar with the script.

Joe Cronin plays the title role with fine authoritative pompousness, angrily rejecting his enemies and slapping his friends on the back with the down-to-earth jocularity that makes for a successful leader. It is easy to see why the Romans loved him, and why Cassius (Jeff Swarthout) and others were jealous of him.

It is Brutus (Donald Save Mackay) who is troublesome. He agrees to murder Caesar not because of envy, like the others, but because he truly believes Caesar is dangerous to the welfare of Rome. However, Mackay’s portrayal of him in the first several scenes differs from Cassius’ attitude only in degree. His tone of voice and body language do not match the noble words he speaks.

After intermission, Mackay emerges as one of the better performers, as Brutus’ feelings become more clear and his actions more respectable. Jeff Swarthout shares a good scene with him near the end, as Cassius and Brutus fight and reconcile over what they’ve done.

Also worthy of mention is Todd Denning as Marc Antony, Caesar’s supporter. A key moment in the play is Caesar’s funeral, where Antony is permitted to speak, but only on the condition he not bad-mouth the conspirators. Through some masterful language — and some genuinely effective acting by Denning — he complies with this, yet still gets the crowd to turn against the people who murdered Caesar. The swiftness with which the Romans turn from placated fools to bloodthirsty mob is silly (we’ll have to blame Shakespeare for that one), but it’s played by Denning and the ensemble with more suspense and cleverness than is to be found in the rest of the show.

Though the actors no doubt understand what they’re saying, little effort is made to make the language accessible to the audience, most of whom will not have done a great deal of research before entering the theater. The lack of passion in the first half means that the murder of Caesar — which takes place onstage and with plenty of blood — appears monstrously overwrought. If there had been any life in the proceedings to that point, the assassination would have been chilling. But when the land is drought-stricken, a mild fall of rain feels like a monsoon.

Arsenic and Old Lace

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Hands-down winner in the category of Best Reason to Attend This Year’s Utah Shakespearean Festival is: “Arsenic and Old Lace.”

Bill didn’t write this one (Joseph Kesselring did), though he would almost certainly approve of its witty dialogue, skewed characters, wanton murders and all’s-well-that-ends-well conclusion. Director J.R. Sullivan and a best-of-festival cast dedicated themselves to making this community-theater favorite into something new, and they succeeded. The 1941 chestnut has never seemed so fresh.

Laurie Birmingham and Leslie Brott are Abby and Martha Brewster, the sweet old sisters who poison lonely men (thus putting them out of their misery) and bury them in the basement of their stately Brooklyn house. And I don’t mean to say Birmingham and Brott PLAY Abby and Martha; they ARE Abby and Martha. They embody the two biddies flawlessly. Every gesture, inflection and movement are utterly perfect. When Abby says, “I’m starting to think this Mr. Hitler is not a Christian,” there is no question but that she normally gives everyone, including ruthless dictators, the benefit of the doubt.

Brian Vaughn plays their nephew, Mortimer, a rather snide theater critic who must cope with the insanity that runs in his family. (“It practically gallops,” he says.) Here again is a familiar role — the sane man surrounded by lunacy — that comes alive thanks to a consummate actor’s commitment. The more befuddled Mortimer gets, running madly in search of a solution, the funnier Vaughn is.

The villain in the play is Mortimer’s long-lost brother Jonathan (David Ivers), a murderer who shows up at the house one night with associate Dr. Einstein (Mark Brown) in need of a hideout. Jonathan soon learns he is not the only Brewster in the business of killing people — which means there is equal blackmail material on both sides of the equation.

While Jonathan is often played more creepy than funny, David Ivers manages to convey both qualities. His natural voice is soft and friendly, which makes a comically menacing character like Jonathan all the more amusing.

Also in the cast are Kieran Connolly as Teddy, Mortimer’s brother who thinks he’s Teddy Roosevelt; and Mary Dolson as Elaine, Mortimer’s fiancee with the violently bouncy curls.

Timing is everything, and the comic timing of this cast is impeccable. It’s a well-oiled machine that whirs, spins and whizzes beautifully from start to finish.

The Two Gentlemen of Verona

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“The Two Gentlemen of Verona” is considered one of Shakespeare’s lesser comedies, as none of its characters, situations or ideas is particularly noteworthy when compared to the Bard’s greater works.

It is a circumstance fraught with irony, then, that the current production of the play is the best Shakespeare experience offered at this year’s Utah Shakespearean Festival. “Julius Caesar” and “The Tempest” — both more highly regarded as scripts — are disappointing, while the usually-forgettable “Two Gentlemen” comes off an entertaining frolic with far more for the average audience member to sink his teeth into.

The fast-paced show is directed by Paul Barnes with an eye for comedy that is physical but not slapstick. Denise Montgomery very nearly rules the show as Julia, the girl whom mercurial Proteus (Christopher Marshall) loves and then spurns when he meets someone else. With a glance or a gesture, Montgomery conveys a great deal of information about Julia, endearing her to the audience as a strong, sympathetic character.

The two gentlemen themselves, Proteus and Valentine (Danforth Comins), make a light-hearted pair. The action of the play depends on Proteus becoming an absolute heel to his best friend in the interest of pursuing a woman, and that friendship is established in the first scene with some vigorous wrestling and fraternal glad-handing. When all is resolved in the end, the strength of their relationship is pleasant and sweet again, despite their having spent most of the play at odds.

The lovely Carrie Baker plays Silvia, the daughter of the duke of Milan who is the object of Valentine’s affection. Her other suitor is pompous Thurio, played to sniveling perfection by Cameron McNary.

The servants do as much here as the leads. Libby George plays Julia’s maid Lucetta with all the sparkling wit we’ve come to expect from that charming actress. And as the servants Speed and Launce, Kern McFadden and Michael Fitzpatrick are long-suffering and focused, earning laughs easily (though Fitzpatrick is almost upstaged by an adorable shaggy dog).

Shakespeare wrote in a strange little subplot in which Valentine, banished from Milan, becomes leader of a band of thieves in the forest. That, coupled with the general inconsequential nature of the proceedings, prevents this from being the sort of show that will change your life or remain in your memory forever. But as a merry diversion, it’s hard to beat.

Lost and Delirious

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You know a film is in for some tragedy when the characters start studying Shakespeare in their English classes. Certainly some key line spoken by one of the Bard’s many doomed lovers, highlighted by the dowdy old schoolmarm in a scene half-way through the movie, will come to have relevance later.

“Lost and Delirious” follows this formula to a T, but is otherwise generally beyond reproach as a tragic story of a tortured romance at an all-girls boarding school.

If “romance” and “all-girls boarding school” make you furrow your eyebrows in puzzlement, perhaps knowing that this is a Sundance Film Festival entry will help you understand. The lesbianism is not shied away from; in fact, there is a very graphic sex scene between two of the girls, and effectively moody pop music by the likes of Sara Maclachlan is sprinkled throughout.

The romance is between Victoria (Jessica Pare) and Paulie (Piper Perabo). Victoria has strict parents whom she doesn’t like; Paulie was adopted and is trying to find her birth mother. Paulie is the rebellious one at the snooty school, swearing at teachers and spiking the punch; Victoria goes along with her on most points.

Initially, however, the main character is Mary “Mouse” Bradford (Mischa Barton), a new student whose mother has died and whose father and stepmother have sent her away. She’s resentful of this, but keeps it inside, until the living Id that is Paulie helps her let it out.

Mary discovers Victoria and Paulie’s well-kept secret early on, as she shares a bedroom with them. The lovers are glad to have their friend know about their relationship, but when several other girls walk in on them and realize what’s going on, Victoria quickly back-pedals. She can’t handle being a lesbian and having everyone know about it, so she breaks things off with her one true love and takes up with a boy from the nearby all-boys school (where, we can assume, parallel stories of forbidden love are also taking place).

Paulie, never the stable one to begin with, goes rather nutty at being dumped. She’s lost not just her lover, but her best friend. She begins a rather interesting relationship with an injured bird of prey in the woods behind the school, and her connection to the animal is an interesting metaphor for everything else that’s going on.

Once the film gets past the initial girls-school quaintness (oh, look, they’re having pillow fights!), it never lets up. Piper Perabo, who was really bad in “The Adventures of Rocky & Bullwinkle” and “Coyote Ugly,” apparently decided to stop sucking and start acting, because she does an admirable job with this very difficult role. Paulie is irrtaional and dramatic, prone to immature behavior, while constantly trying to be an independent grown-up. Her flat refusal to accept help from concerned teachers is poignant.

Mary’s friendship with the groundskeeper is unnecessary and trite, but the rest of the film is effective. It captures the emotions of the central characters in a powerful way, and its tragic air is palpable throughout.

Jump Tomorrow

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“Smile! You’re getting married!” That’s what people keep telling George (Tunde Adebimpe), a timid, bespectacled man who, following tradition, is about to become one half of an arranged marriage in “Jump Tomorrow.”

George doesn’t want to marry this girl, who is being flown to America from their native Nigeria. He doesn’t want to do a lot of things, but his weak will prevents him from ever speaking up.

While at the airport to pick up his fiancee, he meets Alicia (Natalia Verbeke), a spicy Latin girl who invites him to a party. He also runs into Gerard (Hippolyte Girardot), a lovesick Frenchman who has just been dumped by his girlfriend.

Having only a few days of freedom left, George, flanked by Gerard, goes to Alicia’s party. There he meets her fiance, Nathan (James Wilby), a pretentious Englishman. Alicia and Nathan are planning to hitchhike toward Canada; by coincidence, George has to head that way for his wedding. The three of them, plus the now-omnipresent Gerard, wind up traveling together.

Director Joel Hopkins has a delightful touch that, given a better script, could make a truly wonderful movie. (Hopkins wrote the screenplay, too, so it’s his own fault this one doesn’t entirely succeed.) He uses a lot of basic comic-strip colors — bright red phones, green walls, etc. — and employs a mildly kitschy musical soundtrack with everything from bossa nova to big band. He knows how to stage a good scene, too, as evidenced by Gerard and Nathan’s amusing France vs. England debate, and the crazy robot-boxstep choreography at the party. George’s Mexican soap opera fantasies are very funny, too.

But “Jump Tomorrow” takes the easy way out too often; in fact, I can’t think of a time when it doesn’t. The plot is Romantic Comedy 101, but it’s simplified even for that genre. There’s never any suspense whether Alicia will leave Nathan for George, because Nathan is a jerk. Couples wind up alone together for absurdly convenient reasons. The whole affair is fun and light, to be sure; so fun and light it almost floats away.

Kiss of the Dragon

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The first image in “Kiss of the Dragon” is of a bunny rabbit licking its paws while crouched next to a dead, bloody rabbit. That shot has absolutely nothing to do with the movie, even on a metaphoric level, but do not be surprised. The movie leaves plenty of other things unexplained, too.

Directed by Chris Nahon and written by Luc Besson and Robert Mark Kamen (who collaborated on Besson’s “The Fifth Element”), “Kiss of the Dragon” is eager to avoid tedium by jumping right into things. It mistakenly assumes, however, that it’s OK to omit the exposition audiences deserve in exchange for giving them the action they want.

French police detective Richard (Tcheky Karyo) kills a Chinese suspect and frames Chinese government agent Liu Jian (Jet Li) for the murder. Why does he do this? Because he’s “evil,” apparently, and for no other reason. The movie doesn’t indicate he gained anything from killing the suspect, much less for attempting to ruin Liu’s career.

So we don’t know why Richard wants Liu Jian dead, but boy, does he ever want him dead. His thugs pursue him relentlessly through Paris, but Liu knows martial arts and some powerful version of acupuncture. (No word is given on that, either. We’re left to assume it’s not at all uncommon for Chinese operatives to carry around a handful of needles and use them to paralyze people. Having little experience in fighting Chinese operatives, I cannot speak to the authenticity of this notion.)

While running from the law, Liu meets Jessica (Bridget Fonda), the world’s queasiest hooker (she gets nauseated at the sight of sex), who sort of witnessed the murder. Turns out she’s working for a pimp who’s working for Richard, all because Richard has her daughter. Jessica is from America, but no explanation is given as to what she’s doing in France or why she can’t seem to get her daughter out of the orphanage without Richard’s help.

There’s also a train-station locker that Liu is led to, which turns out to contain guns. I don’t know who led him to the locker, nor why there are guns in it. Again, that information was omitted from the film in order to make more room for Richard to say things like, “Bring him to me alive! I’ll kill him myself,” which he does say.

The martial-arts scenes are thrilling, certainly. Jet Li is a refreshing sort of action star, more brooding and less silly than Jackie Chan, and in that way more likable. Bridget Fonda doesn’t add much to the proceedings, but there she is anyway.

This is a no-frills, almost humorless action film. There is a scene where a noble fugitive promises a dying French prostitute that he’ll take care of her daughter, but no one realizes how similar that is to “Les Miserables.” That’s a shame, because this movie needed something to give it a fresh spin.

Bad Poetry? Please, Sir, May I Have Smoe?

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In response to the many kind readers who have written gentle reminders to the effect that I’m not funny and they hate me, I am turning today’s edition over to two other writers who have written extremely funny poetry without even knowing it.

Our first author is named June Johnson. I do not know who she is, but her books of poetry are in the Americana section of the Special Collections at BYU’s Harold B. Lee Library. The poems are reprinted here exactly as she wrote them.

First we have “The Bee,” a short, thought-provoking poem that examines the nature of man and which also talks about bees.

The Bee
Why does the bird cry?
Why does the bee
sing and sting?
Why am I, I?
What made me, Me?

* * *

Ms. Johnson’s next poem is called “My Beloved Indian Chief,” and it contains language that is now considered “politically incorrect.” Specifically, it makes reference to an “Indian Chief,” when the term currently preferred is “Native American Chairperson.”

My Beloved Indian Chief
I came to you out of the night,
startling as a beam of light.
You were sick lonely and afraid,
and I came to your aid.
I warmed you and caressed you
with love and light,
Now you stand so tall and strong
and I wonder what’s wrong?
Have you found a battle we all must fight,
hidden deep inside you, out of sight?
I hope so, I hope so, my beloved Indian Chief, because I know you’ll win!

* * *

Indeed. Our second author is anonymous. He was a BYU student who wrote a book of poems and left it behind when he moved out of his apartment. It was sent to me by the next tenant, who knows a good book of poetry when he sees one and kept this one anyway.

The first poem is called “Love or Love ‘Sick,’ ” and it employs clever wordplay such as one might find in a Gilbert and Sullivan operetta, or perhaps a Bazooka Joe comic.

Love or Love “Sick”
Are Eleanor & I going to the dance?
The truth is I feel I don’t have the chance!
one week ago I gave her a pink rose.
Now when she sees me, she runs on her toes.
It’s not like I’m only looking for romance.
I just wish the girl would give me a chance.
She gives me a Valentine every night.
I receive it, scream “man I’m in a plight
So all you bucks thinking of charming some does.
Just be careful or else you’ll all look like smoes.

* * *

And the last thing you want is to look like a smoe.

Our final chunk of poetry comes from the same nameless author (we’re calling him Smoey Smonson) and it is also on the subject of romance. It bears the title “Lee ‘I Love You’ — Alison,” and I don’t understand the punctuation in that title, either. It seems to have been written from a woman’s point of view. You will notice the author’s penetrating insight into the female psyche.

Lee “I Love You” — Alison
Lee I’m going to be very simple!
What is it, do I have a hairy pimple?
I don’t mean to sound cold.
but c’mon be a little bold.
I put hearts all over your bed.
They we’re the color of love, that’s red.
I am sorry, I don’t mean to diss.
But what’s taking so long for the Kiss.
Marriage isn’t my only thought.
I want kids, yes alot!

* * *

I hope this collection of poetry has been enlightening. I don’t mean to diss, but compared to these poets, Robert Frost was just a smoe with a hairy pimple.

Funny Girl

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Led by Judy Blazer as the saucer-eyed goofball Fanny Brice, Sundance’s “Funny Girl” is liable to make audiences say, “Barbra who?”

Streisand played the role in the 1968 film, and while Blazer seems to have watched the movie, she hasn’t let it govern her performance. She’s a sassy ball of energy, tied up with a few strings that hint at the sensitive soul beneath, and she’s wonderful to watch and listen to. (Blazer’s singing voice is beautiful and full of personality.)

The show is a biography of Fanny Brice, a successful performer in the early part of the last century. It’s an era where showgirls are real lookers who can dance up a storm, which makes the plain-looking, non-dancing Fanny an unlikely candidate for stardom.

She perseveres, though, and winds up working for Flo Ziegfeld (Max Robinson) on Broadway, thanks to a recommendation from Nick Arnstein (Michael Nouri), a slick-talking gentleman gambler.

Fanny and Nick take up together, to the dismay of choreographer Eddie Ryan (Joshua Finkel), who also has a thing for her and who recognizes Nick for the rat he is.

The live orchestra, conducted by Ryan Murphy, adds a lot of zest to an already-zesty show. In the cast, there are local favorites like Jayne Luke and Marvin Payne, and a chorus of talented students and professional actors in the small roles. Dallyn Vail Bayles, for example, gets exactly one solo, and he knocks it out of the park.

From top to bottom — especially that compelling “the show must go on” conclusion — “Funny Girl” is a smooth, polished production full of humor and heart.

Scary Movie 2

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There are seven writers credited for “Scary Movie 2.” That’s approximately two writers per laugh.

You should know that I enjoyed the first “Scary Movie” as an outrageous, fast-paced parody — a MAD Magazine movie satire, but filthier. The sequel is not nearly as gross (but please don’t take that to mean it’s not still very, very crude), but also not nearly as pointed, funny or entertaining.

It’s a fact that the movie was still being filmed a few weeks before its release, and it frankly reeks of a hurried schedule. It’s sloppily edited, but worse, the jokes are rushed. This is the rough draft of a good movie, where the professor would say, “Here’s a good set-up here, just add some jokes,” or, “This scene is going nowhere, please cut it,” or, “Do you realize this will be the one-millionth movie to feature a toilet-related joke?”

The basic plot parodies “The Haunting,” with characters from the first movie (including some who died, as I recall) and a few new ones spending the weekend in a spooky house. It’s part of an “experiment” conducted by a loathsome college professor named, um, “Professor.” (I’m looking at the press notes right now, and that’s his name. This is a major character, too, I might add.) He’s played by Tim Curry. Everyone else is played by people like Anna Faris, Tori Spelling and a lot of Wayans brothers.

The first sequence is an “Exorcist” parody, which would surely have been quite topical in 1974. It’s funny enough, as these things go, and it’s not long before everyone present is awash in vomit, the priest (James Woods) is swearing, and the other priest (Andy Richter) is getting his lips stuck to a crucifix.

It gets no better than that. One horribly misguided scene has the group eating dinner at the haunted house, served by the deformed caretaker Mr. Hanson (Chris Elliott). The joke is that his hand is gross and nasty, and yet he keeps touching the food. And they keep making that SAME JOKE for about five minutes. It’s exactly the sort of scene that would have been trimmed if they’d had more time to work on the film (and if it weren’t only 82 minutes long as it is).

Those who were not fans of “Scary Movie” will despise this one even more. But even those who liked it are liable to be disappointed this time. It lacks the anarchic wit and wicked humor that made us laugh in spite of ourselves before. Now, instead of laughing, we moan: “Is that ANOTHER male organ joke? Oy.”

Cats & Dogs

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Continuing in the vein of this year’s clever “Spy Kids,” “Cats & Dogs” is an inventive and fanciful children’s movie that will more than adequately entertain the kids while amusing adults, too.

It’s a live-action movie that plays like a cartoon, with dogs and cats speaking, using weapons and carrying on a secret war behind the humans’ backs. Real animals, puppets and computer technology blend almost seamlessly to make this happen.

The war is age-old, of course, but lately it’s reached a critical point. Scientist Professor Brody (Jeff Goldblum) is on the verge of creating a vaccine that will cure people who are allergic to dogs. The cats know this will put a damper on their own share of the market and, led by the evil Mr. Tinkles (voice of Sean Hayes), seek to prevent it.

The dogs intend to send a special agent to the Brody home to keep watch, but an inexperienced puppy named Lou (Tobey Maguire) is accidentally sent instead. Commanding officer Butch (Alec Baldwin), accompanied by electronics expert Peek (Joe Pantoliano) and stealth operator Sam (Michael Clarke Duncan), must make the most of the situation, and Lou gets some on-the-job training against the various feline forces sent to destroy Professor Brody’s work.

Lou is conflicted, though. Butch tells him not to get attached to his family (which includes Elizabeth Perkins as Mrs. Brody and Alexander Pollock as their soccer-playing little boy), but Lou’s instinct is to be man’s best friend. Can he be loyal to his masters while secretly saving their lives?

All of the voice work is good, from Alec Baldwin’s gruff leader (which sounds like the exact same character he played in “Pearl Harbor”) to Susan Sarandon as a kindly lady dog who has a history with Butch. But it’s Sean Hayes who takes the cake as Mr. Tinkles, madly vamping and plotting and scheming even while having to suffer the indignities inherent in being the lap-cat of a wealthy old man. Hayes takes delight in playing the cat as over-the-top as possible, and it pays off. (Remember how James Bond villain Blofeld had a pet cat? Mr. Tinkles is that cat.)

Things get weak in the middle of the film, but the giddy good humor comes back again in time for the climax. And none of the humans register much: Jeff Goldblum, for as nerdy as he is, doesn’t do the bumbling-scientist-father thing very well. (Where’s Rick Moranis when you need him?)

But the humor is wickedly funny and mostly clean (a few poop jokes, but these are dogs, remember?), and overall a fine way to spend a summer afternoon with the kids.

Balloon Fest 2001

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When the Founding Fathers slapped together this great nation of ours, I’m sure they envisioned a lot of parades and fireworks being part of our celebrations.

“But parades and fireworks are boring!” protested Benjamin Franklin. “If you’ve seen one, you’ve seen them all!”

He was quickly shushed by James Madison, who pushed him down the stairs, thus establishing the first modern city council meeting.

But there’s one thing the Founding Fathers probably didn’t foresee: Andrew Jackson. Was that guy a nut, or what? A drunken inauguration party full of debauchery, and he still makes it onto the $20 bill. Next thing you know, Bill Clinton’s face will be on currency, or at least a Happy Meal box.

But more to the point, one thing they couldn’t have imagined was the addition of hot-air balloons as a means of celebrating freedom. Here in Provo, where currently we are not even free to dance in public, we use a lot of hot-air balloons to send our message to the world. That message: “We have hot-air balloons! No dancing, please.”

On Tuesday, I arose at the miserable hour of 5 a.m. in order to participate in the Balloon Fest, which is part of the monthlong America’s Freedom Festival at Provo, which is part of Provo’s yearlong Festival Festival: A Celebration of Celebrations.

Now, you should know that it is not uncommon that I find myself awake at 5 a.m. However, this is usually because I have not yet gone to bed, having found a particularly hilarious Web site or a movie on TV that I would never watch under normal circumstances but which seems fine in the middle of the night. (I can’t imagine watching a John Candy film at any other time of day. As far as I know, John Candy films don’t even EXIST during the day. They are nocturnal films.)

But to WAKE UP at 5 a.m.! This was preposterous. Apparently, though, hot-air balloons don’t work in the afternoon. I’m not clear on the physics involved, but from what I can gather, it has to do with someone wanting to irritate me.

Anyway, there were quite a few balloons going up, with many townspeople present to witness this marvel in hot-air technology. (Note: Obligatory politician/hot air joke coming.) Sen. Orrin Hatch was also present, to provide the hot air. (We now return you to your regularly scheduled all-original humor column.)

I was introduced to Dave, a professional balloon pilot from Colorado. He’s a rugged, Crocodile Hunter-type of guy who I happen to know doesn’t care if you spit over the side of the basket when you’re up in the air. We were joined by a fellow named Ed (I have nothing to say about Ed), and the three of us were on our way.

Riding a hot-air balloon is one of those things that seems really fun until you actually do it, at which point you realize it’s more trouble than it’s worth. It’s sort of like buying a puppy, or getting married. For the first 10 minutes or so (I’m talking about the balloon ride now), it’s very exciting, as you see familiar sights from a new perspective and imagine yourself plummeting to your death and wondering where you would land and if it would disrupt traffic. Then, the new perspective is no longer new, and the death fantasies have become more morbid than interesting, and yet here you are, still hanging up in the sky, running out of spit.

But I’m glad I did it. Provo is a beautiful little college town, especially when you’re 2,000 feet above it, where you can’t see all the Hogi Yogis and Chinese buffets. And while city councilpersons Stan Lockhart and Cindy Richards might complain about the various modes of transportation they’re forced to use in the parade — might I suggest walking? And in another city? — I bet they wouldn’t complain if we put them up in a balloon. And even if they did, who would hear them? In space, no one can hear you whine.

A.I. Artificial Intelligence

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“A.I. Artificial Intelligence” is every bit a Stanley Kubrick/Steven Spielberg film, with all the tripped-out futuristic weirdness of the former and the childlike fantasy of the latter.

As has been widely publicized, Kubrick discussed “A.I.” with Spielberg for years. When Kubrick died in 1999, Spielberg accepted the charge to write the screenplay and direct the film.

The result is a sad, strangely fascinating story that holds a viewer’s interest but mostly leaves his emotions alone.

It is the future, after the polar icecaps have melted and natural resources are limited. Though robots called “mechas” (short for “mechanicals”) live and work among us, not until now has someone invented one that can actually feel emotions.

The creator is Professor Hobby (William Hurt); the creation is David (Haley Joel Osment), a cherubic young boy who, once programmed, will love his owner unconditionally forever.

Hobby gives David to a married couple whose own child is nearly dead, waiting in a cryogenics chamber for science to cure him. Monica (Frances O’Connor) and Henry (Sam Robards) have mixed emotions about David, finding him alternately endearing and creepy. Matters are not helped any when their real son, Martin (Jake Thomas), is revived.

Unable to deal with David’s devotion to her, Monica leaves him and his interactive teddy bear (voice of Jack Angel) in the woods. If she returns him to Cybertronics Manufacturing, whence he came, they will destroy him, as he is useless to other owners once he’s been programmed to love one “mommy.”

Thus begins David’s adventures in the world. He meets Gigolo Joe (Jude Law), a suave sexbot — er, “love mecha” — who good-naturedly agrees to help David in his quest to find the Blue Fairy he read about in “Pinocchio.” In the story, she helped Pinocchio become a real live boy; perhaps she can do the same for him, too. David figures the reason Monica left him in the woods is that she didn’t love him enough, and that she didn’t love him enough because he’s not real. If he’s real, she’ll love him, and she’ll take him back.

This is a heartbreaking journey, to say the least. David is devoting all his circuits to becoming human (a futile task to begin with), and then only so he can return to a “mother” whose inherent differences from him make their relationship unlikely anyway.

The sadness of all this seeps in gradually, while the main thrust of the film is adventure and wonderment. A sequence in which anti-mecha demonstrators destroy robots in horrific, entertaining ways is a twisted piece of comedy; this may be Spielberg’s most mature “children’s” film yet.

The makeup is flawless and subtle, making Osment and Law look like real people … almost. The emotional paradox is delightful: We know they ARE real people in real life, yet they’re playing robots who are just supposed to LOOK real, which they do, but not quite. How attached should we get? They’re just robots — but they look real — but they ARE real — but not really.

The vision of the future in the film is matter-of-fact, which should appeal to sci-fi fans who are weary of one laugh-packed future after another. No time is wasted on frivolous gags like refrigerators that talk, or self-peeling bananas, or whatever. Things are advanced, but not beyond the point of recognition. Except for Manhattan being underwater, one gets the feeling this could all be happening in the next 30 years.

What is most brilliant about the film is the casting of Haley Joel Osment as David. “The Sixth Sense” was no fluke; he is a fantastic actor. He makes David lovable, tragic and strange, all at once, and better than most actors could. His unblinking eyes convey innocence and loneliness. This is his movie, and he occupies it perfectly. The fact that so much work is heaped upon the young actor makes his character seem more sympathetic, too.

Curiously, and despite an emotionally bittersweet finale, “A.I.” lacks feeling, in a way proving its own point. We sympathize with David, but can we ever really love someone who is not, after all, human? To the extent that we do love him is the extent to which we will love this gorgeous, beautifully flawed movie.

crazy/beautiful

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Home-movie images of snapshots and postcards accompanied by a voice-over that begins “I remember…” let us know that “crazy/beautiful” will be a sentimental film.

Trust your instincts; those first few moments are not misleading. They give way to a chance encounter on a beach: privileged white girl Nicole (Kirsten Dunst) is doing community service to atone for some unnamed sin, and Hispanic over-achiever Carlos (Jay Hernandez) strikes up a conversation with her.

As fate would have it, they both attend the same rich high school, though he does it only by riding the bus two hours each direction, working hard, and staying out of trouble. She takes her good life for granted, is the daughter of a congressman (Bruce Davison), and spends as much time as possible ditching school and drinking with her like-minded girlfriend Maddy (Taryn Manning).

A relationship begins. Nicole’s irresponsibility gets Carlos into trouble, helped a little by the fact that he’s of Mexican descent in Los Angeles, where Hispanics are often lumped in with the trouble-makers. Carlos, who wants to go to the naval academy, begins to neglect his studies, entranced by this bohemian waif.

Nicole’s troubles stem partly from having grown up without a mother, but also partly from what may be some kind of chemical imbalance. Her father, at the end of his rope, threatens to send her off to a school for troubled kids in Escalante, Utah (a fate worse than death, surely).

Kirsten Dunst (“The Virgin Suicides,” “Bring It on” and “Drop Dead Gorgeous”), one of our smartest young actresses, has chosen yet another role that allows her to do something different. While the Freddie Prinze Jr.’s and the Seann William Scotts of the world keep playing the same part over and over again, Dunst has consistently appeared only in films that are at least interesting, if not downright great.

This is a superb transitional role for her. She’s a high school student again, but one with a grown-up, tragic air about her. Dunst is utterly convincing as the frail, obnoxious Nicole — a dubious achievement, perhaps, given how little patience we have for people like that in real life, but an achievement nonetheless.

Jay Hernandez, meanwhile, is a revelation. In his first starring role, he commands as much attention as does his more experienced screen partner. He’s an intuitive, charismatic actor. He will go far.

“crazy/beautiful,” for as watchable as it is, doesn’t stir the emotions so much as it skips stones across them. There’s a splash of romance here, a splash of tragedy there, maybe a family drama over there. It is compelling at times, but rarely engrosses all the senses the way you’d expect a romantic drama to do. It’s a sincere movie, though, that doesn’t pander to its teen-age target audience. For that reason alone, it probably will not do well at the box office, but it should.

The Closet (French)

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“The Closet” is a silly French farce about a low-level condom-factory accountant named Pignon (Daniel Auteuil) who, in order to avoid being fired, spreads the rumor that he’s gay. The company won’t fire him now, because it will look like his sexual orientation was the cause of it.

There are more complications than that, of course. A particularly gay-unfriendly co-worker (Gerard Depardieu) takes extreme measures not to appear insensitive. Pignon becomes the object of affection by a female co-worker (Michele Laroque). His ex-wife (Alexandra Vandernoot) and teen-age son (Stanislas Crevillen) start returning his phone calls, now that he’s interesting.

And that is the point. This guy was an absolute nobody before he let the rumor go that he was gay. Now he has an actual identity, even if it is a false one.

He is assisted in all this by his elderly neighbor (Michel Aumont), who has personal reasons for wanting to perpetrate such a fraud. It is he who points out one of the film’s most trenchant observations: Pignon doesn’t have to change the way he behaves and “act” gay. Once everyone believes he is, they will merely change their perceptions of his existing behavior. As far as his co-workers are concerned, everything he used to do “just because,” he now does because he’s a homosexual.

It is a friendly, modern comedy, without any particular agenda beyond the obvious one of tolerance, which is presented in a very light-handed manner. It is not often laugh-out-loud funny, but it is consistently amusing. In that sense, it may be disappointing. A subject this rich perhaps ought to result in more belly laughs. But I’ll take a comedy that entertains throughout over one that is dull but with bright spots any day.

A Midsummer Night’s Screening

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The summer movie season, which runs from February to November, is now half-over (or half-started, as the optimist would say), so it’s time for a recap.

The first blockbuster of the season was “The Mummy Returns,” in which Brendan Fraser and that girl from “The Mummy” battle lots of computer-generated images in a series of random action sequences half-heartedly pasted together with snippets of dialogue from other movies. Wrestling star The Rock appears as The Scorpion King; later this year, wrestling star The Scorpion King will make his screen debut as The Rock.

Just a week later, audiences were treated to more historical fiction, this time in the form of “A Knight’s Tale,” about a guy who becomes a professional jouster while songs by Queen play on the soundtrack (for surely there was no better sports fan than Queen’s Freddie Mercury).

The best historical fiction, though, was “Pearl Harbor.” This remake of a classic old film called “Titanic” is about two military pilots who both love (i.e., have sex with) the same woman, and just at the absolute WRONG moment in their awkward situation, the Japanese start bombing Pearl Harbor. I mean, wouldn’t you know it? You’re just settling into a relaxing bubble bath, and what happens? An Asian empire destroys your house.

Many Pearl Harbor survivors saw the film and were heard to remark afterward, “Who’s giving me my bath? Tell those kids to turn down their music! I’d like my soup now, please.”

Continuing down the slippery slope of summer dumbness, we come to “Lara Croft: Tomb Raider,” the successful follow-up to “Lara Croft: Trainspotter” and “Lara Croft: Certified Public Accountant.” In this movie, adolescent boys who have lusted after the computer-game version of Lara Croft plunk down seven bucks to see a live-action version of her, played by Angelina Jolie and two cereal bowls full of padding. Technically, the film does have a plot, though it’s hardly relevant to our discussion and I can’t remember what it is anyway.

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

Speaking of no-talent celebrities who hope their one or two legitimate successes will make people forget that everything else they do is awful, John Travolta was in a movie, too. It was called “Swordfish.” It had an interesting premise, about computer hackers and high-tech bank robbers; unfortunately, Travolta’s huge, meaty face took up the entire screen, forcing the plot, characters and originality to jump into another movie.

The movie they wound up in is “Moulin Rouge,” a post-modern musical set in pre-modern France. As far as stories about poets who fall in love with dying prostitutes go, this is certainly the best. It uses recent pop songs to tell its story, a device that becomes only slightly awkward when, in a moment of passion, Ewan MacGregor’s character cries out, “I like big butts and I cannot lie!”

The animation wars heated up with Dreamworks’ “Shrek” and Disney’s “Atlantis.” “Shrek” made fun of how Disney films always have talking animals and lots of singing, which proved to be a timely bit of satire, considering “Atlantis” features no talking animals and no singing.

Fortunately, there were enough talking animals to choke Hitler in “Dr. Dolittle 2,” a horror film about a man who can communicate with lesser life forms, learn their will, and do their evil bidding throughout the world. Thousands are slain mercilessly in this gruesome tale of revenge and talking beavers.

Finally, we have “The Fast and the Furious,” a very loud movie about people who drive fast in Los Angeles. Next up: A film about New York cab drivers who are rude, and then one about a place in Oregon where it rains a lot. What will the imagination wizards in Hollywood think of next?


 

[ I agonized for, I don’t know, minutes over which popular song Ewan MacGregor should cry out. In the end (tee-hee!), nothing seemed more (i.e., less) appropriate than “Baby Got Back” by Sir Mix-a-Lot. Also in the running, though, was “I really love your peaches, wanna shake your tree” from “The Joker” by the Steve Miller Band. ]

Saturday’s Voyeur

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After two years of heavy-handed satire that was long on making a point and short on making a joke, “Saturday’s Voyeur” is back in fine form with an entry that is as funny as it is relevant.

The target in this, the 23rd annual skewering of Utah culture and politics, is porn czar Paula Houston. Hysterically played by Jeanette Puhich as a large-hipped virgin maniac, Paula is obsessed with “Johnny Lingo,” which the show describes as a “BYU training film.”

Paula’s had a crush on Johnny all these years, and her pal Gayle Guzicka (Michael Bryon Boswell — yes, a man) lets her know that Johnny was a real guy. The movie glossed over the true events, though, which had to do with evil Bishop Harris (Rock H. White) breaking up Johnny and Mahana’s marriage.

Now, Johnny (Jim Pitts) is a drunken bum in St. George, while Mahana (Heather Ferrel) is a janitor in the “church — I mean, state — office building,” as Paula puts it.

The plot, more joke-centered than coherent, is not awfully important here, but you should know Johnny opens a strip club in Salt Lake and tries to win back Mahana, while getting even with Bishop Harris, Paula and Gayle.

For those unfamiliar with “Johnny Lingo,” it is reenacted in a manner that is hilarious to those who have seen it; the actors deserve a Purple Heart for watching the original enough times to get their portrayals so dead-on accurate.

Director/writers Allen Nevins and Nancy Borgenicht have a fine construction in this show, staging it like a burlesque, complete with a Master of Ceremonies (Paul Kiernan) and several parodies of songs from the similarly structured “Chicago.”

The parody lyrics, never the duo’s strong suit, are serviceable, but it’s Cynthia Fleming’s choreography that takes the cake. The opening number is impressive, and Bishop Harris’ son Chad’s (Geoff Hemingway) “Flashdance”-style coming-out song is the single funniest piece of choreography I’ve ever seen.

Jeanette Puhich’s Paula Houston is marvelously funny, full of subtle character touches but never going over the top. At the other end of the tact spectrum is Michael Bryon Boswell’s Gayle Guzicka (I don’t know why Gayle Ruzicka’s name got changed when everyone else’s is the same), which is obscene, cruel and endlessly amusing.

The second act is significantly less entertaining than the first, getting bogged down in a tangent that parodies a few more Utah issues but doesn’t add much to the show. The highlights make the rest of it worthwhile, though. And I say the show gets bonus points for being called “Saturday’s Voyeur 2001” and NOT adding “A (Something) Odyssey” as its subtitle. Here’s to knowing when a joke is funny and when it’s old! “Saturday’s Voyeur” is back on its game.

Bundle of Trouble

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When it came time to perform “Bundle of Trouble,” the Hale Centre Theatre in West Valley did one of the smartest things you can do with a Ruth and Nathan Hale script: they rewrote it.

Eric Jensen, a Salt Lake City-based actor, writer and improvisationalist, plays sloppy quasi-divorcee Jeff Baker in the broad family comedy. He is also credited with having “revised” the 1980 script.

Some of the changes were to update it (now there are computers), but the more important ones were in the dialogue. I haven’t read the original, but I know enough of Jensen’s and the Hales’ styles to guess which parts belong to whom. Loosely speaking, the clever and fast-paced dialogue is Jensen’s handiwork, while the corny, homespun material is all Hale.

Jeff speaks to the audience and even interacts with them; in fact, an on-stage row of chairs has been added to put audience members within striking range of Jensen’s quick, good-natured rapport. (Tuesday night, he commissioned a man to give him an occasional “thumbs-up” or “thumbs-down” as a barometer of how the jokes were going.)

He tells us (warns us?) from the outset that the play will resemble a sitcom, which it does. Jeff, a semi-employed scientist, has his life turned upside-down when his wife Annette (Kristina Barrus; double-cast with Cindy Christensen), from whom he’s been separated for four years, drops their daughter off to stay with him while she goes away on business.

Jeff hasn’t seen 6-year-old LeeLee (Tabitha Barrus; double-cast with Caitlin Meyer) since she was a toddler, and she’s turned into quite a precocious little terror. He has no idea how to raise a child, and doesn’t even seem interested in trying (it doesn’t take a degree in Family Science to know not to let your child pour Coke on her breakfast cereal).

A social services woman named Merced Mason (Jenn B. Porter; double-cast with Stephanie Rider) gets involved. She’s a one-dimensional sketch-comedy ice queen with a sour, Church Lady look on her face, but as a character, she’s nowhere near as annoying as LuAnn Appleby (Michelle Linn Hall), a horrific, man-hungry cow who pursues Jeff in a manner too relentless and desperate to be funny.

The dialogue is mostly very breezy, full of wordplay and other verbal shenanigans. (In response to someone criticizing his cereal-heavy diet, Jeff says, “It’s my Life, so stay out of it!”) A few missteps remain — such as the characters, all Californians, referring to soda as “pop” — but they are few. At times, Jensen’s antics do seem out-of-place in a play that is mostly grounded in reality; in real life, you can’t hop around and act clownish without people looking at you funny, but no one bats at eye at Jeff’s ridiculous behavior. But honest or not, it gets the laughs, and that was, I believe, the point.

Baby Boy

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The central theme of “Baby Boy,” writer/director John Singleton’s follow-up to 1991’s “Boyz N the Hood,” is that because of racism and other factors, the American black man is in essence still a baby. He calls his women “mama,” his friends his “boys,” and his house his “crib,” but those are just the superficial evidences. Look at the way he avoids responsibility and you’ll see how deep it runs.

Singleton’s film focuses on one particular grown-up baby, Jody (Tyrese Gibson), a 20-something man in Los Angeles who lives with his mother (Adrienne-Joi Johnson) and has two babies by two women. He’s still seeing one of these women, Yvette (Taraji P. Henson), has a tempestuous relationship with the other (Tamara LaSeon Bass), and hates his mom’s ex-con boyfriend Melvin (Ving Rhames). He has no job and no prospects, and just enough ambition to take up selling stolen clothes for a living.

For a long time, there is no plot — or, rather, you keep thinking there’s going to be, then there’s not. Jody’s clothing business seems like an interesting direction to go in, but it’s dropped before long. His no-account best friend Sweet Pea (Omar Gooding) seems like trouble, and he is, but that amounts to little, too. In time, we see a portrait is being painted: black life in modern-day urbania.

Still, there ought to be more movement, or at least a shorter running time. Strong acting from nearly every cast member is a help, though; these characters are so compelling, it almost doesn’t matter they’re not doing anything half the time.

Singleton’s style is theatrical in nature, with few movie tricks employed. Many of the shots are long, and the scenes — many of which are electric with emotion — are allowed to run their course without intrusion.

One noteworthy exception is a disturbingly psychosexual moment in which all the conflicting emotions Yvette has about Jody are brought to bear in a series of surreal images. This is a culture in which the possibility of the man you love being killed one day in the street is real. What must that knowledge do to a person on a day-to-day basis?

The film is randomly, suddenly violent — just like the streets themselves — which further illustrates why a man can hardly be blamed for wishing he were still in the womb. Free of the bombast of Spike Lee or the exploitation of so many others, “Baby Boy” tells it like it is with just a glimmer of how it ought to be.

Ask Eric Stuff 4

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Gather ’round, kids! It’s time for yet another installment of “Ask Eric Stuff,” an occasional feature in which Eric answers questions that were asked by people just like you, except dumber. You can submit your own questions at [outdated link].

Dear Eric: I’ve heard it’s a good idea to save about 10 percent of my income for retirement. What should I invest this money in? — Prudent in Provo
Dear Way Too Concerned About the Future: Just start buying the things you think you will need when you are retired. I have a 20-year supply of Depends and soup in my parents’ basement.

Dear Eric: How do I know if I’ve finally met the right guy? — Senior and Panicked in Provo
Dear Senior: It all depends on what you mean by “senior.” If you are a senior in high school, you haven’t; if you are senior citizen and you have found ANYONE, he’s the right one; if you are a senior at BYU, see “senior citizen.”

Dear Eric: How can I fool a professor into passing me for graduation in spite of my dismal performance? — Lazy in Logan
Dear Couldn’t Get into BYU: Man, you came to the right place. My senior year in college, I had to take a science elective, and the only one that fit in my schedule was an Agronomy & Horticulture class called “The History of Trees,” or something like that. On each test, one of the questions was, “Write a question you think should have been on this test, and provide the answer.” We would get two points for this. I once wrote, “Question: Will I fail this test? Answer: Yes.” Since I wrote a question and provided the correct answer, I got two points. I only scored a 25 on the test, and two of those points were from correctly predicting I would fail it. I passed the class, graduated, and have not thought of agronomy or horticulture since. My advice to you? Find a scientist or wizard who can enable you to live my life.

Dear Eric: What quality or characteristic do you most appreciate in a woman? — Just Curious
Dear J-Cu: Her ability to put up with me.

Dear Eric: What’s your favorite thing about living in Utah? — Utah Native
Dear Native: The quaint mispronunciation of basic English words. It’s something I absolutely tray-zhure.

Dear Eric: Are you volunteering for the 2002 Olympic Winter Games? — Curious 2002 Volunteer Candidate
Dear Working for Free: I volunteered to help distribute the performance-enhancing drugs and mind-altering chemicals to the athletes, but was told the position had already been filled. Now I am working on the Utah Press Association’s “Make People Sick of the Olympics” campaign. Thank you for giving me an excuse to mention the Olympics in this column. One more and I get a toaster.

Dear Eric: Are all of the questions in your column from posts to this site, or do you make most of them up for lack of good questions? — Suspicious in SoCal
Dear Nosy: I make them all up. I made up yours, too.

Dear Eric: Is the earth undergoing gradual heating until the time the polar icecaps melt, or will we experience another ice age? — Debating in Denver
Dear Denver: Gradual heating? Have you BEEN to Las Vegas?

Dear Eric: If you could be any superhero, who would you be? — Space Ghost Wannabe
Dear Wannabe: Man-Who-All-the-Ladies-Want Man.

Dear Eric: What’s the best/worst part about working for a newspaper? — Not Clever Enough
Dear Dummy: Best part: Plenty of access to free newspapers, which are handy for washing windows, which I have to do as part of my night job in order to make enough money to live. Worst part: Long-standing journalist code of ethics that prohibits showering.

Butched Cassidy and the Sun Burnt Kid

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“Butched Cassidy and the Sun Burnt Kid” is the 27th musical-melodrama-spoof show I’ve reviewed at the Desert Star Playhouse. You’ll have to pardon me if I’ve run out of synonyms for “wacky.”

The new show is typical Desert Star fare, and that’s a good thing. It takes a familiar story, turns it into a musical, clearly defines the heroes and villains, and crams it full of pop-culture references, bad puns and MAD Magazine-style broad satire.

Our heroes are two Old West outlaws, Butch Cassidy (Jay Haws) and the Sundance Kid (Scott Holman, also director), who have wandered into a place called Murray, Utah. They’re wanted dead or alive, but the ineffectual sheriff (Matt Kohler) doesn’t want any trouble. Besides, the tongue-tied Sundance has won the affection of local schoolteacher Etta Place (JulieAnn Christensen), while Butch is trying in vain to woo local medicine woman Dr. Quack (Holly Braithwaite).

Trouble starts a-brewin’ when local bad guy Deadeye Dawson (Ben E. Millet, also writer) cheats Etta’s drunken father Jed (Spencer Ashby) out of his copper mine. Butch and Sundance are determined to get it back, but Deadeye — half assisted, half double-crossed by his girlfriend Floozy Du Jour (Kerstin Anderson; understudied for this review by Liz Thornell) — won’t let his old grudge against them die.

The intrepid troupe of clowns performs with glee and a characteristically strong sense of absurdity and mayhem. There are few really great jokes, but there aren’t many groaners, either.

The music (directed and accompanied by Ben Mayfield) is better than usual, and the song-and-dance numbers — usually nothing more than amusing interludes — are among the highlights of the show. In particular, Holly Braithwaite does a great mock-sexy dance while Butch serenades Dr. Quack with “Doctor, Doctor,” following it up later with a stripper-style “Let Me Diagnose You,” which she belts out with Gypsy Rose Lee gusto.

There are some unusually good parody lyrics, too, in that they actually rhyme when they’re supposed to and have the right number of syllables (these are not always prerequisites, nor does it usually matter). The first act ends with a parody of “Tomorrow” from “Annie,” starting with these lines: “We hope you enjoyed the first act/All the critics tell us it’s the worst act.”

Not this critic. Both acts are equally funny, and the show is a fine entry into the Desert Star pantheon of slapstick goofiness.

Chain Camera (documentary)

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Though “Chain Camera” presents many views of many different teen-agers, one theme is overriding: The kids are all right.

Plenty of TV shows and movies purport to show the “real teen experience,” but these usually make the kids out to be either hopelessly lost or unrealistically perfect. Even shows that attempt to get to the heart of the matter by interviewing teens directly (rather than presenting fictional stories) usually fall short because, while it’s the kids’ actual voices, they are, after all, being interviewed by grown-ups. The only way to see what high school students are REALLY like would be to see them with no adults around.

“Chain Camera” does this marvelously. In 1999, 10 digital video cameras were given to 10 students at John Marshall High School in Los Angeles. After a week, the cameras were passed on to other students, and so on, for a year. Sixteen students have been chosen, their seven days of footage distilled into the segments that comprise “Chain Camera.” The result is a riveting, hopeful and heartbreaking film.

Rosemary, a girl of Cambodian descent who has toyed with bulimia and homelessness and wants to become a stripper as soon as she’s 18. Tim lives with his mother and brother in a one-bedroom apartment — and yet, each member of the family has his own TV set. Cinammon is lesbian and has a girlfriend. Winfred counts football as his one major chance at success, but is prevented from playing due to a low math grade. Stephanie is poignantly close to her obese, unhealthy father. Amy and Christian are a sweet couple who seem to be legitimately in love. Jesse has an alcoholic mother and masks his pain by getting involved in numerous political causes and sardonically videotaping amusing street signs. The list goes on.

While the kids have home lives of various degrees of happiness, and while their ethnicities are as diverse as their interests, one thing they have in common is optimism. Not a shiny, “Pollyanna” optimism, but an honest belief that life can be worth living.

These are good kids. Screwed up sometimes, sure, but good. Even Lisa and Alan, who have an explicit conversation about oral sex and attempt to show the proper technique using a condom-clad banana, exude more sweetness than sensuality: Their visual aid makes them giggle infectiously so much they can’t even begin the lesson.

Another thing that struck me in watching the film was how devoted teens are to having fun. This is no surprise, obviously, but as we see life from their perspective, we realize how important fun is to them. Tim lives in that tiny apartment and has many reasons to be depressed, but makes sure to enjoy himself by reenacting WWF events with his guy friends. Rosemary dances to escape her troubles. Stephanie’s sense of humor about her father is a wonderful moment in the film.

Certainly there are teens who shoot each other, have promiscuous sex and do plenty of other things to make us worry about leaving the world in their hands. But the cross-section shown here convinces me that as a whole, they’re not so bad. They’re smart. They’re savvy. For as world-aware as they are, they are still naive and, in their way, rather innocent. With a little guidance, they’ll be as good as we could have hoped.

Dr. Dolittle 2

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Yes, there is a scene in “Dr. Dolittle 2” in which a bear has a sudden bowel attack while sitting on a toilet. Yes, this scene is disgusting, a word that Hollywood now considers to be a synonym for “funny.” No, I don’t know when this trend will ever stop.

The good news is, that scene is almost an isolated incident in a film that is otherwise pretty harmless, family-friendly and laugh-out-loud funny. Sure, there are jokes about urine (because hey, that’s what dogs do), and one or two references to animals mating (because hey, that’s what animals do), but they’re mild. I never thought I would describe a movie in which a bear sits on a toilet as “refreshing,” but this one has a genuine charm to it.

Eddie Murphy returns after the 1998 blockbuster as Dr. John Dolittle, a physician who for some reason can talk to animals. He’s a celebrity now, and animals come from all over to seek his help, since he’s the only human who can understand them.

The film begins with a visit from a raccoon, who’s actually an emissary for the “godbeaver,” the head of the animal Mafia (“Hey, we don’t know nothing about no Mafia,” the raccoon says hastily). He and his family are concerned about a plan to bulldoze the forest in which they live, and Dr. Dolittle realizes that if he can find an endangered species living there, he can stop the destruction.

There is, in fact, only one female left of a particular breed of bear; however, there’s a male still alive, too, working as a circus performer. If Dolittle can get the male bear readjusted to life in the wild, and get him to mate with the female, the forest will have to be protected.

The circus bear is Archie (voice of Steve Zahn), a diva who hasn’t the first clue how to forage, hunt or swim. He’s a performer: “I’m a singer, a dancer, three years of tap, two years of jazz,” he tells us. Much of the film is devoted to Dolittle trying to re-teach him, while simultaneously introducing him to the female, Ada (Lisa Kudrow). There’s even a montage, accompanied by music, in which the bears fall in love with each other, which must be a first for a live-action film.

Eddie Murphy gets to do a little of his Eddie Murphy shtick, but he mostly plays the part close to the vest and under control. The humor lies in the animals and in their interaction with him and each other. The voice-over work is splendid, demonstrating that actors have learned such a gig is more than showing up at a studio and saying words; it’s a real role, with possibilities for exploration, ad-libbing and characterization.

The movie falters with its subplot, which pertains to Dolittle’s strained relationship with his 16-year-old daughter Charisse (Raven-Symone), who is embarrassed by her dad’s freakish ability. Those scenes, to be blunt, are sappy. Portraying the land developers (played by Kevin Pollak and Jeffrey Jones) as greedy and evil is a little obvious, too, though one supposes it wouldn’t be a children’s film without a clear-cut villain who has no shades of gray.

No, this is not brilliant work. For a family comedy, and especially for a sequel, though, it’s surprisingly strong. Thank goodness that bear finally learns that the woods are where he’s supposed to do his business.

The Fast and the Furious

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Mere minutes into “The Fast and the Furious,” there’s a scene in which two men engage in a fistfight in front of two gorgeous racecars while three hot women look on. I expected them to start drinking beer, watching a football game and listening to the Offspring, too.

“The Fast and the Furious” is not shy about catering (OK, pandering) to its target demographic of wound-up adolescent males. It’s a dumb movie, to be sure, about the glamorous world of guys who soup up their cars and race them on the streets of Los Angeles, and then occasionally use their driving expertise to hijack delivery trucks full of DVD players. But for a while, it’s the entertaining kind of dumb — not the kind that makes you tired, like “The Mummy Returns,” or bored, like “Tomb Raider.” It’s the kind of dumb that holds your interest with its overwrought dialogue, goofy plot twists and thrilling car chases, of which there are several thousand.

Our hero is Brian (Paul Walker), a blondish ex-con from Arizona who becomes friends with Dominic Toretto (Vin Diesel), the brawny ringleader of the aforementioned amateur racers. Well, first he gets in a fight with Dom, but then they become friends when, after a race, the cops show up and Brian is the one to help Dom get away. Dom’s friends still don’t like Brian, though, but then they start liking him anyway. (I’d like to say it’s more clear in the movie, but it isn’t.)

One of the friends who doesn’t like him but then does, sort of, is Vince (Matt Schulze), who is jealous because Brian is getting frisky with Dom’s sister Mia (Jordana Brewster), whom Vince previously had a claim on.

But there are bigger fish to fry, because a group of Asian motorcycle punks led by Johnny Tran (Rick Yune) is hassling Dom’s crew over an old business deal that went sour. Plus, the cops are working pretty heavily on finding out which of these automotive geniuses is going around robbing truck drivers.

If last year’s “Gone in 60 Seconds” had dropped all its pretenses of plot and had just shown a lot of neat cars driving fast, it would have been “The Fast and the Furious.” This movie makes a few attempts at characterization — we hear Dom’s tragic backstory, for example — but it hardly even cares if we take them seriously. You can almost hear the writers saying, “OK, this screenwriting book says we should have stuff like this in our script, so here you go. Now let’s go ride in some more cars.”

This movie is the guy at the party who, no matter what the conversation is really about, can always twist it around to be about cars again. It’s a loud, pointless movie, but it performs its loud pointlessness pretty well. The most you can hope for in a movie like this is that it won’t be annoying, and sure enough, it isn’t.

A Close Shave in St. George

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A weekend in St. George is bound to teach you a few things. For example, that it’s really hot in St. George and I don’t know how anyone lives there. I have noticed it’s mostly old people. Do they possess some kind of natural defense against the sun’s deadly rays? Could we somehow harness these powers to help them drive faster?

Anyway, I was in St. George on “business,” which means I was watching plays. My friend Luscious Malone (names have been changed) accompanied me, and it was she who made the discovery that led to our first significant learning experience.

We needed someplace to eat dinner on a Saturday night, and we couldn’t find the restaurant we were looking for, which I remembered as being on St. George Boulevard and as having a slogan that was obscene if taken out of context. Naturally, we wanted to eat at this place. But it had closed since my last visit to St. George, leaving us to find an alternative.

While flipping through the phone book, Luscious Malone found a Mexican place called Pancho & Lefty’s. We were delighted that a restaurant called itself Pancho & Lefty’s. We thought: What a funny name! We should eat there.

Life Lesson #1: Do not eat at a restaurant simply because you think its name is funny.

Pancho & Lefty’s served food that was reasonably priced and tasted good. Pancho & Lefty’s employed the services of a man who strolled around and sang “Angel of the Morning” in Spanish while he played the guitar, but such annoyances can be overlooked when a place has a name like “Pancho & Lefty’s.” Pancho & Lefty’s seemed like a good experience.

And then we left the restaurant. We made it about five feet, and then: Wham! For some reason, I started thinking about Wham!, which was a great ’80s band. But that’s beside the point, because just after we left the restaurant, pow! We were both seized with violent gastronomical turbulence. It felt like I’d eaten a team of soccer players who were now trying to kick their way out. (If you’ve ever eaten a team of soccer players, you can relate.) Having found a food donor, our stomachs were initially pleased with the transplants, but were now rejecting them. The food vacationed in our stomachs, didn’t like the scenery, and elected to fly south instead. Pancho & Lefty’s punched me and left me. Fortunately, as is true with most of life’s problems, it turned out to be nothing a couple trips to the bathroom couldn’t solve.

The other significant learning experience had to do with my facial hair. I had misjudged how long I could go before my next shave, and in the middle of our St. George weekend, I simply HAD to shave. But I had brought no razor. So I had to improvise.

Life Lesson #2: Do not shave with a razor purchased from a Motel 6 vending machine.

Motel 6, like many of your classy motor lodges and homeless shelters, has vending machines with personal toiletry items alongside the candy and gum. This is really more a necessity than a convenience, as Motel 6 does not provide guests with little bottles of shampoo, apparently assuming its clientele is not part of the hair-washing crowd. (“It’s a fad” is what I picture a Motel 6 executive saying at a stockholders’ meeting in regards to clean hair.)

Luscious Malone had brought some fruity shampoo with her, but she didn’t have a razor, so I bought one. I might just as well have used the edge of a rusty hubcap. You thought my face was hideous before! (Trust me, you did.) Well, now it was hideous AND carved up. I looked like I’d been whittled. Not wanting to admit the truth, I told people Pancho and Lefty had caught up with me after I disrespected their restaurant. After all (bad pun coming), I had to save face somehow. (I warned you.)

Oklahoma!

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From the first strains of “Oh, What a Beautiful Morning” to the last chorus of the title song, “Oklahoma!” at Tuacahn is a solidly entertaining theater experience. Great acting, singing and dancing are not often found all in the same show, but here they are, coexisting peacefully and making a rather outdated old musical seem as fresh and fun as it must have been when it premiered in 1943.

The dialogue in “Oklahoma!” is as corny as Kansas in August (to quote another Rodgers and Hammerstein show), and several elements of it are downright strange. This production embraces the script’s old-fashioned charm and doesn’t shy away from weird moments like when Curly goes out to Jud’s shed, admires his pornography collection, then tries to persuade him to kill himself.

These things work because of the stellar acting, which makes the now-familiar characters into new, real people. Jud (Eddy Schumacher), the creepy farmhand who vies with Curly (Brian N. Clark) for Laurey’s (Alison Akin Clark) affection, is not just an oily villain; he’s a sad loner who warrants a little sympathy. Curly and Laurey’s coyness in pretending not to be in love with each other — and even going with someone else to the town “box social” to prove it — seems like a legitimate snag in a relationship, not like two kids behaving stupidly.

Clark Johnsen is very good as cowboy Will Parker, most notably in “Kansas City,” which turns into a fantastic dance number. He makes a nice pair with Kirsten Louise Kenison, who plays Ado Annie (the girl who “cain’t say no” but who draws the line at premarital sex, bless her heart).

Even the two comic relief roles avoid caricature. Ciro Barbaro plays Ali Hakim, the Persian con man who’s trying to get out of a potential marriage to Ado Annie; Mindy Smoot is the piggish, ringletted Gertie Cummings (Curly’s back-up date at the dance). Both are extremely funny — Barbaro is like a twisted Professor Harold Hill; Smoot snorts and giggles with delicious enthusiasm — but neither crosses the line into cheap laughs.

Brian Clark and Alison Clark are married in real life, and they have an easy charm together on stage. Brenda Cox exudes turn-of-the-century down-home matronliness as Laurey’s Aunt Eller; this is a woman you would love to have as your own aunt.

Sensibly directed by Derryl Yeager, this production is mostly free of the random extravagances that have beset past shows at the wondrous outdoor facility. When the show is big, it’s because it makes sense to be big. In particular, the dance numbers (which Yeager also choreographed) are as dynamic and rousing as Rodgers and Hammerstein could have hoped, impeccably danced by the liveliest bunch of cowmen and farmers you ever did see. We can overlook a guy flying across the stage on a wire for no good reason when the show also treats us to such honest spectacles as the famous “Dream Ballet.”

For once, a production of “Oklahoma!” can be seen not just as a lesson in musical-theater history, but as an actual night of honest-to-goodness entertainment.

The Sound of Music

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Though “The Sound of Music” doesn’t have as much opportunity for spectacle as we usually see at Tuacahn, director Tim Threlfall manages to make it fill every bit of that vast amphitheater in a way that reinvents the show without turning it on its ear.

In fact, “The Sound of Music” turns out to be nearly the perfect show for this venue. When Maria (Jan Broberg Felt) comes twirling down the mountain singing, “The hills are alive,” she’s twirling down an actual mountain and splashing her feet in a real brook.

An even more exciting use of the theater’s natural charms comes later, when Maria has become governess to Capt. Von Trapp’s seven children. The scene takes place “outdoors near the Von Trapp estate,” and the staging here makes full use of that fact. The children and Maria ride around on bicycles, Friedrich (Justin Johnson) and Kurt (Bryan Stephenson) swim in the pond, and a car with a Nazi emblem on its door drives past ominously.

“Do-Re-Mi” is surely one of the jolliest numbers in all of musical theater anyway, and this setting makes it all the jollier.

But surpassing it in outright cuteness is the scene in which the children practice “The Lonely Goatherd” for the arts festival. There are large cartoonish cut-outs of the song’s characters, and three life-sized puppets — actually actors pretending to be suspended from strings — dance along with them. It’s a little unclear what the concept is — are these marionettes that have been “enlarged” for us to see? If so, who’s manipulating them? Or are they merely a device for the audience’s benefit, meaning they don’t exist for the other people onstage? — but it would be churlish to dwell on matters of artistic license when the scene is so delightful.

Brenda Cox, Ciro Barbaro and Mindy Smoot, all stand-outs in “Oklahoma!,” shine again here as the Mother Abbess, Max Detweiler and Liesl, respectively. As Capt. Von Trapp, Keith Weirich conveys love for his children even during the half of the show in which he is stern with them; this makes those scenes less uncomfortable (and more realistic) than they sometimes are. Weirich has a beautiful voice, too.

Jan Broberg Felt makes a perky, energetic Maria; this is an actress who clearly performs with all her heart. One fears it may be a little misplaced, though. Her Maria is too sassy: too sassy for 1930s Austria, too sassy for someone who wants to be a nun, too sassy for someone working in a strict household under a militaristic employer. Maria should be enthusiastic, of course, and even a little unorthodox — hence the musical question of how one solves a problem like her — but making faces and mimicking the Captain’s voice when his back is turned don’t fit the character at all.

That aside, “The Sound of Music” is a stirring, lovely show, liable to compete in people’s memories with the classic film version.

The Hasty Heart

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John Patrick’s “The Hasty Heart,” at the Hale Center Theater Orem through July 23, gets its title from an old saying: “Sorrow is born in a hasty heart.”

It is that sort of hastiness that the main character, Lachlan (Elwon Bakly), seeks to avoid in this tenderhearted show, which the Hale program accurately describes as a “gentle comedy.”

Lachlan is a Scottish soldier who lost a kidney while fighting in World War II. His remaining kidney is failing, which means he will soon die — a fact he has not been made aware of by the well-meaning colonel (Lon Keith), who wants Lachlan to spend his last days in happiness.

To that end, he’s been put in a British military hospital in Burma with a diverse group of non-critical fellow patients who have been commissioned to keep his spirits up. This is no easy task, though, given Lachlan’s surliness, cynicism and general disdain for everyone.

The ward is full of congenial soldiers from all around the world. Yank (Mitch Hall; double-cast with Curt Doussett) is an American who bristles at the nickname, since he’s from Georgia; Digger (Jake Suazo; double-cast with David Gilliland) is a goofy Australian; Kiwi (Brinton Wilkins) comes from New Zealand; Tommy (David Hanson) is from England and has the character trait of being fat; and Blossom (Niankora Yeah Samake) is an African who speaks only one word of English: blossom.

They’re all cared for by a fetching young nurse named Margaret (Emily Millett). Her character remains a bit flat throughout, despite her increasing emotional involvement with the patients; she remains winsome, though, and an effective moderator in the midst of the all the bickering that inevitably occurs.

Elwon Bakly, a newcomer to the area, is superb as Lachlan. Bakly broods, he rants, he grouses — then, when Lachlan’s heart is softened, he carries out several sweetly painful attempts at reconciliation that make for some of the play’s nicest moments.

The entire ensemble works well together, under the direction of Maureen Eastwood. You’d expect to have some trouble spots in a show full of accents, but the dialects remain strong throughout.

One problem is the music used in the show. It is fine as a transition between scenes, but it is also used to punctuate emotional moments within the dialogue. It’s a bit too cinematic for a stage play, particularly when the actors seem capable of conveying the proper emotions without the music doing it for them.

The whole thing has an air of tragedy about it, since we know of Lachlan’s condition. But there are light moments, too — notably, the joke the play ends with, which would be uproarious in different circumstances but which seems crass as the final note in an otherwise genteel show.

Amana from Heaven

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My refrigerator was making a weird smell. The smell persisted, despite several cleanings and throwing out what old food there was. Even baking soda was powerless against it. I called an old priest and a young priest, and they exorcised the refrigerator; however, it stole their souls and the Catholic church refused to send any more priests over after that.

The mystery deepened when I discovered the refrigerator was producing its own smell — that is, nothing in it was causing the odor, but instead it was coming from within the depths of the appliance itself, like when a man’s bad breath is caused not by something he ate, but by his being evil. I discovered this after the last time I cleaned it (the refrigerator, not the evil man). The unit was unplugged and the doors were left open long enough for all the bad smell to dissipate, like when you air out your car after picking up a hitchhiking Frenchman. When I plugged it back in (the refrigerator, not the Frenchman), I put my nose right up to where the cold air comes in, and I realized the cold air was bringing the smell with it. Wherever the cold air comes from — and honestly, I couldn’t begin to tell you where that is; the North Pole, I assume — that’s where the smell was coming from.

So you’re thinking, “Dead rat down in the guts of the fridge,” which also happens to be a line from a folk song. I thought that, too, except that the refrigerator and the house it lives in are both less than four months old, which makes the presence of deceased rodentia unlikely. Nevertheless, I unscrewed a back panel to the refrigerator and poked around with a flashlight, and I found nothing other than what I assume is supposed to be there. (Actually, for all I know about the workings of major appliances, a dead rat could be a necessary part. “Well, here’s your problem,” the repairman would say. “Your rat’s outdated.”)

Absent-mindedly, I began glancing through the owner’s manual that came with the refrigerator. I wondered if, along with the instructions on how to operate the refrigerator (Step One: Put things in; Step Two: Take them out), there might also be tips on eliminating vile, baking-soda-defying, priest-defrocking odors. I found guidelines on fridge cleaning, accompanied by a phone number to call if a smell persisted.

“A-ha!” I thought. “Now there was a great ’80s band. I wonder where A-ha is now?” Then I gathered my thoughts more coherently and thought, “Well! This must be a common problem, if there is a Smell Hotline.”

Turns out it’s not a Smell Hotline; it’s just the Amana customer service center. The Amana woman (say it out loud; it’s fun) said she had never heard of such a thing as a refrigerator’s cold air being the source of a smell, and she hinted that I was crazy. (“That’s crazy,” she said.) However, she said she could send a repairman out to investigate.

This meant we had to locate the nearest authorized Amana repair center. It amuses me that in order to service an Amana product, one must be “authorized.” Are there maverick appliance repairmen out there, working on appliances they have no authority to work on? If apprehended, can they be called before a repairman’s tribunal and tried by a wise council of elders? And if so, do the elders have to take the trial back to the shop and work on it for a week to 10 days?

A man holding authority was sent up from Santaquin. His diagnosis was that a legitimate foul odor had found its way into the refrigerator’s circulation system and was now being cycled through it, over and over again. He said I should put a bowl of chopped-up charcoal in there, and within a week the smell would be gone. But I’m thinking I should also look into having my dead rat replaced, just in case.

Hello, Dolly!

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It seems to be a trend lately: decent theater productions made even more decent by one fantastic performer.

The Villa Playhouse’s “Sound of Music” got an extra boost from Lauralyn Lowe as Maria. Little London’s “Noises Off,” already a terrific show, was sent through the roof by Brett Merritt as Garry. And now the SCERA’s “Hello, Dolly!” becomes wonderful thanks to Marcie Jacobsen, who plays Dolly as a genteel, red-headed fireball who deserves the exclamation mark the show’s author attached to its title.

Dolly, a widow, is a professional meddler in 1890s New York. Though she masks it with aplomb and polite sassiness, she misses her husband very much. She plans to marry again, not for love, but for money, which she plans to spread around.

The object of her non-affection is Horace Vandergelder (Doyle Mortimer), a wound-up rich man who owns a feed store. He’s got his sights set on Irene Molloy (Lorena Perry), though Dolly the matchmaker has gone from helping to hindering that endeavor.

It’s one of those simple old musical stories whose entertaining script (by Michael Stewart, based on a Thornton Wilder play) makes you forget how predictable and uncomplicated it is. It’s an older musical comedy whose dialogue and lyrics are actually funny, and not just quaint. (The prerecorded orchestrations used here, which clearly do not make use of the realistic-sounding synthesizers currently on the market, do the fine Jerry Herman score a disservice.)

Marcie Jacobsen is entirely too fabulous to be a mortal; anyone with information as to her actual origins is invited to tell the rest of us. She sings beautifully, has comic timing and imbues Dolly Gallagher Levi with class, humor and an effective touch of realism.

Much of her supporting cast is a hoot, too. Craig Whetten grows on you as Barnaby, the open-mouthed clown who works for Horace, and Melody Clinger’s chirpy Minnie Fay (Mrs. Molloy’s employee) is one of the funniest characterizations I’ve seen this year. The two make a good pair, and their “Elegance” song — with Mrs. Molloy and Barnaby’s friend Cornelius (Scott Montgomery) — is both charming and funny.

As the old-fashioned (i.e., sexist) Horace Vandergelder, Doyle Mortimer is amusingly blustery. He is often overdone, though, with perhaps a bit too much of the shouting and the stomping around. He’s matched for feel-good enthusiasm, though, by the large cast of waiters, townspeople and socialites. It’s quintessential outdoor summer theater: light, airy and toe-tapping.

Sexy Beast

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One of the best things about Jonathan Glazer’s brightly colored gangster film “Sexy Beast” is that the title is completely irrelevant. No one in the movie is sexy, though I guess Ben Kingsley’s character could be considered a beast.

After that, the best things about “Sexy Beast” are delicious performances, amusing plot twists, and an enjoyable hearkening back to good old caper films (with just a touch of redeeming social value thrown in).

Gary “Gal” Dove (Ray Winstone) is a professional crook who has retired wealthy from a life of crime to a beautiful villa in Spain. He lives with his wife, Deedee (Amanda Redman), whom he adores, and lounges next to his swimming pool, drinking and bossing around his houseboy (Alvaro Monje). Gal and Deedee often have dinner with their friends, Aitch (Cavan Kendall) and Jackie (Julianne White). Life is good.

One night, Aitch and Jackie are absolutely panicked to inform Gal that Don Logan has called. Don Logan (Ben Kingsley) is an old crime associate who has been enlisted to put together a crack squad of thieves to burgle a bank back in London.

Don is a fearsome man; watch the terror in the foursome’s eyes just to talk about him. He has a shaved head and a goatee and far more strength than a slender man like him should have. Nonetheless, desiring to protect Deedee from the trouble that comes from illegal activities, Gal stands up to the steely-eyed psychopath and turns down the assignment. Don uses his powers of persuasion, and it would seem one more night “on the job” is in the cards, despite Gal’s protestations.

Kingsley is the one to watch here. His Don Logan is at once terrifying and amusing, his speech pattern distinct — he’ll say “no” eight times instead of just saying it once — and his demeanor deceptively calm. He’s the kind of lunatic who is reserved just enough to make you realize that when he explodes, it’s going to be big.

Aside from some thick British accents that are at times difficult to comprehend, “Sexy Beast” turns out thoroughly, violently enjoyable.

Atlantis: The Lost Empire

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Walt Disney Pictures made billions from its string of animated musical hits in the ’90s. It was a simple formula: Retell a familiar story, put in some Broadway-style songs, make sure you’ve got some animals blessed with the power of speech, and watch the bucks roll in.

Why mess with a good thing? Perhaps the dwindling returns on the last few — “Hercules” and “Mulan,” specifically — inspired the folks at the mouse house to change things up. Or maybe it was a pure desire to test uncharted waters. (Probably not, but maybe.)

Whatever the impetus, “Atlantis: The Lost Empire” is nearly as great as “Beauty and the Beast” and “Aladdin,” but is also utterly and completely different from them.

There are no songs and no talking animals. The villain dies at the end, like in all Disney films, but so do many others, including some good guys (non-graphically, but enough to earn a PG rating).

Sound too serious? Guess what: It’s also hysterically funny, both in the silly way that appeals to kids and the smart way that makes grown-ups howl. There are even throwaway jokes, tossed out as transitional lines that have nothing to do with the central action — the kind of jokes that take effort to write and perform well, but that need to look effortless.

Set in 1914, the film’s star is Milo Thatch (Michael J. Fox), a museum linguistics expert who gets no respect from his bosses. This is in large part due to his insistence that, given the right funding, he could find the lost city of Atlantis. Seems that before his death, his explorer grandfather unearthed several clues, including a secret Atlantian diary.

Grandpa’s old pal Preston B. Whitmore, an eccentric millionaire, has had the journal in safekeeping, bestowing it upon Milo now that he sees he’s serious about using it to find Atlantis. With Whitmore backing the trip, Milo and a ragtag crew of explorers, specialists and psychos take a submarine voyage to the bottom of the sea.

Upon finding Atlantis (there was little doubt of that, was there?), they discover a once-glorious city now in ruins. It exists in a huge under-water air pocket, ruled by an aging king (Leonard Nimoy) who wants to keep the oustide world at bay. His daughter, Kida (Cree Summer), who soon fulfills her obligation to fall in love with Milo (some things never change at Disney), disagrees. She knows that Atlantis is dying.

Unfortunately, there are those in Milo’s crew who only want to exploit Atlantis, and not learn from it. The genial Commander Rourke (James Garner) is not beyond reproach, nor is his femme-fatale assistant, Helga (Claudia Christian).

The crew also includes explosives expert Vinny (Don Novella, aka Father Guido Sarducci), a crusty cook (Jim Varney, in his last role), and a deadpan, smoke-voiced telephone operator named Mrs. Packard (Florence Stanley) — and those are just the funniest ones. There’s also a French guy who loves dirt and a grease-monkey tomboy mechanic, all adding their particular spice to the stew.

(There are some terrific scenes in which the disparate personalities have to work together, reminding audiences of similar groups in “Armageddon” and similar films. It’s not parody, per se, but it indicates a knowing attitude that earns “Atlantis” a few more credibility points.)

When it moves, the film is wildly exciting, recalling the great adventure films of the past. When it’s funny, it’s outstandingly so. It doesn’t have the emotional punch of, say, “Beauty and the Beast,” but the overall combination of humor and thrills makes up for whatever it lacks in the gooey department.

Its well-developed, mystical story line may be too much for young kids to grasp, dealing as it does with Atlantis’ power source and energy crystals and other things more typical in Japanese anime than American cartoons. But it may be too intense for very young children anyway. These things vary from one child to the next, but the age of 6 or 7 is probably a good cut-off. There’s nothing offensive, but the fact that some characters die could be unsettling.

Frequent missteps and greedy maneuvers aside, when it wants to, Disney can still crank out a fine piece of work. “Atlantis,” to coin a phrase, blows everything else out of the water.

Lara Croft: Tomb Raider

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Though video games have developed more intricate backstories and characters since the days of “Pong” and “Pac-Man,” the fact remains that the game itself is nothing more than leading a hero through a series of obstacles. That’s perfect for a video game, but rotten for a movie, which should have some kind of variability or surprise to it.

In “Lara Croft: Tomb Raider,” the heroine learns her mission, sets out to accomplish it, and accomplishes it. There are no complications or surprises. If that happened in a video game, you’d be ecstatic, because you’d have won. But in a movie, it’s deathly boring. Heroes need to have setbacks, or even outright disasters, to keep an action movie interesting. It’s not a victory if there was never any danger of defeat.

Why anyone thought it was a good idea to make a film based on the popular computer game is beyond me, considering the messes that came from “Super Mario Bros.,” “Mortal Kombat” and “Street Fighter.” I’m guessing the chance to show a tough girl like Angelina Jolie jumping around in a tight T-shirt comprised one major reason. (Or would that be two reasons?)

Jolie plays Lara one-dimensionally, which means the video game version of Lara has Jolie beat by one full dimension. She’s wealthy and an orphan, and she misses her daddy (played in flashbacks by Jolie’s dad Jon Voight). She’s also a tomb raider, which apparently means she’s an archeologist, though mostly she hangs around the mansion play-fighting with a mechanical monster. (She’s evidently had some very irregular archeological digs if this is the sort of practice she needs.)

Somehow the movie brings up an impending once-every-five-millennia alignment of the planets during which, if the right things are done, tons of great fantasy hokey-pokey can occur. Something about controlling time and playing God, or whatever. Naturally, this can also rip apart the fabric of humanity, and also naturally, there are greedy Generic Euro Villains (led by Iain Glen) who want to use this power for evil.

Thanks to a note left by her father, Lara learns what she must do: Get the two halves of a broken triangle and destroy them. If the bad guys get them first and put them together, all hell will break loose.

The movie seems like all the movies you’d expect it to seem like (“Raiders of the Lost Ark” and “The Mummy,” for example). Director Simon West (“Con Air,” “The General’s Daughter”) makes everything paper-thin, moving from one robotic action sequence to another with the same logic and fluidity of, well, a video game. You defeat a monster, you walk into another room, and there’s another monster to defeat. Repeat until time is up.

Two screenwriters, both first-timers, are credited, though I can’t imagine they did much. I’m not even going to tell you their names. The dialogue just sits there, written without passion and delivered apathetically. The story is an excuse to show a cool motorcycle, or a cool car, or Angelina Jolie bathing, or someone leaping over a waterfall. It’s transparent and dull and far less fulfilling than 101 minutes with “Frogger.”

Another Column About Dieting

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I knew it was time to start dieting again because when I would say, “I really need to lose some weight,” people stopped saying, “Oh, no, you look fine,” and started agreeing with me.

This happens every couple years, when my lazy, gastronomical lifestyle catches up with me and my pants don’t go on anymore. That’s when I realize it’s time to take drastic measures: It’s time to buy bigger pants.

For a while, I was curious just how fat I would get before I topped out and/or died. It was sort of a game, watching my gut get bigger and bigger. “Wow,” I’d muse. “It didn’t used to wear me out just getting up off the couch. And didn’t I used to be able to eat only ONE pint of Ben & Jerry’s in one sitting…?” I was my own science project.

More to the point, though, I didn’t want to diet because so much of my social life revolves around food. When I arrive at the office each morning, after transcribing the obscene messages left on my voice mail, the next two hours are spent calling friends and associates to determine whom I will have lunch with, and where. It’s by far the thing toward which I exert the most energy. If I put forth this much effort in meditating, and if I were a Buddhist, I would have reached Nirvana ages ago.

I’ve been known to spend 20 minutes on the phone with my friend Tanny Tantan (names have been changed) just to figure out where we DON’T want to eat. We’ll sit in silence for a long time, thinking, and then one of us will say, “Not Chinese,” and then we’ll be silent a while longer, and then we’ll start conversing enthusiastically about something else, only to exhaust that topic and come back to where we started, working from a pool of choices that has been narrowed down only by one ethnicity.

But eventually, my expanding waistline gets to me, and I go on a diet, social life or no. I tend to lose weight quickly, I think because I send my body into shock. I go from eating 100 grams of fat a day to eating about 20 grams of fat a day, plus I’m jogging now, when the most exercise I usually get is from sneezing. So my body sees the sudden drop in fat consumption and says, “Crap! He’s dying!” Then, with the running, my body says, “Crap! He’s dying AND someone’s chasing him!” And we start getting rid of stuff that’s weighing us down, like we’re an airplane that’s lost an engine. All the excess items get tossed out. My appendix actually removed itself last week.

MY BODY: We don’t need THIS thing!
MY APPENDIX: (as it gets flung out) I regret nothing!

The jogging I do is on a treadmill at the gym. Most of my weight-loss, however, is in the locker room, where it’s humid and moist and everyone sweats like a monkey. Honestly, is it not possible to ventilate these rooms? It’s like the Biosphere Project in there, like they’re growing mushrooms or something. You have to hack through the jungle growth with a machete to find your locker, and then chase the toucans out of it when you do.

The first thing I noticed when I walked in the locker room for the first time, aside from the tropical climate, was a door marked “DRESSING ROOM.” I thought, “Who are these girlie men who are too shy to change clothes out here in the open, like men do?” Then a man who was very old and very fat walked in and headed straight for the dressing room, and I thought: “Bless you, gym, for your foresight.”

I’ve been at this diet/jogging/sweating program for a few weeks now, and it’s paying off. I have a pair of Test Pants that I tried on the other day, and I was able to fasten them without calling the neighbor kids over for help. The next step is the Test Shirt, which currently accentuates the fat but which one day soon will, I hope, disguise it, as a good shirt ought. Then I can go back to eating again, provided we can agree on a place to go.

City of Gold

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New York called and said, “Hey, this is New York. If we let you into our city for free, will you write a few columns about us? We could really use the publicity, as we fear many people out West have not heard of us.” I said, “Sure thing, New York. Glad to help.”

So I took my vacation days and headed for Manhattan. Polluted air, maddening traffic, embarrassing public officials — I wanted to get away from these things, so I left Provo and went to New York (or “The Big Apple,” as no one calls it).

New York is the city of dreams, the city of excitement, the city of people who stand on the street and want money. Some of these people are selling something, but some of them want money merely for standing there. I saw a guy who was standing motionless on a box, and he was painted gold from head to toe. People were throwing money in a cup in front of him, in exchange for his continuing to stand there, gold. I saw no reason to give him anything. I wasn’t the one who told him to paint himself gold.

So I didn’t hire the gold man’s standing-while-gold services, but I did employ a few taxi drivers. Two of their actual names were Shah Rajjid and Butt Sohain. Butt was from India. He drove with the aggressiveness of someone named Butt. (Another name I learned, from the nametag of a McDonald’s employee in Times Square: Kizzy.)

Shah, Butt, and their colleagues kept me safe throughout our journeys, no doubt helped by the recorded celebrity voices that remind you to fasten your seat belt when you first get in the car. One of the voices is that of Michael Buffer, best known as the guy who says, “Let’s get ready to rumble!” before professional wrestling matches. His recording said, “Let’s get ready to rumble … for safety!” I don’t know that I’m willing to “rumble” just for the privilege of wearing a seat belt. Fortunately, I was able to fasten mine without incident.

Speaking of fighting, one of the many plays I saw was “A Skull in Connemara,” written by Irish playwright Martin McDonagh, whose plays always feature feuding siblings in rural Ireland and at least one act of unspeakable onstage violence. I knew I was in for a treat because the program had credits for both “fight choreography” and “flameproofing.” Any show that requires flameproofing is a good one, in my book.

Another thing that’s good in my book is old ladies who swear. I saw a Wednesday matinee of a Neil Simon play, and if you’re going to see a Wednesday matinee of a Neil Simon play, you’re going to be in an audience full of old Jewish ladies. Behind me were two in particular — they always travel in pairs — who commented on the temperature in the theater. One said, “I’m going to take off my jacket.” The other one said, “Yes, I am so [R-rated swear word] hot.”

And if “hot” is what you want, I suggest you check out the Chinese restaurant that has my favorite restaurant name of all time: China Fun. It’s actually not all that fun, but the food is definitely Chinese.

Speaking of food, if you want a cool place to have dessert, don’t trust my friend Peaches Jackson (names have been changed) to take you there. Peaches kept talking about this great place called Mozart Cafe, somewhere around 60th Street. Turns out it’s actually called Cafe Mozart, and it’s on 70th, which means we walked 10 blocks farther than we thought we would. And Mozart wasn’t even there.

But it reminds me of another restaurant experience I had, at a place called the Stardust Diner. The waiters and waitresses are singers, and they perform karaoke-enabled showtunes all evening. While having dinner one night, I heard a song from “Joseph and the Amazing Technicolor Dreamcoat,” which made me think of Utah, which made me start to miss everyone back here. I came home as soon as I could after that, though I did have to stop for a couple days to earn some more money. Thank goodness that gold paint is water-based.

Evolution

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What a joy it is to watch a comedy like “Evolution,” where these rules are followed:

• The main characters are funny and even frantic, but never cloying, hammy or over-eager.

• The story is not adhered to religiously, but neither is it thrown to the wind for the sake of some non-sequitur jokes or pop-culture references.

• The humor dabbles in crudeness, but generally eschews it, preferring to remain in the realm of good old-fashioned nuttiness.

For as loose and crazy as “Evolution” is, there is an underlying intelligence that speaks volumes about the filmmakers’ level of respect for the audience: We can amuse them without speaking down to them.

Not that it’s afraid to get down in the dirt, because it does stoop to ground level when necessary. The difference is, when Orlando Jones is face-down on a gurney having an alien life form removed from his tuckus, it’s not just the grossness of the situation that makes audiences hoot. It’s the fact that the scene has some actual funny dialogue and dedicated performances in it. The film doesn’t lean on outrageous situations for its laughs; it creates outrageous situations and then continues to work, mining real comedy from those circumstances.

Orlando Jones plays Harry Block, a science teacher and women’s volleyball coach at Glen Canyon Community College in Arizona. He and his fellow instructor Ira Kane (David Duchovny) are first on the scene when a meteor crashes to the Earth, and they discover living organisms on the rock. These organisms begin not just to multiply, but to actually evolve — from single cells to simple life forms to fish to amphibians to reptiles, and so on. In a matter of days, they do what it took mankind 250 million years to do.

The government takes over, naturally, and ruins everything, led by Ida’s former military acquaintance Dr. Woodman (Ted Levine) and CDC representative Allison Reed (Julianne Moore). But in the end, it is the expertise of the regular guys, aided by local drop-out Wayne (Seann William Scott) and a firetruck full of Head & Shoulders shampoo, who save the day from the rapidly advancing alien civilization.

The director is Ivan Reitman, who also helmed “Ghostbusters,” to which this film has a few similarities (including the presence of a droll Dan Aykroyd, this time as Arizona’s no-nonsense governor). Jones and Duchovny together fill the Bill Murray role, remaining glib while things become hysterical around them.

It’s the deadpan tone that keeps the film hopping. Rather than lunge at the jokes, everyone stays cool about it, letting the humor flow naturally. Duchovny is expert at this, of course, from his years on “The X-Files,” but it’s refreshing to see Jones (and Scott, who usually appears only in teen dumbbell comedies) doing respectable, comically dignified work.

Yes, I said dignified. No matter how extreme things get — and there is a moment when Jones’ character gets revenge on an alien for the aforementioned back-end trouble — the performers remain under control. Julianne Moore’s clumsiness seems out of place, in fact. You wouldn’t think someone falling down a lot would be an ill fit for a sci-fi comedy, but it is.

Some of the ideas don’t pan out, most notably Scott’s character’s attempts at being a fireman and the obligatory romance between Kane and Reed. But the laughs are solid far more often than they’re weak, and when it’s over, you know you’ve been entertained.

Swordfish

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John Travolta continues his slippery slide back down to the hell whence he sprang with “Swordfish,” a very loud yet curiously half-hearted attempt at cyber suspense.

Travolta plays Gabriel Shear, a man who has become wealthy through high-tech bank-robbing, thanks to help from some of the world’s best computer hackers. He has plans to lift a ton of left-over federal money and sends his girlfriend, Ginger (Halle Berry), so named so they can make a “Gilligan’s Island” joke, to recruit Stanley Jobson (Hugh Jackman).

Stanley used to be the best hacker in the business, but is now barred from touching so much as an ATM as a condition of his parole. Ginger convinces Stanley to help by promising to get him custody of his little girl, Holly (Camryn Grimes), who is currently cared for by her porn-star mother and porn-director father. (This is a better home for her than her reformed white-collar-criminal father?)

Stanley comes to realize the depths of Gabriel’s insanity and the foolishness of the plot, but cannot get out because of his devotion to Holly. Ginger, meanwhile, tells him she’s a government agent trying to get at Gabriel.

If Travolta, all hammy and unbelievable as he tries to regain his “Face/Off” glory, takes class away from the proceedings, Don Cheadle (“Traffic”) adds it as an FBI agent pursuing both Stanley and Gabriel. Cheadle needs more starring roles, and Travolta — now a parody of his former screen presence — needs fewer.

Directed by Dominic Sena (“Gone in 60 Seconds”), “Swordfish” uses ultra-modern trappings but fills them with time-worn cliches. Bullet-heavy car chase in which only the right people are killed? Check. Brilliant villain who expresses high-minded political philosophy as the reason for his deeds? Yep. Hero’s daughter held hostage while clutching a teddy bear? Oh, yeah.

There’s also a fair amount of stuff done just because it would look cool, like suspending a bus from a helicopter and including a 360-degree slow-motion pan shot in the middle of an explosion — both of which are more impressive than necessary.

Skip Woods’ mechanical script has characters who speak in oblique action-flick ambiguities, attempting ominousness but achieving absurdity. It also makes a fatal misstep: The film’s prologue cements Gabriel’s evilness, making the rest of the movie — which takes place four days earlier and leads up to the prologue — less exciting, as there’s no chance for a reversal, twist or switcheroo. No chance it will turn out the FBI agent is the bad guy, for example, and Gabriel is the hero, because we’ve already seen Gabriel make a woman explode in the middle of the street.

Which in fact is what the movie does. It explodes in the middle of the street. While mindless blow-up films are diverting, one wonders why audiences would pay money to see this one when they could just stay home and rent “Die Hard” or “Terminator 2” and see essentially the same tricks done better and with more wit.

The Anniversary Party

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“The Anniversary Party” is a marvelous achievement in that it was shot on digital video, which is normally a hard sell for major motion pictures (“Blair Witch” notwithstanding).

That format was a smart move on the part of Alan Cumming and Jennifer Jason Leigh, who co-wrote, co-directed and co-star in the film. The setting is an anniversary party attended by Hollywood celebrities and other California bigshots; the digital video makes it look like a home movie, like we’re there mingling with the elite, seeing them as they really are.

It’s no surprise that “as they really are” means they’re narcissistic and crazy. Joe (Cumming) is an author who is about to direct the film adaptation of his latest novel. In the lead role, he has starlet Skye Davidson (Gwyneth Paltrow), which infuriates his wife Sally (Leigh), herself a former starlet. She feels she should play the part — especially since the character seems to have been based on her anyway.

Joe and Sally have been on the rocks for quite a while, but things are good today, the day of their anniversary party. Skye has been invited, though, which doesn’t make Sally happy, and the non-famous neighbors are present, too, complaining about Joe’s barking dog.

And then the celebrities arrive. There’s the great actor Cal Gold (Kevin Kline), who is current shooting a film in which Sally is his trainwreck of a co-star. The director of that movie is Mac Forsyth (John C. Reilly), whose waifish wife Clair (Jane Adams) is a bundle of nerves because she’s left the new baby home with a sitter for the first time. Judy (Parker Posey) and Jerry (John Benjamin Hickey) are there, and Jerry establishes himself as a real Nazi when it comes to following the rules of Charades. (Why Cumming and Leigh saw fit to include such a lengthy Charades scene is beyond me.)

There are unattached friends, too. Joe has an old girlfriend Gina Taylor (Jennifer Beals), who is a photographer; Sally has Levi Panes (Michael Panes), an amusing, self-aware nobody.

For a long time, “The Anniversary Party” is nothing more than a bunch of self-centered people sitting around talking. If you have friends who are involved in theater, you’ll know the bunch: They’re melodramatic, and they make a big deal out of everything.

It’s a self-centered film, too. It’s indulgent and cutesy, and often assumes we care about it even when we’ve been given little reason to.

Halfway through, things get interesting. The characters all take Ecstasy (“You’re the only person ever to take Ecstasy and become angrier,” Joe yells as Sally), and then start to become victims of their own selfishness. Legitimate crises — not just “Oh, no, we’re out of caviar” stuff — arise, and these glamorous airheads are forced to deal with them.

Cumming and Leigh give fine performances and genuinely seem to enjoy themselves. You get the feeling they really did just call up their friends and ask them to appear in their movie. I don’t know how long it took to film, but it wouldn’t surprise me if it was only two or three days. Not that it looks rushed or sloppy; just that it looks spontaneous and casual. Its excellent cast is better than the overall product, but it’s an entertaining party nonetheless.

Divided We Fall (Czech)

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Like “Life Is Beautiful” — another great foreign film set during World War II — the Czech picture “Divided We Fall” portrays the ability of humanity and decency to overcome all evil.

Written and directed by Jan Hrebejk, this 2001 Academy Award nominee (and sure winner, had it not been for “Crouching Tiger, Hidden Dragon”) focuses on Josef Cizek (Bolek Polivka), a tired, middle-aged clerk trying to scrape by in Nazi-occupied Czechoslovakia circa 1943. His loving wife Marie (Anna Siskova) cannot conceive, and Josef says he wouldn’t want to bring a child into this world anyway. He is ill and worn-out and altogether tired of things.

One night he happens across David Wiener (Csongor Kassai), a Jew without papers in need of a place to hide. David used to be Josef’s boss, before the war; his family by now is almost certainly dead in the camps. Josef takes pity on him and holes him up in his pantry, Anne Frank-style, simultaneously terrified of what will happen if the Nazis find him.

Josef and Marie are surrounded by “collaborators and finks,” including another co-worker, Horst Prohaska (Jaroslav Dusek). Horst is crude, unkind, frivolous and boorish, and his mustache looks like Hitler’s. His feelings toward the Jews are probably no harsher than most people’s, but he has no problem adopting Nazi philosphy as his own. Anything to be cooperative, after all.

That is the issue here: United we stand, divided we fall. Josef may have strong convictions about saving David from the Nazis, but how much of his own neck should he be willing to risk on that point? How much can Horst really be blamed for doing whatever is necessary to save his family? And how will their current cooperation come back to haunt them when the Russians run the Germans out of town and start hunting Nazis for sport?

The lead roles are performed with great compassion. Josef is cranky but likable; Horst is a jerk who turns out to have redeeming qualities; Marie is understanding and wonderful. The characters live and breathe in the film more than most. Heck, I know real people who don’t seem as natural as these fictional ones.

I invoked the spirit of “Life Is Beautiful” earlier, and I find the connections intriguing. Both films use the Holocaust as a backdrop for a personal, character-based story. Neither film is really “about” the Holocaust, but rather the triumph of the human spirit in adverse circumstances, with the Holocaust being the most adverse circumstances most people can think of.

Roberto Benigni’s Italian masterpiece has more humor, but it can be found in “Divided We Fall,” too. More than that, though, there is an optimistic spirit throughout the film. One particular scene near the end puts Josef in a position of extreme peril, but the mildly jaunty musical score reassures us that the film is not going to wander off in unknown directions. Good will win, and all of us — character included — will gain a new lease on life.

Oh, Say, Can You Sing?

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When the Provo Angels begin their inaugural season June 16, fans will be in for a special treat: free beer for anyone wearing Speedos and a tank-top!

I’m lying, of course. Beer, free or otherwise, is not permitted at Larry H. Miller Stadium (formerly The Place Where the BYU Baseball Team Played), not even by the twilight’s last gleaming. What fans will get, however, is a fine rendition of the national anthem, sung by some of Utah Valley’s finest amateur singers.

That’s right, they’ll be regular people, folks just like you or me, except they can sing. Auditions were conducted Wednesday and Thursday to find area talent willing to warble that notoriously difficult song “a cappella” (literally, “with a cap on”) in front of the hundreds of baseball fans who will presumably fill the stands.

“We’re looking for showmanship,” said Michelle Kramer, one of two energetic young gals in charge of public relations for the new team, which as I understand it still consists of hypothetical players. “We need someone who’s not nasal, who’s clear, and who will get the crowd going.”

(For getting the crowd going, of course, nothing beats the national anthem, what with its 3/4 time and use of popular words such as “perilous” and “ramparts.” Well, free beer might, but we’ve already addressed that issue.)

There are 34 home games scheduled this summer, each of which needs a different singer. The auditioners Thursday night ranged from old to young and male to female, though mostly young and mostly female. Michelle and her partner, Amy Jo Fluharty, had them each sing the first verse of “The Star-Spangled Banner,” as it matters very little whether someone is adept at “Phantom of the Opera” tunes when it comes to opening a baseball game (and let us thank goodness for that).

A few singers obviously had operatic training, trilling their R’s and keeping strict tempo. Others sang like pop stars, some with the attitude that there’s no reason to sing only one note per syllable when you can sing nine, much like Destiny’s Child or Mariah Carey or any of those other people you kids today are so fond of, with your rock ‘n’ roll and your MTV. There were basso profundos and basso terribiles. All of them showed courage for even getting up in front of that stadium full of … well, full of no one, because there wasn’t a game. But when there IS a game! Oh, buddy, then it’ll be nerve-wracking.

It’s not easy to sing in public. When I was 8 or so, I had to sing a solo in church as part of a children’s program, those children’s programs being designed, like youth sports, to humiliate young people and instill shame in them at an early age. I expressed no desire to sing the song, mind you, and while I did my best, my performance caused several members of the congregation to convert to other faiths. When I protested to the woman in charge of the program during a rehearsal that even the other children were making fun of me, she insisted it was because I was so good. (I failed to see the logic then, and I fail to see it now.) I’m sure I’m a better person for the experience, though you wouldn’t know it to look at me.

So I could relate to how these brave souls felt. It was nerve-wracking just watching them, in fact. The national anthem is a song that, if sung badly, is sung REALLY badly. There’s no middle ground. You root, root, root for the singer; if she doesn’t nail that high note on “free,” it’s a shame. We heard MANY bombs bursting in air that night….

I was entertained by the unusual, uh, interpretations I heard of the song’s lyrics. Several people sang “perilous” as “pair-oh-luss.” A few more sang “for the land of the free” instead of “o’er the land of the free.” One singer clearly began the song not with the word “oh,” but with the word “whoa.” Fortunately, no one sang, “José, can you see?,” because that’s a really old joke. (Also old: “And the home of the Braves.”)

It’s up to Michelle and Amy Jo who gets to sing at a Provo Angels game, and perhaps even get touched by an angel. But one thing’s for sure: I was kidding about the Speedos and tank-top thing. Please, don’t wear them, not even by the dawn’s early light.

A Funny Thing Happened on the Way to the Forum

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It’s all togas and mischief at the Springville Playhouse this month, as Utah’s oldest community theater presents “A Funny Thing Happened on the Way to the Forum.”

A 1990 production of “Forum” broke Playhouse attendance records, and this one is jaunty and energetic enough — if not exactly the most polished show you’ll ever see — to do it again.

Stephen Sondheim’s most tuneful musical is a farce set in ancient Rome. A crafty slave named Pseudolus (Karl Young) desires his freedom and discovers a way to get it. His young master, Hero (Michael Pease), is in love with Philia (Kara Richins), a courtesan in the house of Marcus Lycus (Dane Allred). Pseudolus bargains with Hero that if he can get Philia for him, Hero will grant his freedom.

Philia has already been sold to the great warrior Miles Gloriosus (Daryl Tucker), which means a lot of conniving and weaselling will need to be done — especially with fellow slave Hysterium (John Gholdston) keeping a watchful eye on things while Hero’s parents are away.

It’s an enjoyably naughty show with no other intention than to be funny, which it is. John Gholdston’s Hysterium is a remarkably spry fellow, managing to seem both frantic and doddering at the same time. Michael Pease is appropriately moony and grinning as Hero, with Craig Dunford and Robinne Booth handing in strong performances as his parents.

As Pseudolus, Karl Young is playing a role that usually goes to younger men, but it doesn’t show. His singing voice is not strong (neither are a few others in the show); however, for a comedy role like this, it’s the funny bone that’s important, not a set of golden pipes.

Jeremy Showgren also provides great musical direction and piano accompaniment. The fact that the music is live, even if it’s only one instrument (with a few synthesizer embellishments), adds energy.

The only major mistake in the show is adding in a character named Madamia, Lycus’ mother. It’s unwise to introduce a completely new character into any existing show, but particularly into a farce that’s already as tightly written as “Forum.” In this case, Madamia merely stands around in each group scene, hollering to her son. She adds absolutely nothing — and to those who have seen the show before, she’s an annoyance, if for no other reason than that she’s just not supposed to be there.

But the theater’s intimate setting lends itself to the cast’s desire to mug to the audience and ham it up as much as possible. Don’t be surprised if characters address you directly while singing, or even physically harass — er, interact with — you on their way in and out. The up side of the close proximity is that when a freshly bathed Senex declares he smells great, the audience knows he’s speaking the truth. A show that smells as good as it looks is never a bad thing.

The Sound of Music

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Sentimental favorite “The Sound of Music” has held up well over the years, and the Villa Playhouse’s production of it, while creaky at times, has its heart in the right place.

Directed by Villa regular Kathleen Nutt, the show’s greatest strength is in Lauralyn Lowe, whose strong, beautiful voice and genuine acting ability make Maria a lovable character.

Her interaction with the seven Von Trapp children, whose governess she becomes while their widowed father (E. Scott Wells) tries to get his life back together, is also a plus.

The children — Celeste Bales, Tyler Nielson, Brittney Nyman, Nathan Prawitt, Alexandra Wells, Syndey Kay Carlson and Madie Wells (the roles are double-cast) — are a delightful bunch, with far more personality and much less precocious mugging than one usually sees in a group of stage kids. Their “Do Re Mi” number is especially boisterous and entertaining.

E. Scott Wells exudes sternness as Capt. Von Trapp without being stiff or dull. His love for Austria, at risk to the Germans in the play’s 1938 setting, comes through sweetly with “Eidelweiss,” leading to the show’s always-stirring conclusion.

Impressive in this production are the costumes, which Nutt also designed. Actually, it’s not the costumes themselves (though they are nice), but the sheer number of them, and the number of times cast members are required to change them.

Some of the show’s many scene changes are slow and badly organized; surely better use could be made of the many cast members hanging around backstage. I’m told this is the result of having little time to prepare on the stage itself before the show opened; presumably, things will be fine-tuned shortly.

Overall, despite the fine elements already mentioned, the show doesn’t hang together well. It could be the slow scene changes and uncooperative set, but there’s also a general pacing problem, where the pace could be picked up even within the scenes.

Still, this should not deter “Sound of Music” fans from checking out this production, which generally fulfills its promise of being a charming family musical.

The Golden Days of Television

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No doubt you’ve been thinking a lot about “The Golden Girls” lately. At least, I know I have been, and I’m not a guy with a lot of time on his hands.

The subject came up while I was with some friends on a road trip, which is a time when people will talk about pretty much anything, simply because they’re confined to a tight space with nothing else to do. (I’ve always wanted to go to prison for that reason: Lots of interesting conversations. Plus, I’d get a lot of reading done.)

Anyway, we were alarmed to find that we could all name all four characters on the 1985-92 NBC sitcom (Dorothy Zbornak, Sophia Petrillo, Blanche Devereaux and Rose Nylund). We also agreed that this show would never make it past the proposal stage today.

TV WRITER: We’d like to do a show about four old ladies who do nothing but eat cheesecake and talk about sex.
NETWORK EXECUTIVE: I like it. But let’s make it two young men and two young women, and instead of eating cheesecake, they have sex, and instead of talking about sex, they have sex.

There was also a heated debate among us over the gender of “Golden Girls” star Bea Arthur. Luscious Malone (names have been changed) insists Ms. Arthur is female, while I swear she is actually a man. I also claimed to have photographs of Ms. Arthur relieving herself from a standing position, though in fact I was bluffing on that point. Our other friend, Tanny Tantan, found common ground, saying Ms. Arthur is a woman, but has the parts of a man. Ms. Arthur, if you are reading this, please contact this newspaper to settle the matter once and for all, with a doctor’s note if possible.

But “The Golden Girls” has not been the only thing occupying my mind lately, though the restraining order from Rue McClanahan might suggest otherwise. No sir, I have also been deeply contemplating mediocre TV shows, such as “City Guys.” This is an NBC sitcom that airs on Saturday afternoons and is geared toward teen-agers, i.e., it’s really stupid. It takes place at an inner-city high school, although for as pleasant and affable as the teens in it are, it might as well be “Leave It to Beaver.”

Apparently, this show has been running since 1997, although I didn’t know it existed until I stumbled across it several Saturdays ago. In this episode, a new guy moved into school and immediately started getting involved with campus activities. This included helping plan the Big Dance with a girl, whose boyfriend got very jealous at all the time she was spending with the new guy. And so the girl, unaware of her beau’s seething envy, is innocently telling him what they’ve been planning for the Big Dance when this tense dialogue occurs:

GIRL: And we’ll have a raffle, and a photo booth, and a —
BOY: (interrupting) And a whatever!

(Except instead of “whatever,” he pronounces it “whatevah.”)

What I’ve been pondering since then is why someone thought this was a good exchange to include on the “City Guys” show. Some screenwriter, no doubt talented in some way (though perhaps not as a screenwriter), wrote that and then thought, “Yeah. That’s a keeper. That captures the gritty urban edginess of this show, while simultaneously establishing characterization and advancing the plot, not to mention getting a laugh with its sheer sassy boldness. Bravo for me. BRAVO FOR ME!” And then someone paid this schmuck and forced two actors to say the words in front of a TV camera.

Am I saying I could do any better if I were writing the show? Well, yes, actually, I am saying that. In fact, I bet YOU could do a better job, and I don’t even know you. But I could definitely do it. Standing up, in fact.

Moulin Rouge

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The Moulin Rouge was an actual place in Montmartre, just outside Paris, at the end of the 19th century. It was a nightclub of legendary proportions, where the Bohemians bohemed till all hours of the night with the cancan dancers, prostitutes and bartenders.

If Kurt Cobain had been around then, I can imagine his “Smells Like Teen Spirit” being sung as a paean to nihilistic youthful debauchery. Since he wasn’t, we have Baz Luhrmann’s film “Moulin Rouge” to fill in the blanks, re-creating the nightspot with modern music and vivid emotions, juxtaposing images, ideas and icons with recklessly methodical abandon.

“Moulin Rouge” is a love story — a rather simple one, really, dressed up to appear grandly operatic, which it does. At that outset, we meet our narrator and protagonist, Christian (Ewan McGregor), a poet who informs us that what we’re about to see happened one year earlier, and that the woman he loved is now dead. So much for the possibility of a happy ending.

The corpse in question is Satine (Nicole Kidman), the Moulin Rouge’s lead chanteuse and courtesan (read: singer and prostitute). She wants to be an actress, and the club’s owner, Zidler (Jim Broadbent), wants to convert the Moulin Rouge into a legitimate theater — provided he can get financial support from a wealthy Duke (Richard Roxburgh). The Duke is more than willing to lend a hand, on the condition that he be given exclusive uh, rights, to Satine.

The only problem with that is Satine’s love for Christian, who is writing the musical that will be the renovated Moulin Rouge’s debut production. Their sweet, appealing romance is kept a secret from the others, though the plot of the show (“Spectacular Spectacular”) begins to bear many striking resemblances to their real-life situation.

Eventually, of course, everything is brought into the open, and Satine must either give up Christian or stay with him and see him killed by the jealous Duke. Oh, and did I mention that Satine has tuberculosis? Well, she does. We find that out pretty early, giving the whole thing an even more ominous tone than it already had.

Visually, “Moulin Rouge” is like watching someone’s crack-addled fever dream. Quick cuts, high-speed tracking shots, frames packed full of dancers and brightly colored sets — it’s a busy film, but not headache-inducing or wearying.

But if Baz Luhrmann smoked a lot of weed before conceiving the film, he apparently shared it with his collaborators, too, as every element of the movie sticks to everything else. The music complements the dialogue, which complements the costumes, which complement the story, etc., etc. This is no random mish-mash of visually arresting images and striking musical choices done just for the sake of being weird. This is a movie that, while incredibly strange and diverse, actually has some of the clearest vision of anything I’ve seen in a while.

And the music. This is a musical, but “Oklahoma!” it’s not. Most of the songs are pop and rock songs from the ’60s through the ’90s, sung by the actors with new orchestral accompaniments. Though Luhrmann (who co-wrote the film with Craig Pearce) could be faulted for not writing his own music, he should be applauded for finding existing songs that fit his film as perfectly as if they’d been written for it. (The Police’s “Roxanne,” it turns out, is a perfect background number for Christian’s dilemma with Satine.) In one extraordinary scene, Christian woos Satine by quoting, in rapid succession, several different love songs. It’s almost funny, in fact, except that he’s so sincere about it.

Actually, though the music itself is not typical musical-theater stuff, the structure of the film is. The songs come at the points when you’d expect them to, and they advance the plot (rather than just commenting on it). There’s even the show-within-a-show — a device common to many “classic” musicals.

It’s impossible to describe the audio-visual delights of this movie. One early scene, in which Christian meets up with Toulouse Lautrec (John Leguizamo) and his cronies, is shot like an animated cartoon, complete with sound effects. Other moments are beautiful and poignant. You almost take the whole thing completely seriously, and then Zidler and a bunch of chorus boys break out into an elaborate rendition of “Like a Virgin.”

Ewan McGregor, surprisingly enough, has a great singing voice. It’s resonant and rich, and it helps makes his innocent, love-sick character extremely sympathetic. Nicole Kidman’s voice is nothing great, but her acting is, as usual, shrilly effective: You feel for her without totally liking her.

I originally said in my review that the ending was anti-climactic, and not just because we know the eventual outcome already. Having seen the film twice now, I still feel the conclusion is not worthy of the rest of the film. However, it has become more clear that the brilliance of the rest of the film more than outweighs any deficiencies in the finale.

“Moulin Rouge” looks like it should be a mess, a complete disaster. But it was so carefully orchestrated that it turns out to be brilliant. There is emotion, weird humor and musical splendor to spare.

What’s the Worst That Could Happen?

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“What’s the Worst That Could Happen?” is a dishonest comedy in which far too many of the jokes are based on faulty premises — a case of setting up straw men just so you can knock them down.

The film’s alleged highlight is a scene in which swarthy tycoon Max Fairbanks (Danny DeVito) answers his cell phone while testifying before a senate committee, which is being broadcast on C-SPAN. The caller is successful burglar Kevin Caffery (Martin Lawrence), who has been playing a childish game of thieving one-upmanship with Max. When Kevin annoys him on the phone, Max looks right at the cameras and lets loose a string of profanity, right there on TV.

Funny, right? Yeah, except who would answer his cell phone in the middle of testifying before a senate committee? (We’ll even overlook the issue of his profanities being bleeped on the air, even though C-SPAN is broadcasting live.) No one would. It’s a faulty premise. It doesn’t work.

Other examples have to do with character names. Max’s icy wife is named Lutetia. Why? So someone can call her Mortitia (as in Addams) instead. In the same scene, Max has a business associate named Picker. Why? So he can make a joke involving “Picker” and a crude slang term that sounds like it. Cheap laughs, both of them, based on names the movie made up in the first place.

It’s a lazy movie in others ways, too, mind you. While Kevin and his partner Burger (John Leguizamo) rifle through Max’s Washington, D.C., home, Max figures out they’re there through the use of tarot cards. Earlier, Kevin and Burger get out of a tight jam because they happen to know a magician who can pick any kind of lock. The movie likes to paint its characters into wacky corners, and then, rather than resorting to cleverness or comedy, use a magic carpet to fly them out again.

The plot has to do with Kevin being caught while robbing Max’s townhouse. Max tells the cops that the ring Kevin’s wearing is actually his, and of course the cops believe the victim over the would-be burglar. So now Max the businessman has robbed Kevin the robber. This particularly upsets Kevin’s girlfriend Amber (Carmen Ejogo), who, while on their first date, gave Kevin that ring as a token of their everlasting love and who has no problem with Kevin being a professional thief but is quite peeved indeed when he lies to her. (Honey, get yourself some help.)

So Kevin has to get the ring back, but Max won’t give it to him, and it goes on like that. The action, alas, doesn’t escalate. Instead of Kevin breaking into one of Max’s houses and Max retaliating with something bigger and Kevin then getting even more grandiose with his schemes, it remains constant: Kevin burglarizes, Max gets mad, Kevin burglarizes. Not until the end do the stakes ever get higher.

Martin Lawrence is a good deal more subdued than usual, which is a good thing, and Danny DeVito is affably sleazy, as always. Most of the actual entertainment in the film, however, comes from the supporting cast: William Fichtner as a fey police detective who dresses like Truman Capote; Bernie Mac as Kevin’s uncle and mentor; Siobhan Fallon as the magician’s wife; Nora Dunn as Lutetia; Glenne Headly as Max’s long-suffering personal assistant; Larry Miller as Max’s bodyguard.

None of these are strong enough to make them the main characters, but as bits of diversion occurring in the periphery, they do nicely. Good casting and good writing are not exactly the hallmarks of a Martin Lawrence comedy, but at least they got one of them right this time.

The Animal

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When he was on “Saturday Night Live,” Rob Schneider was never anyone’s favorite performer. He did his parts, served his purpose, and stayed out of the way.

This works to his advantage, because everyone who WAS someone’s favorite performer lets it go to his head. Then, when they do movies, they do nothing but prance around and mug for the camera. (Adam Sandler, I’m looking in your direction, and don’t think I’ve forgotten about you, Mike Myers.) People like Rob Schneider never got that ego boost and therefore still have to rely on old-fashioned concepts like actually being funny.

So Schneider’s first star vehicle, “Deuce Bigalow: Male Gigolo,” was a fairly amusing affair with a little heart, too. And now his second, “The Animal,” is just as surprisingly funny. Adam Sandler produced both films, but his creative involvement seems to have been limited, thank goodness.

In “The Animal,” Schneider plays Marvin Mange, a grossly incompetent police-station evidence clerk who desperately wants to be a real cop. He’s kind of dumb, very clumsy, and lives alone in a garage.

One night, his car goes over a cliff and he’s nearly killed. A crazy doctor (Michael Caton) rescues him, though, and keeps him alive by transplanting animal organs into him. Upon reviving, Marvin has the strength and keen senses of animals, along with the sexual urges and voracious appetite.

As impossible premises go, this one is relatively funny, and nearly every possible “animal behavior” angle is explored. Marvin rescues a boy like a dolphin, sniffs out drugs like a police dog, feeds a chick like a mother bird, and even “marks his territory” on the house of a girl he likes.

(That girl is Rianna, played by Colleen Haskell of TV’s “Survivor.” She’s kinda sweet and kinda pretty, but also kinda flat and inconsequential.)

His status as a sort of animalistic superhero gets him the chance to be a real police officer, which angers Sgt. Sisk (John C. McGinley), a veiny guy who hates Marvin for reasons unspecified. The other complication has to do with the possibility that Marvin is going out at night and attacking people and animals, unable to control his primal urges.

There’s a fantastic running gag involving Marvin’s friend Miles (Guy Torry), who is black and getting tired of what he terms “reverse racism”: people being too nice to him because they don’t want to offend a black man. This gag actually pays off and ties in to the main plot in the end, suggesting that screenwriter Tom Brady (he co-wrote with Schneider) may have actually learned a thing or two about writing, separating him from the current wave of people who throw jokes into movies just because they thought of them, and not because they have anything to do with anything.

There is, of course, more than one bestiality reference, and those viewing the film will have to see Rob Schneider’s naked butt. But it’s altogether far funnier than it should be, with an ending that is genuinely surprising and enough goofy, unforced laughs to make it worthwhile.

Forever Young

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ANNOUNCER: Ladies and gentlemen, live from the Delta Center, it’s the Brigham Young 200th Birthday Extravaganza Spectacular of the Stars! With guest appearances by Heber C. Kimball, Eliza R. Snow, Porter Rockwell, Johnston’s Army, and more than 40 wives!

Now, here he is, the guest of honor himself, the Moses who supposes that deserts are roses, Brother Brigham!

BRIGHAM: Thank you. Thank you very much. No, please, sit down. That’s very kind of you, really.

Brothers and sisters, it’s a pleasure to be here with you to celebrate two centuries of living. Two hundred years! Can you believe that? Why, when I was born, Sen. Strom Thurmond was just a city councilman!

But I kid the fossilized artifact. Seriously, though, when I came into this world on June 1, 1801, the territory we now occupy had no running water, no electricity and no modern roads. Now I can take a bath and watch television, but it’s still a two-days journey from Provo to Salt Lake!

Things certainly have changed in our lovely Deseret. For one thing, “In Our Lovely Deseret” is now sung only for its kitsch value. When I governed this territory, “In Our Lovely Deseret” was a sober hymn of commitment and hygiene.

For another thing, I see you’ve invited the entire world to visit our fair state in 2002 for an athletic contest of some kind. This is certainly a reversal of the policy I established, under which foreigners were shot on sight. Or perhaps that is still your intention, in which case I wink slyly at your cunning and say, bag a Frenchman for Brother Brigham!

Athletics have always been important here in the territory. From the earliest days, the saints would gather on Saturday afternoons to toss around an inflated pig’s bladder and shoot gentiles for sport. I remember one particular match held at Mountain Meadows. What a massacre that was! Sports aficionados and anti-Mormons discuss it to this very day.

Overall, I am pleased with the course Utah has taken. We now lead the world in the production of guilt, for example. However, I notice the fine chain of stores I built, Zions Cooperative Something Something, or ZCMI, is now in the hands of someone named Meier and Frank — gentiles, apparently, and by gentiles, I mean Jews. Brethren, what are we to make of this? Next thing you know, ZCMI will be open on Sundays and the merchandise sold there will be reasonably priced.

But I commend those who have managed the affairs of Utah these past hundred years. It’s not an easy state to govern, though it is pretty easy to draw. Nice try on the polygamy thing, but you’re not going to get rid of it. You know how you’re not supposed to get between a mama bear and her cubs? Try getting between a mama bear and her sister-mama bears and their papa bear.

Brigham Young University has done well for itself, too. You know, we were originally going to name it after Orson Pratt, but we changed our minds when we realized the initials would have been O-P-U. At any rate, I commend the faculty there for creating an environment conducive to marriage. Men are getting married immediately after returning from their five-year missions to England (that is still the routine, right?), and women are approaching the altar before their freshman years are even completed. Bravo! Wed early and often, that’s what I say.

So I’m grateful to be celebrating my 200th birthday here with you fine people. Salt Lake City has truly been made beautiful — a far cry from when we arrived here in 1847 and I said: “THIS is the place?!?” But enough of my rambling. Let us enjoy the festivities! Next, please welcome Emma Smith and the Emma Smith Comedy Dancers in a number entitled, “It’s Time to Reorganize.” Good night!

Witness for the Prosecution

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Agatha Christie’s chilling whodunit “Witness for the Prosecution” dares you to guess the ending, and the odds are overwhelmingly against you. For the first-time viewer of the play, being performed through Monday at the SCERA Shell Outdoor Theatre, the excitement is in seeing the drama unfold in the courtroom, and then seeing how everything falls apart at the end.

Leonard Vole (played with convincing innocence and naivete by Joel Farnsworth) is a drifter, though he claims not to be, who is suspected of murdering a wealthy widow with whom he had recently become acquainted. The circumstantial evidence points to him, as does his being the beneficiary of her will; however, he insists he’s innocent and even has an alibi: He arrived home at 9:25 p.m., shortly before the murder occurred.

His wife, the exotic Romaine (Sarah Dawn Barley), vouches for that when discussing the case with Leonard’s lawyer, Sir Wilfrid Robarts (Dale Pomeroy). But later, on the witness stand, she turns against her husband and says he didn’t arrive home until 10:10 — and that when he did, he had blood on his jacket.

The genius of the play is in its believable but completely unexpected twists, leading to one last-minute event that is particularly shocking and very well played by the SCERA cast. (I knew it was coming and still jumped a little when I saw how it was done.) Though Leonard is likable, the idea that perhaps he is guilty is a strong one — but so is the possibility of his innocence. An embittered Irish housemaid (the delightfully charismatic Agnes Broberg) seems to have a grudge against him, which may taint her testimony — and why is Romaine acting so shifty in Wilfrid’s office in that first scene…?

The SCERA production, directed by Dave Hanson, seemed embarrassingly under-rehearsed on opening night. Nearly every cast member stumbled over his or her lines, some of them quite frequently and badly. It’s a dialogue-heavy play, and no doubt a killer to memorize; probably a few more times through it by now will have fixed that problem.

Another drawback, however, is the acting, which is generally too broad. So much attention is given to getting the lines out that there’s no time left for characterization. Never mind that only a few cast members attempt British accents, making those who don’t do them stick out like sore thumbs. We could forgive all things accent-related if only they were compensated for by some solid acting. But with only a few exceptions, the people in the play are caricatures who deliver very believable lines in a very unbelievable manner.

The Philadelphia Story

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“The Philadelphia Story” is as smart a play as BYU has produced in some time, entertaining even as it deconstructs the wealthy class and examines its place in society. One admires the university just for staging something this classy; the fact that it’s fun to watch, too, is icing on the cake.

Written in 1939 by Philip Barry, the play occupies 24 hours in the life of wealthy Philadelphian Tracy Lord (Jessica Mockett). Having recently divorced her first husband, life-long chum and sparring partner C.K. Dexter Haven (Jeremy Selim), she is now set to marry one George Kittredge (Kenneth Ray).

Simultaneously, Tracy’s father (Robert Gibbs) is exiled in New York for cheating on Tracy’s mother (Sara Marie Crabb). To keep this indelicate matter out of a prominent magazine, Tracy’s brother Sandy (Cameron Hopkin) has bargained with the editor to let two journalists instead do a fluffy story about the Lord family, using the wedding as the centerpiece.

The journalists are Mike Connor (Luke Drake) and Liz Imbrie (Amy Dawn Addams), who at first don’t know that the Lords know they’re writing a story. (A weakness in this production is the awkward manner in which that conceit is eventually abandoned.) After spending time with Tracy, Mike voices what everyone else already knows: She shouldn’t marry George. There’s nothing especially wrong with him, but he’s not right for her.

Tracy, meanwhile, grapples with the realization that she has no tolerance for people’s faults. This comes to a head in an especially effective scene in which she confronts her father about his infidelity. Robert Gibbs, though having little stage time as the father, has never done finer work on a BYU mainstage than at this crucial moment. (Sara Marie Crabb, as his wife, is touchingly stoic here.)

The leads are all extremely well-suited to their roles. Jessica Mockett is elegant and natural as Tracy, gliding the show smoothly along on her graceful charm. Jeremy Selim’s Dexter has the perfect balance between glibness and forcefulness, with Luke Drake not a step behind him as the cynical Mike. As Liz, Amy Dawn Addams is quite believable, and Erin Chambers plays Tracy’s obnoxious little sister Dinah as a delightful pest.

The show is either a light drama or a heavy comedy; it is not purely one thing or the other. Its dialogue is intelligent (but not stuffy), requiring an audience that pays attention — but the disarmingly sweet conclusion makes any effort expended toward enjoying this utterly charming production all the more worthwhile.

Ask Eric Stuff 3

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It is time once again to offer advice, counsel and mean-spirited insults in another edition of “Ask Eric Stuff.” All of these questions were submitted at [outdated link], and we should point out that the very existence of “Ask Eric Stuff” on the Internet automatically puts Eric light years ahead of Ann Landers, who still writes her column with a quill and ink and has her slaves fetch it down to the post office afterward.

Dear Eric: What will be the fate of the XFL? — Dave Hymas
Dear Dave: The same as the fate of most ill-conceived, poorly executed TV shows: It will run for 10 years and win 25 Emmys.

Dear Eric: What’s the difference between LDS and RLDS (Reorganized Church of Jesus Christ of Latter Day Saints)? — None of the Above in Michigan
Dear None: About 10 percent of your income.

Dear Eric: If BYU is the “Lord’s University,” why bother with the whole accreditation thing? — Wondering in Washington
Dear Wonder Wash: Because employers don’t care whose university it is; they just want to make sure you actually learned something. Also, they want to make sure you’re an Eagle Scout, or else they won’t hire you.

Dear Eric: I just wasted 10 minutes of my life reading your article. That’s 10 minutes I’ll never get back. How do you plan to pay me back? — Want My 10 Minutes Back
Dear Timekeeper: You wasted 10 minutes reading it? How do you think I felt, wasting five minutes writing it?

Dear Eric: I will be moving to Utah in the near future and I was wondering if you could give me a couple suggestions on how to assimilate myself to the culture. — Fearing for My Life
Dear Fearing: For one thing, don’t use words that contain profanity. A word like “buttimilate” is much better for delicate ears than the one you used.

Dear Eric: I opened the paper, saw your picture and thought, “This guy looks like he’s about 14 years old.” Then I read your article and thought, “This guy writes like he’s about 14 years old.” Are you really 14 years old? — Loves High School Papers
Dear I Had to Fix Your Spelling Big-Time: Yes, I’m only 14. So tell your mother she shouldn’t call me anymore.

Dear Eric: Why are commercial jingles in Utah so unbearable? Do Chuck-a-Rama, Far West Bank and United Furniture Warehouse understand how annoying their jingles are? Can anything be done? — Longing for the Days of “Where’s the Beef?”
Dear Beefy: Yes, something can be done. We can kill that Totally Awesome Computers guy. I know his commercials don’t even have jingles, but you have to admit, it’s a pretty attractive idea.

Dear Eric: Remember that one movie [“Sleepless in Seattle”] where the guy is pathetic on the radio and an entire nation of women want him? Can your column do that for me? — Sleepless in Sandy
Dear Sandless in Sleepy: Make you pathetic? Yes, my column can do that. It’s worked for me, anyway.

Dear Eric: Why do you persecute Canadians? — Crabby in Cardston
Dear Crabs: I have nothing against you Canadians, as long as you stay in your part of the hemisphere. Oh, and keep your fake money out of our vending machines. Nothing worse than getting a Canadian quarter back when you were expecting real money. Also, I can’t help but recall that Canada is what gave us Jim Carrey and Tom Green (the MTV star, not the polygamist). If that’s not incentive enough to break off all trade alliances with you hockey-playing moose-breeders, I don’t know what is.

Pearl Harbor

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A three-hour movie featuring a fictional love triangle set against a historic tragedy in which the action scenes are far better than the romance scenes. Yes, “Titanic” was a good movie. But we’re talking about “Pearl Harbor,” which is a great deal better.

The film is easily divided into two halves: The mediocre half and the excellent half. The mediocre one comes first, unfortunately, as for the first 90 minutes a sterile, perfunctory romance is established between Army flyer Rafe McCawley (Ben Affleck) and nurse Evelyn Johnson (Kate Beckinsale).

It’s early 1941, when the rest of the world is at war and America is still doing the Lindy hop. Eager to fight, Rafe join the Eagle Squadron, a British flying force of otherwise-unneeded American pilots. When he’s shot down over the Atlantic, Evelyn mourns herself right into the arms of Rafe’s best friend Danny Walker (Josh Hartnett). They’ve both finally found some peace after Rafe’s death and are stationed at paradisiacal Pearl Harbor when Rafe shows up, quite not-dead indeed. (The movie cheated, by the way, in telling us Rafe was dead but failing to mention no body had been found.)

Just as the romantic triangle is hitting the fan, and Rafe and Danny are hitting each other, the Japanese — or “Japs,” as we called them in those days — bomb the crud out of Pearl Harbor.

Thus begins the excellent half of the movie, which commences with a 30-minute attack sequence that is ungruesome — no severed limbs or gushing blood — and yet terrifyingly realistic. Director Michael Bay, who has directed his share of loud, senseless piffle (“Armageddon” and “The Rock,” specifically), delivers the goods this time. His long tracking shots that follow the bombs as they drop from the planes are more than just cool gimmicks. They’re exhilarating moments that bear the mark of near-genius. We’re not just there in the middle of the war; we’re sitting on the bombs like Slim Pickens in “Dr. Strangelove.”

A second look:

12/7/2011: Re-Views: ‘Pearl Harbor’ (2001)

The love triangle takes a backseat to the war, but rest assured that when it resurfaces, it’s as melodramatic as ever. Screenwriter Randall Wallace (who also wrote “Braveheart”; brevity apparently is not his strong suit) at this point switches from romantic-drama cliches to war-movie cliches. (A main character, injured on the battlefield, actually says, “I’m not gonna make it!”; the “Go on without me!” is implied.)

The aforementioned mediocre half of the film is essentially a series of sentimental skits — Rafe and Evelyn sneak onto a boat for fun! Danny and Evelyn go joyriding in a plane! — designed to make teen-age girls’ hearts flutter. (Imagine “Titanic” if Kate’s weaselly fiance and Jack had BOTH been adorable.) It’s an epic-scale film without the characters to back it up, a movie that knows it needs to be long and sprawling but that forgot to come up with anything new in terms of stories or people. (For 90 minutes, I kept thinking, “OK, enough exposition. Where are the bombs?”)

In the end, however, there is a powerful tide of emotions, thanks to the jingoism, noble friendships and proud war victories. Though Jon Voight wears the most absurdly fake prosthetic chin as Franklin D. Roosevelt, he exudes a certain dignity in the role. And while Affleck and Hartnett flounder in the shallow end trying to spark chemistry with Beckinsale without good dialogue to help them, their relationship to each other actually does work. We believe them as life-long friends, and their devotion to each other in spite of personal grievances is inspiring.

It is rare that a movie lives up to its hype, and this one doesn’t. It features Cuba Gooding Jr. in a role that could literally be cut altogether from the film without affecting it one bit. It assumes viewers will care about the love triangle without giving them much reason to. But when it is good, it is spectacular. When it’s over, the positive feelings have outweighed the negative ones, and “Pearl Harbor” will go down as a success.

The Road Home (Chinese)

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“The Road Home” begins its story in a dull, frozen black-and-white. Yusheng (Honglei Sun) is driving to the small Chinese village in which he was raised. He must see to the funeral arrangements for his father, who has died suddenly.

Soon we are whisked into the past, and the color comes in with it. Yusheng narrates for us a story he heard often as a child: his parents’ courtship.

His father, Luo Changyu (Hao Zheng), came to the village at age 20 as a new schoolteacher. His mother, Zhao Di (Ziyi Zhang), was 18 years old and immediately smitten with the young, handsome professional.

Their courtship is measured and discreet, but altogether endearing. She looks for excuses to cook for him; he politely accepts the food and looks for ways to express his feelings. Her mother (Bin Li) tells her to forget the teacher, because he’s of a much higher class than they are.

Teacher has some “political trouble” (it’s 1958, and China is not exactly a free and open society) and must leave town for a while. Di waits for him.

The courtship flashback occupies the bulk of the film and is important to establish what is going on in the present. The old Di (now played by Yuelin Zhao) wants to observe an old custom: She wants to carry her husband’s coffin from the city, where he died, back to the village, where he will be buried. The idea is to walk the departed back so he won’t forget the way home. This custom, we’re told, has not been followed “since the Cultural Revolution.”

Director Zhang Yimou also gave us last year’s equally charming “Not One Less,” also about a schoolteacher and the great worth of every soul. “The Road Home” is more a love story than anything, but it also speaks gently of the value of teachers and respect for old customs, whether they’re reasonable or just superstitious. It is an old-fashioned and heartfelt film.

The Column About the Cab

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I’m trying to catch a cab. They whiz by me by the dozens, but none stop. It has nothing to do with my appearance, unless being non-ugly is a liability in New York City (which it might be). It’s because they already have passengers. Is it possible that a city that seems to have 2 million taxis actually doesn’t have enough?

It’s 10:30 p.m. — the time when shows are getting over and people are scattering throughout the city to do those “only in New York” things like eating at Sardi’s, strolling through Central Park, or shooting someone in the head. If I were a cab, there would be plenty of me to go around right now. In fact, even as a person, there’s plenty of me to go around right now. That’s what comes from eating out all the time and then only walking as far as the nearest taxi.

So I’m a little bothered, walking what will be 30 city blocks if I don’t find a cab first. I’m in a bit of a foul mood anyway, because the Off-Broadway show I just saw, “The Play About the Baby,” was an unpleasant experience. It’s one of those plays that doesn’t make any sense, and therefore you’re supposed to think it’s brilliant. Why? Because it’s written by Edward Albee, who you’ve been told is a great playwright, and based on his name recognition, he can get away with babbling madly for two hours and leaving it to everyone else to figure out what, if anything, the hell he’s talking about.

This is unfair. If I came to your house and started ranting like a madman, you wouldn’t say, “This is ridiculous and annoying, but hey, it’s Eric D. Snider, so if I’m not getting it, it must be my own fault.” No, you would call the police, and rightly so, as I’m sure to steal something if you let me in.

I have no problem with thought-provoking shows that are different from the norm. In fact, they are a welcome relief, coming as I do from a state where people consider themselves major supporters of the arts just because they watch “Joseph and the Amazing Technicolor Dreamcoat” six times a year. But if “different from the norm” just means “senseless,” then it’s no better than sitting through “Forever Plaid” for the 800th time. Give me “the norm” over “naked people discussing relativism” any day.

So. How about that cab…? It’s a nice night, fortunately. The weather’s been nice the whole time I’ve been here, in fact — which, I hasten to point out in case the Fates are listening, does NOT mean I want to walk all the way back to the hotel. It rained a few days ago, just long enough for me to buy an umbrella on the street for $15, at which point it stopped raining. The umbrellas are sold by guys who normally sell watches. When the rain starts, the table of watches sinks into the sidewalk, and a new table with umbrellas rises up in its place, the way mad scientists’ secret inventions emerge from the floor when they pull a hidden lever. The umbrella I bought has Van Gogh’s “Starry Night” on it. Fifteen dollars might be a lot for an umbrella, but it’s a pretty good deal for a work of art like that.

Anyway, it seems odd that I’d be so eager to get a cab when riding in one is such a dangerous experience. Much has been said about cab drivers by far better writers than I — people like Dave Barry and Carrot Top — but I will say that I am very, very impressed with these drivers. Why don’t they get in more accidents? I know taxis do wreck now and then, but the way these guys drive, they should be ricocheting off each other like billiard balls. In fact, with traffic and crime the way they are in Manhattan, I’m surprised every New Yorker isn’t killed every single day. It’s amazing anyone continues to live.

Ah! Here is a taxi, and not a moment too soon. The driver’s name is heavy on consonants and light on vowels, so I know he’ll be a good one. I don’t really understand what he’s saying to me, but that’s probably my own fault. I’m sure it’s brilliant, whatever it is.

I Came to Your Wedding

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Don’t expect Shakespeare when you see a Ruth Hale play at the Hale Center Theater in Orem. But “I Came to Your Wedding,” running through June 11, is subpar even by the usual standards, offering only a few scattered laughs and amusing characters amidst a sea of trite, labored comedic situations.

The time is 1984 (and kudos, by the way, to the costume and hair departments for some truly outstanding ’80s garb). Darren Call (Amanda Webb), a pretty but wishy-washy girl, is about to marry wealthy twit Ellis McIntyre (Matt Kohl), much to the dismay of boy-next-door Johnny (Andrew Allman), whom she left at the altar less than a month ago.

Darren’s mother, Muriel (Mary Kay Peirce; double-cast with Debbie Ellis), and Muriel’s old-maid sister Dorothy (Debbie Lloyd) aren’t happy about it, either. Ellis’ family is demanding and snooty, particularly Ellis’ drab uncle Anthony (Jon Hale; double-cast with Cody Hale), whom sentient beings will realize the moment he walks onstage that is destined to hook up with Dorothy.

To get revenge, Dorothy invites her backwoods Oklahoma relatives to the wedding, hoping to embarrass the McIntyres. (How this will benefit her is not clear.) The bumptious moonshiners show up and make a lot of noise and run around with names like “Florabelle” and “Fairycomb,” and sure enough, folks get embarrassed.

Ellis is a persnickety, spiteful character from the get-go, yelling at Darren for being late and reproving her for going around barefoot. They clearly don’t even like each other, while Darren and Johnny are obviously still in love. If you think for a minute that Darren and Ellis will actually get married, you deserve this play. It’s painfully obvious they won’t, but the play keeps pretending they will, hoping we’ll go along with it and be surprised when she wises up later.

The vanilla-bland script is a mess, technically speaking, with events occurring merely because the author wanted them to, and against all logic. Johnny and Darren get lost despite having lived in the town all their lives; this is weakly blamed on Darren’s “bad sense of direction,” with a subsequent throw-away implication that Johnny did it on purpose. Someone gets tied up in his garage and then — without getting himself untied — hops all the way to the Calls’ house. A minister starts to perform the wedding in the living room even though hundreds of guests are milling around in the backyard. Why? Because the play has to have the wedding, but the play doesn’t allow for a set change.

The best character in the play is Wallace, a teen-ager in love with Darren’s sister Susan (Brooke Hess). Wallace is played by Michael Walker, who pulls off the difficult feat of being nerdy but not annoying. (Trust me, I’ve been working on this all my life.) His timing is great, pulling laughs out of situations that could easily have fallen flat.

Debbie Lloyd and Mary Kay Peirce are believable as Darren’s mother and aunt, functioning as half of “The Golden Girls” without as much bitterness. Many of their lines are no better than your average low-level sitcom, but they deliver them convincingly.

Amanda Webb and Andrew Allman make a fine pair as Darren and Johnny, too. They have charisma and personality — but, again, hardly a funny line between them.

No, the acting is not the problem here, by and large. It’s the rickety, uncreative script — seemingly a rewrite of every other Ruth Hale script — that makes the show a weak, ineffective experience.

Red-Eye to Rumble

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I had never taken a “red-eye” flight until a few weeks ago. Why would I intentionally do anything that would make my eyes red? Their natural yellow color is hard enough to deal with. But since JetBlue — by far the world’s cheapest airline, and I use the word “cheapest” in every possible sense — only flies to New York at midnight, I went for it.

In preparing for the trip, I realized flying at night was actually a good thing. I dislike flying — not because of the claustrophobic conditions or a fear of crashing or the comical manner in which you are urged to arrive one hour early even though the plane always sits on the tarmac with everyone on board until well past departure time anyway — wait, that clause got out of hand. Let me start over.

I dislike flying — not for the usual reasons, but because it’s so dull. There’s nothing to do on an airplane. You can read the official in-flight magazine, but that’s more boring than doing nothing because it’s written and edited by people who know their readers have nothing else to read. Or you can browse through the shopping catalogs full of items no sane person would ever spend money on, like electric toe-hair removal systems and fiberglass bath towels. In fact, on my list of Dullest Activities in the World, flying is No. 2, right before wedding receptions and right after listening to other people talk about their dreams. (It’s impossible to become interested in the plot of someone else’s dream, because they’re always so ambiguous. “And then I was in this house, except it was really an Arby’s, and my 10th-grade science teacher was there, except he was really a squid, and then I woke up, except I was really still dreaming.” OK, so I was listening to you, except I was really just nodding and smiling.)

So if I flew at night, I figured I could sleep on the plane, which would pass the time nicely. It would be like having a slumber party with 300 strangers, and if there’s anything more fun than sleeping with a lot of strangers, I haven’t heard of it.

You’re already shaking your head and saying I was a fool to think I could sleep on the plane, but the fact is, I can usually sleep pretty much anywhere. I’m sure if I were flying the plane, I’d have no problem dozing off; why should riding in it be any different?

But for some reason, I couldn’t sleep on this flight. Part of the blame goes to JetBlue, which instead of providing in-flight meals or more convenient flying times has individual TV sets for each seat, and a cable system that gets the Game Show Network. As a rugrat, and even into my ankle-biter years, I was hugely fond of game shows, particularly “Family Feud” — not the current incarnation with shrill fat man Louie Anderson, but the original, with the lecherous Richard Dawson. And lo, what should appear on the Game Show Network the moment the plane took off, but an old episode of “Family Feud.” It was a celebrity edition, with country singers playing against TV cowboys, and Jerry Glower was shouting “jewelry” as his answer, but his deep Southern accent made it come out “jewry,” which tickled me no end. (It was almost as good as the born-again Christian I heard shouting on the streets of New York about how you have to accept some person named “Cheesus.”)

Also hindering my sleep was — you guessed it — a baby who shrieked like he was passing a kidney stone made out of Satan. This baby was very young; I believe his mother had given birth while boarding the plane. And bless his little heart, everyone wanted to put him out on the wing for the duration of the flight.

After a very long time, we landed at JFK (I mean the airport, not the guy). An entire night had passed, and I hadn’t gotten much sleep, what with the cheesy game shows and the possessed babies. But as soon as I was in a cab, I was immediately lulled into a peaceful slumber by the soothing sounds of the driver shouting obscenities at other cab drivers. Survey says: delightful.

Rashomon

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People are often cowardly, selfish, lazy and unscrupulous. So says “Rashomon,” a play based on the Japanese stories of Ryunsuke Akutagawa being performed at BYU through June 2.

Fortunately, there’s also a chance to redeem ourselves from those weaknesses, if we choose to take it. That’s the more heartening message that comes at the end of a very intriguing production.

A priest (Jesse Ryan Harward), horrified at the cruelty and dishonesty of his decaying society, has left town to meditate in the woods. He and a woodcutter (Doug Stewart) encounter a wigmaker (Hiroko Ogasahara Hatch) and tell her what happened the day before.

This much is known: The region’s most diabolical outlaw, Tajomaru (Dax Y. Craven), tied up a samurai (Seth Estrada) and raped his wife (Shelley Graham). Later, the husband was found dead with both the wife and the villain gone.

What is up in the air is who killed the samurai. Tajomaru is the obvious culprit, and he accepts the blame. But the wife claims she killed her husband when he looked at her contemptuously after she was raped. The husband himself, speaking through a medium (Yumi Himeno and Amy Jensen), says from beyond the grave that he killed himself when his wife indicated a desire to run off with Tajomaru and leave him behind.

Each of the stories is shown to us, with no clear answer which, if any, is accurate. The woodcutter has yet a fourth version of things that seems to contain the most truth, but that is also absurdly, weirdly comical.

This is not a case of people seeing the same events differently. The actual occurrences are different in each story, which means at least three of the four tellers are lying.

Dax Craven, aside from having a cool name, also has a great sinister voice that suits the abominably evil Tajomaru very well. Shelley Graham adjusts to the various ways her character is presented (innocent, pious, conniving) and plays each of them convincingly. Hiroko Hatch provides comic relief as the cynical wigmaker.

Director Rodger Sorensen made a bold, unusual choice for the show: Each character is shadowed by someone performing the part in American Sign Language. The idea was that since the production was blending Western and Japanese cultures already, he wanted to mix deaf culture in, too.

Then he made another brave decision: The signers aren’t non-participating “invisible” counterparts; they actually interact with the speakers. Imagine a character in a foreign-language film having a conversation with the subtitles, and that’s the jarring juxtaposition that happens here.

By all accounts, Sorensen’s decision to do all this was not a case of being different just for the sake of being different, but was a sincere foray into theatrical experimentation. Such an unusual set of choices is fraught with peril, and frankly, I think it fails in this show more often than it works. The signers tend to be distracting, and their interaction with the characters kept bringing me out of the action and reminding me I was watching a play.

However — and fittingly, given the subject matter — other viewers’ reactions may be entirely different. It depends on one’s tolerance for unusual theater experiments and perhaps whether one is easily distracted.

Even with the potential drawback of the sign language, the show is successful. It is not ponderous or pretentious, thus avoiding a pitfall common to high-minded plays like this one. The glimpses into Japanese culture and art are beguiling, the acting is earnest, and “Rashomon” is thought-provoking.

Shrek

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A diminutive wannabe king tortures the Gingerbread Man of storybook fame, trying to get information from him. The Gingerbread Man’s taunting reply? “Eat me!”

The Brothers Grimm this isn’t. What it is, is “Shrek,” a new computer-animated film that is a legitimate fairy tale every bit as much as it makes fun of legitimate fairy tales.

It’s all set in an unnamed far-off kingdom, as these stories often are, where the title ogre (voice of Mike Myers) leads a happy, quiet existence in his own personal swamp. One day, however, the aforementioned ruler, Lord Farquaad (John Lithgow), rounds up all the fairy-tale characters and dumps them into Shrek’s land as a means of getting them out of the way.

Furious, Shrek heads to Farquaad’s amusement park (an obvious Disneyland spoof), Duloc, to see what gives. Accompanying him is a jive-talking donkey named Donkey (Eddie Murphy), who wants to be Shrek’s friend despite Shrek’s having no interest in friendship with anyone.

Farquaad knows he must marry a princess to become a real king, so he makes Shrek a deal: If he’ll go rescue the winsome Princess Fiona (Cameron Diaz) from the dragon and bring her back to him, he’ll get all the squatters off Shrek’s land and leave him in peace.

Princess Fiona is dismayed to be rescued by a hideous ogre, as she had a very specific romantic scenario in mind while waiting to be rescued all those years. But on the trip back to Farquaad, she and Shrek begin to fall in love — a particular dilemma since as soon as they’re back to Duloc, he’s supposed to be handing her over to the little runt.

Some scenes are a who’s-who of fairy tales, recalling the joyful mixing and matching that went on in “Who Framed Roger Rabbit?” (Actually, for the theater-minded, it more closely resembles Stephen Sondheim’s “Into the Woods.”) When Farquaad offers a reward to anyone turning in a magical creature, Gepetto can be seen in line waiting to get a few bucks out of Pinocchio, and someone has Tinkerbell in a bird cage. Non-Disney icons abound, too, including the Three Blind Mice and the Three Little Pigs.

But it’s the parodies of Disney animation and paraphernalia that provide the most amusement, and only hard-core aficionados will catch them all. (In the dragon’s castle are gargoyles reminiscent of those in “The Hunchback of Notre Dame,” for instance; blink and you’ll miss them.) Some are blatant, like Shrek’s insistence that Donkey not do any singing; others are more sublime, like the inclusion of bears from Disneyland’s Country Bear Jamboree in the crowd scenes.

And some are just twisted and hysterical, like a wedding bouquet being tossed and Cinderella slapping Snow White in the face to keep her from catching it.

It’s a movie with a semi-cynical attitude, to be sure, though it does allow itself a few lapses into sentimentalism. The story has some serious flaws — it’s not explained what goes on at Duloc, for example, nor why Farquaad was rounding up the fairy-tale folks in the first place — and occasionally seems to go in certain directions just for the parodies available to it there.

As for characters, only Eddie Murphy is very memorable, and one suspects he ad-libbed a lot of Donkey’s lines. Myers, Diaz and Lithgow are serviceable, but not great — and is this really the third movie in which Myers has done a Scottish accent? Yes, I believe it is. (“So I Married an Axe Murderer” and “Austin Powers: The Spy Who Shagged Me” being the other two.)

The film earns its PG rating. Ogres tend to be gross; I counted 700,000 toilet-related jokes just in the first five minutes (it does calm down quite a bit after that). But you have to respect a movie that has a character named Donkey, yet only has two jokes playing on the double meaning of “ass.” You may not want young, impressionable kids seeing it and reveling in the gross stuff, but everyone else should find it a wickedly funny diversion.

Angel Eyes

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What does the title have to do with the film “Angel Eyes”? Why, nothing! While I admit most of the characters have eyes, not one of them is an angel.

Already I have spoiled something the film’s distributors wanted you to believe. The marketing campaign compares the movie to “The Sixth Sense,” which is true in the sense that both are flickering lights projected onto a screen, and NOT in the sense of having a twist ending or a main character who is not as alive as you’d think. The title “Angel Eyes” is no doubt intended to make you suspect the mysterious leading man is from the great beyond, when really he’s just a weird guy.

So what IS the movie about? It’s about a Chicago cop named Sharon (Jennifer Lopez) who, in a prologue, tries to keep a man from dying after a terrible car accident. Now, a year later, she is saved from a gunman by a stranger named Catch (James Caviezel), a lugubrious fellow who stumbles around town moodily, doing good deeds and not shaving. They begin a tentative relationship based on their common moodiness, and since we have seen movies before, we understand he is the man she was saving in that prologue. So who is he, and why is he so secretive?

After a very long time, this slow-moving film gets around to forming a tenuous parallel. Just as Catch must become reconciled with himself, Sharon must kiss and make up with her abusive father and estranged family. Unfortunately, these parallel themes don’t work well together, one being too literal and the other too introspective. One senses there should be some deep meaning in the film, but it’s not here.

Jennifer Lopez is sweet and likable, though less than usual because of the dreariness of her surroundings. James Caviezel, so good in last year’s “Frequency,” manages a hint of warmth under his character’s perpetual dark cloud. But a movie with two main characters who are so dour all the time is bound to make the audience feel the same way.

The Trumpet of the Swan

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Animation, storytelling and acting all combine in their worst forms to make the extremely dull “Trumpet of the Swan.” This is a movie that is aimed at kids, but you should protect them from it, as it will turn their minds to mush.

It’s based on the charming E.B. White story, and very little of that charm has remained. The main character is Louie (voice of Dee Baker), a trumpeter swan who was born without a voice (though we can hear his thoughts sometimes). His loving parents (Jason Alexander and Mary Steenburgen) had looked forward to raising a proud son to carry on the family name and make lots of loud swanny sounds; when he turns out to be mute, they stop loving him.

I’m just kidding. They still love him, but they’re awfully disappointed. So they direct most of their love and attention to Louie’s sisters, who make plenty of noise. Louie grows up an outcast in swan society, an intelligent lad with no way to communicate.

Then one day he gets an idea: He’ll learn to read and write people words, thus giving him a voice! To that end, he heads for the city and goes to school with his human friend, Sam (Sam Gifaldi), a young boy who seems not to have any mammalian friends to speak of. Sam’s teacher, Mrs. Hammerbottom (Carol Burnett), is hesitant at first, but soon warms to the idea of instructing a water fowl.

Louie learns to read and write and heads back to the pond, excited to communicate. Unfortunately, none of the other swans possess this knowledge, and they just wonder why Louie the retard is drawing squiggles on a portable chalkboard. His father has already stolen a trumpet from a music store in the hopes he can play it and find his “voice” that way, and Louie decides he’ll just have to make do with that.

But he feels guilty for having stolen the trumpet, so Louie saves his father’s honor by getting a job at a summer camp and earning enough money to pay for it. He saves a kid from drowning, too, and plays an outdoor concert in Boston. He’s a feathered Forrest Gump, this one.

The movie is sincere enough, but its sense of humor is almost non-existent. Events as bizarre and unbelievable as these should be portrayed with whimsy. Instead, the movie plows ahead determinedly, never stopping to look at what fun could be had on the way.

To make matters worse, the animation is stilted and boring, with characters’ expressions hardly changing. The actors tend to over-dramatize everything, particularly Alexander and Burnett. And the songs are borderline dreadful, full of lazy rhymes like “super” and “future.”

It’s possible a young child would be entertained by the goings-on, but unlikely. There’s not enough movement, wackiness or humor to amuse anyone by the most easily amused of children.

The Daily Harem

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Excerpts from The Daily Harem, Utah’s polygamy newspaper, written by polygamists, for polygamists. (Circulation: 100 households/500,000 readers.)

• • •

FRONT PAGE:
Tom Green’s Wife Has Another Child; Green ‘Didn’t Even Know She Was Pregnant’

GREENHAVEN — Tom Green, on trial merely for practicing the religion God gave him, said Thursday he was “surprised” one of his five wives, LeeAnn, had given birth.

“Another one?!” he said, exasperated. “Crap O’Friday, I didn’t even know she was pregnant.” Green then asked for assistance in remembering “which one is LeeAnn.”

• • •

SPORTS:
Jensen Family Breaks Softball League into Jensen West and Jensen East Leagues

JENSENHAVEN — LeGreat Jensen announced Thursday his family’s softball league, populated entirely by his children and coached by his wives, would split into two leagues effective next season.

“When (first wife) Karynne and I first got married, we joked about having enough kids to start a softball team,” Jensen said. “Well, that didn’t take long. Between her and the sister-wives, we had a softball team inside of three years.” Since then, Jensen has had enough children to create 14 softball teams, with several kids still warming the bench. With the birth of MayTenth Jensen last week, the patriarch decided it was time to split the league.

Inter-league trading of players will not be permitted, but inter-league marriages will be.

• • •

FEATURES:
Dear Miss Manners: I am a 13-year-old girl, and I recently married my uncle, who is, I don’t know, like 50 or something. I did this of my own free will and choice because I love him deeply and desire my womb to bear the fruit of his loins so that we may populate the Earth with righteous seed. Also, he promised me some candy.

At the wedding ceremony, one of my bridesmaids, who is both my sister and my aunt, wore her hair up, with the use of hair-spray and other styling products. She also failed to wear the standard gingham dress, choosing instead to make a mockery of the occasion by wearing a provocative number such as one might see in the worldly magazines, which revealed several inches of her calves and other naughty parts. My mother, who is also my granddaughter, was appalled and thinks I should have said something. However, my brother, who is my step-niece, says I was right to remain silent. What do you think?

Dear Reader: Miss Manners is glad you did not ruin the occasion by causing a scene. Surely the ruckus your sister-aunt caused by going against standard polygamist dress and grooming standards was enough commotion for one sacred, holy event.

Quietly take your husband-uncle aside and ask him to take your sister-aunt behind the woodshed and thrash her to within an inch of her life. This should be done until she is blue, or blue-black.

• • •

ALSO IN TODAY’S PAPER:
– Local Professor Tries to Diagram Family Tree; Head Explodes (A2)
– Man Marries Fetus (A8)
– Survey: Residents Consider Same-Sex Marriage a ‘Weird Abomination’ (B2)
– New Polygamy Musical ‘Manifesto, Shmanifesto’ Opens at Halehaven Center Theater (C5)
– Man Marries Self (A4)
– Local Teen Ejected from All-You-Can-Eat Restaurant for Having Plurality of Muffins (A10)
– Man Reduced to Microscopic Size, Injected into Bloodstream, Marries Flu Virus
– Birth announcements (B16-50)

West Side Story

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Despite some questionable choices regarding the play’s theme, Hale Centre Theatre West Valley’s production of “West Side Story” is a grand, moving show with a lot of heart.

This is a musical drama — a tragedy, even — and a difficult one to pull off, as it requires acrobatic dancing and expert singing. As a result, it’s not performed much in Utah. (In the past four years, I’ve seen “Joseph and the Amazing Technicolor Dreamcoat” eight times as a reviewer and “West Side Story” once. That is not a judgment, just an observation.)

Set in 1957 (when the show premiered on Broadway), this modern version of “Romeo and Juliet” introduces us to the Sharks and the Jets, two warring gangs on the mean streets of New York. The Jets are native New Yorkers, and the Sharks are Puerto Ricans; there is to be no fraternizing between the two.

But Tony (Brett Bradford), a reformed Jet, meets Maria (Ashlee LaPine), the sister of Shark leader Bernardo (Josey Suarez), at a dance, and it goes downhill from there. At the end of Act 1, one member of each group lies dead in the street.

There are some deeply effective moments in this production, directed by Tamara Adams with musical direction by Jennifer Parker Hohl and choreography by Marilyn May Montgomery. Tony and Maria’s balcony scene (with the legendary song “Tonight”) is genuinely romantic and beautiful, and their first encounter at the dance is a nice blend of music, dance and lighting.

Both actors, in fact, perform their roles with confidence and ability. Joy Montoya is also a stand-out as Maria’s confidante Anita, and Andrew Barrus excels in the opening scenes as Riff, the Jets’ scrappy leader.

Montgomery’s choreography recalls the moves in the film version without copying them, and while a cast this large (two dozen or so) is bound to have some weak spots, overall the dancing is impressively enjoyable.

The show is written so that the racial tension is more prominent than the romance. The bittersweet truce between the Sharks and Jets at the end should be seen as the realization of a goal — something the show had been building toward the whole time. The “Somewhere Ballet” certainly demonstrates that Maria hopes for peace, and even believes it can happen.

Due to some alterations, though, this production has a diminished social-commentary aspect and a heightened emphasis on the doomed love story. The relatively light-hearted “Gee, Officer Krupke” has been moved to Act 1, leaving Act 2 almost devoid of anything but tragedy — especially since the “Somewhere Ballet,” which showed a glimmer of hope, has been cut altogether.

The result is that when the truce comes during the finale, it seems to come out of nowhere, like the obligatory thing that happens at the end of a show about warring entities. It seems too perfunctory and unmotivated.

The changes made, while perhaps unwise, nonetheless show an attitude of admirable bravery on the part of the collaborators. Nothing ventured, nothing gained, right? The scene in which a group of Jets attacks Anita is boldly done. It’s not graphic, nor does it go too far, but it’s exactly the kind of thing you wouldn’t be surprised to see completely white-washed in a Utah theater. The fact that such a risky moment remains intact is reassuring.

Angry Moon

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We all have different ways of dealing with anger. If you’re aggressive, you might lash out physically. If you’re passive, you might mutter profanities. If you’re the Vandals, you might sack Rome in A.D. 455. None of these behaviors will do you any good, though the Vandal thing could net you a cool toga.

I think one of the best ways to tell what a person is really like is to see them when they’re angry. For example, when I get angry over having to pay a bill I think is unfair — like a traffic ticket or a fine for public indecency — I retaliate by writing on the memo line of the check, “You thieving jackals,” or words to that effect. What does this tell you about me? That I’m a big nerd.

Another example is my research assistant/consultant Josh, whose mother once got angry and threw a pork chop at him. From this we learn that if you’re going to upset your mother, make sure you live in a kosher household.

But the best example with which I am recently familiar has to do with another friend of mine who asked not to be identified. We’ll call her Luscious Malone. Years ago, when Luscious Malone was still a teen-ager, she got into an argument with her parents. Knowing she would say something she regretted if the conversation continued, she sought to remove herself from the situation. Her father, however, insisted she remain, and so now the argument was over whether or not they should continue arguing.

After much passionate discourse, Luscious Malone’s father was at his wit’s end. According to Luscious, her dad would never strike her in anger, but he evidently felt he had to do something. So finally, he turned around, dropped his pants, and mooned her.

Luscious points out that this was no mere lowering of the trousers; the pants dropped all the way to the floor. Which means not only did Mr. Malone moon his daughter in anger, but he did it incorrectly, too.

It’s hard to know what, exactly, Mr. Malone thought would be the outcome of his actions. Did he think Luscious would feel chastised and stop arguing? Did he figure this would mean he’d start getting a lot more respect around the house? Was he on medication of some kind?

Whatever he expected to happen, what actually happened was that Luscious and her mother both burst out laughing. So now he had his pants down in an over-zealous moon, AND he was being laughed at. The only way it could have been more embarrassing for him would have been if his pants had then caught fire.

The lesson we learn from this is that we shouldn’t let our passions get the best of us. We rarely act intelligently when we act in anger. Not everyone will follow this advice, though, so next time you ask someone to pass the pork chops, you’d better duck.